Cory Stillman
Cinematographer Scott Duncan has been shooting episodes of Survivor since the show’s earliest days on the beaches of Borneo back in the year 2000. 50 seasons later, Duncan continues to push Survivor‘s visual language into new territory, while always staying true to its roots.
“Just being aware and observational was the key,” says Duncan.
It sounds so simple, but those mandates extend well beyond just filming all the plotting and scheming from Survivor 50‘s iconic cast of 24 returning players. Perhaps the most visually stunning moments in Survivor, by far the most cinematic reality series on television, are the transitional sequences of the wildlife and nature in Fiji, where the show has filmed every season since Millennials vs. Gen-X in 2016.
”Those kind of shots I think metaphorically can tell stories,” says Duncan. “You know, this is all really around them. This is in the zone of where they are in the country of Fiji. I can remember back in Gabon, the animals were in some more of the background tribe camp. I went to extra lengths or stayed extra time just to find those kinds of animals that are very nocturnal or are very secretive.”
Duncan’s reflection on Survivor: Gabon likely recalls some vivid imagery for longtime Survivor fans, as the show’s 17th season featured by far the most iconic bits of nearby wildlife. Who could forget an elephant crossing the river behind premerge boot Ace Gordon as he delivered a confessional? But not every season affords Duncan and company the opportunity to blend the game with its surroundings so directly. More often than not, capturing the natural sights and sounds of the shooting location requires a sense of exploration and enthusiasm.
“All the cinematographers on the show are absolutely amazing wildlife filmmakers,” says Duncan. “So they’re filming a scene, they go to sleep, they look over their shoulder, there are some birds hunting fish, and you kind of go into wildlife mode. They wake up, and they’re back on reality mode of storytelling.”
That dual approach allowed Duncan and his collaborators to pepper every episode of Survivor 50 with gorgeous footage of fish, birds, monkeys, and waves. While there is an art to so much of the Emmy-nominated cinematography that made Survivor 50 such a moving tribute to the show’s history as well as a testament to its future, it is these moments that too often go unnoticed.
Of course, even Duncan would admit that the players define a season of Survivor first and foremost, and reuniting with so many old friends on Survivor 50 pushed the longtime DP to creative new heights.
“They’re coming back for us, they’re coming back to play the game they love, and I wanted to make sure we’re bringing our A game all the time for them, for their experience,” says Duncan, who also took the time to reflect on where he was in his own life when the likes of Jenna and Colby first graced his lens in the early 2000s.
“It was something you just can’t fake, that kind of emotional time,” says Duncan. “Life, seasons going by, people growing, people living.”
Check out our full conversation with Duncan below, as we dive deeper into some of his favorite shooting locations throughout Survivor history, as well as the art of remaining invisible to players amidst all their wheeling and dealing.
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