Island of Lemurs: Madagascar is an IMAX documentary that invites audiences into a world rarely seen by the average person. Directed by David Douglas, the film uses IMAX’s expansive imagery and immersive sound to place viewers among Madagascar’s rainforests, sharing the lives of the island’s remarkable lemurs. The project follows the conservation work led by Dr. Patricia Wright and the researchers who study and safeguard these endangered primates. A journalist sat down with Douglas to discuss the movie’s creation, its distinctive approach, and what it aims to convey to viewers.
Q: When did you decide to pursue filmmaking, and what inspired you to start?
A: Douglas explains that storytelling has lived in him his entire life. The spark came during Expo 67 in Montreal, a time when cinema experiments and new techniques captured his imagination. He had been pursuing painting, but the Expo experience redirected his path toward film. He joined the early IMAX pioneers and became one of its first converts, drawn to a format that could transport audiences to another place on a giant screen.
Q: What is the biggest difference between making an IMAX film and a traditional film project?
A: The filmmaker must choose a subject that truly exploits IMAX’s strengths. If the story isn’t a fit for the scale and depth of the format, the result can feel misaligned with the medium. IMAX carries the audience to a new place, so the setting should offer novelty and capture interest. Madagascar fits this criterion because it’s a place hardly explored by many viewers. It is a powerful medium for a storyteller or artist to work in, because the experience is nearly total when paired with superb audio. The filmmaker gains tools to draw viewers in and move them emotionally, physically, and psychologically, making the world feel immediate and real.
Q: How did you come across Dr. Patricia Wright’s story, and what inspired you to tell it?
A: In collaboration with producer Drew Fellman, the team sought individuals who were actively conserving endangered species. They encountered several compelling figures, but Pat Wright stood out for her commitment to Madagascar. Her work offered a genuine, on-the-ground perspective that would anchor the film’s message and give it real-world urgency. Madagascar, with its rarity and distance, demanded a voice willing to illuminate both the beauty and fragility of the lemur world.
Q: What was your most memorable experience with the lemurs?
A: Every close encounter with a wild lemur proves memorable, Douglas notes. There were countless moments of surprise in the rainforest—first hearing an indri sing while the forest was quiet, the sound of dripping water, and the sight of delicate creatures leaping through the trees. The lemurs’ movements are graceful, almost peculiar, and the moment they turn to study the observers can feel almost magical. Then a sudden, loud call breaks the silence, echoing through the forest like a car horn. That shock, captured on film, became a turning point in how the team wanted to surprise audiences with the animals’ astonishing reality.
Q: The dancing lemurs, the Sifaka, are often cited as favorites. What makes them special?
A: The Sifaka embodies mobility over vocal power. They move with a distinctive, almost balletic grace through the canopy, a reminder that silence can carry its own kind of drama in the wild world.
Q: What was one of the greatest challenges of filming on location?
A: Getting everything to the place you want to be proved the hardest part. Madagascar is a very poor country with a road system that has been slow to develop. Logistics could be impossible, and the team faced the risk that the location or the animals might disappear before they could return. The wildlife faced threats from hunting, and arrangements had to be made to protect the lemurs while the crew worked. To mitigate risks, the project recruited science students from the University of Antananarivo and sent them to different parts of the country to monitor the animals, ensuring someone was always watching over the subjects. It was an unpredictable environment with limited administrative support, but those precautions helped keep the project moving forward.
Q: Are there new projects on the horizon?
A: A number of ideas are in the works, including another project focused on bears. While nothing is set in stone yet, the team believes there are many positive stories around the world about people finding solutions for long-term survival of diverse species. Those stories deserve to be told so audiences understand that individuals can make a difference.
Q: What final words or advice would you give to young filmmakers or documentary makers?
A: The key is to discover a compelling story and tell it clearly. Techniques will evolve with experience, but wildlife stories need to be told now because wildlife faces real threats. Anyone who wants to make films should follow their curiosity about the subject and commit to the story at hand. Do thorough research, stay curious, and focus on the human and ecological stakes that elevate the visuals into something meaningful for audiences.
For more information about the documentary and the discussions around screenings, official materials discuss the project in depth and offer guidance on where to view the film. (Citation: Island of Lemurs: Madagascar production notes.)