From the Autumn 2017 issue of Living Bird magazine. Subscribe now.
It was the same grueling routine, but of course Neil Rettig was a senior citizen now—at 63, a good three decades older than he was in 1977, when he first climbed into the tops of 100-foot trees in the Mindanao jungle to photograph the Great Philippine Eagle.
His support crew in this century had better gear and safer techniques. But still.
Every morning at dawn, Rettig strung a climbing rope into the uppermost branches, climbed into his harness, hitched himself to the rope, and climbed like an inchworm—a foot at a time, brow sweating and arms burning—until he hoisted himself onto a cramped platform of boards screwed into the tree, and wriggled himself into a camouflage blind.
The crew had started on a hillside 97 yards from the eagle’s aerie, a heap of sticks tucked above a big knot of epiphytic plants so wrapped in vines and foliage that it was nearly invisible from the ground. The length of a football field was close enough for shots of eagle parents soaring through the forest canopy and flying into the nest, but still too distant to capture this majestic raptor’s personality and intensity.
Day by day, tree by tree, Rettig and his crew hoisted themselves above the ground and built new platforms, each incrementally closer than the one before. Each time they dreaded the thought that this might be the effort that would scare the parents from the nest, with the risk that they would abandon their single chick. But they were convinced it was a risk worth taking if they were to produce new film footage of one of the world’s rarest birds.
And that was the aim of Rettig’s return—to recapture the regal Philippine Eagle in all the majesty of today’s Ultra-HD film technology, to give Filipinos the most intimate look ever at their national icon, to peer right down into the nest and see the glint in the eyes of newly hatched chicks.
“I think the closer we can get to the eagle family, the more intimately we’re going to bring in the viewer and move people in the end,” Rettig explains. “And I think that’s really important, because we want to sway people. We want people to look at these images and say, yes, we have to save the Philippine Eagle.
Finally, they began work on a blind just 20 yards from the nest, hauling lumber up to the treetop, fastening a few boards in place, and then climbing down after an hour so the parents would return to the nest. It took days of intermittent labor, but at last the platform was complete. And best of all, when Rettig and his crew returned to the ground, the eagles returned. The crew was jubilant, smiling and slapping high-fives.
At daybreak, Rettig inched his way back up the tree and settled into his blind. He remembered how much fun this was, perched above the world in a wilderness of tree limbs he shared with eagles, an airy aerie of his own. He switched on his video camera. The telephoto lens put the adult eagle right in his lap, filling his viewfinder with its flamboyant pompadour of variegated feathers.
“When a Philippine Eagle looks right in your eye and makes eye contact it’s breathtaking,” Rettig says. “The crest flares up, those light eyes, those beautiful bluish eyes stare right at your eyes and that contact is riveting, powerful. They’re magnificent, they’re splendid, you know. It’s truly, truly a unique creature.”
The Power of Film Tells a Critical Conservation Story
Neil Rettig is an internationally renowned wildlife filmmaker who has worked for National Geographic, IMAX, and the BBC over a 40-year career built on the daring and difficult task of trekking into jungles for mountain gorillas, jaguars, Harpy Eagles, and—the Philippine Eagle.
He first traveled to the Philippines with two high school chums in 1977, having never seen the eagle or the country. On the insurrection-wracked island of Mindanao, the young men searched the rugged countryside for nests. Then for hundreds of hours they sat in treetop photography blinds and watched as Philippine Eagles hatched their eggs, raised their chicks, and hunted prey.
The payoff after a year and a half: a stockpile of 16-mm footage that stretched four miles, including breathtaking scenes, never filmed before, of a bird the world barely knew. Besides anchoring a feature story in National Geographic magazine, the images were made into films in three languages and donated to the local Philippine Eagle Foundation, which used them to spread the word about the plight of the eagle and its forest habitat.
“I think our original project and our original films may have bought the eagle time,” says Rettig. Over his four-decade, globe-trotting career, the striking intensity of the Philippine Eagle never left him. He always wondered if there would be an opportunity to update his work on the eagle—to capture new footage for conservation and do more to foster the love of Filipinos for their national bird.
In 2012, Rettig was back in the Philippines on assignment from National Geographic to film monitor lizards, and he took his wife, Laura Johnson, to see a captive Philippine Eagle in the Manila zoo.
I didn’t want to waste the last years of my life just sitting at home in retirement, when I could still climb a big tree. I wanted to go out and do something.~Neil Rettig
Johnson began to cry.
“They are the most regal, incredible creatures in the world,” she says. “We both got really emotional and decided we really have to try to make something happen again, knowing that the eagle is really critically endangered.”
“I vowed right then and there,” says Rettig, “I’m going to return to the Philippines.”
Back in the States, Rettig broached the subject of funding a second trip to the Philippines with longtime friend John Fitzpatrick, director of the Cornell Lab of Ornithology.
“We just jumped,” says Fitzpatrick. “What better way to tell that story than to use an iconic top predator as the symbol of that forest? That’s what makes it an especially gripping and important conservation story. It’s not just saving the eagle. The eagle represents the entire future of the tropical forest of the Philippines.”
The Cornell Lab joined forces with Rettig and the Philippine Eagle Foundation—based in Davao City—on a conservation media initiative to tell the eagle’s story anew to Filipinos everywhere, from the most remote jungle villages to the highest levels of government.
The foundation was a key partner. The only conservation group that’s fully focused on the species’ conservation, the Philippine Eagle Foundation is breeding captive eagles; rehabilitating and releasing injured birds; and employing biologists and local “forest guards” to research, track, and protect the few eagles that remain.
Director Dennis Salvador says the foundation was on board from the beginning: “We think it will provide prestige and credence to what we do, but more importantly, elevate the status of and the plight of the eagle to where it should be.
“That’s on top of the world’s list of most endangered birds.”
So in 2013, Rettig returned to Mindanao to film one more massive eagle project before his body would no longer tolerate the abuse of climbing trees and swarms of insect pests.
“I knew the job wasn’t done,” Rettig says. “Producing new, beautiful images of the eagle could go a long way for conservation.
“I didn’t want to waste the last years of my life just sitting at home in retirement, when I could still climb a big tree. I wanted to go out and do something.”
The Ultimate Forest Predator
The Philippine Eagle is one of the largest eagles in existence, with a wingspan of 7 feet and the weight of a large female approaching 20 pounds. It has a greater length and wing surface than the Harpy Eagle and Steller’s Sea-Eagle.
It occasionally soars on thermals above the tropical forest, but the Philippine Eagle makes its living by diving and dodging through the forest canopy. Once called the “Monkey-eating Eagle,” it indeed does eat monkeys, but also flying lemurs, squirrels, civets, hornbills, and bats. It even stalks the forest floor like a winged velociraptor, snatching up lizards and snakes. Rettig has seen it clasp a tree trunk with its wings and use its talons to pluck prey out of a nesting cavity.
Jayson Ibanez, a Philippine Eagle Foundation biologist, says the Philippine Eagle is the ultimate forest predator, exquisitely designed by nature: “It has this magnificent crest of feathers, which it uses as a satellite dish to hone in on its prey. And as it hones in, it moves its head sideways. It’s like, I don’t know, zooming in on its prey. Then it flies silently across the forests, like a thief, surprising prey.”
The eagle was unknown to Western science until it was reported by English naturalist John Whitehead in 1896. Since then, it has been found on only four islands—Luzon, Samar, Leyte, and Mindanao.
Purely a bird of the forest, the Philippine Eagle’s range once covered 90 percent of the Philippines. During nearly four centuries of Spanish rule and another half-century of U.S. colonization, the forests shrank. Logging accelerated as Japan imported wood to rebuild from the destruction of World War II. Then the regime of Ferdinand Marcos dispensed logging contracts as patronage, and heavy trucks carried logs from the forest day and night.
Marites Dañguilan Vitug, author of Power from the Forest: The Politics of Logging, says that “before all the massive logging that took place, primarily in the 1960s and 1970s, we had some of the most diverse forest ecosystems on the planet. From something like 70, 80 percent forest cover, we’re down to less than 20 percent.”
As lowland forest disappeared, eagles lost nesting sites and, more vitally, prey. The eagle’s range contracted to higher, more rugged terrain as loggers cut the lowlands. In 1965, Dioscoro Rabor, a noted Yale-educated Filipino zoologist, announced that the bird was in rapid decline. Soon after, the government established the Monkey-Eating Eagle Conservation Program. The effort really found its footing in the early 1970s with the arrival of several Peace Corps volunteers who worked with the government’s Parks and Wildlife Office.
One of the volunteers was Robert Kennedy, a graduate student from the College of William & Mary who first became acquainted with the Philippine Eagle at an American Ornithologists’ Union meeting in Buffalo, New York.
“This mounted specimen was in a corner of the museum and it was kind of like love at first sight,” says Kennedy. “The rockets went off, the whole thing. I said, ‘Okay this is what I want to study.’”
Kennedy helped the Philippine government survey the remaining population of eagles on the southern island of Mindanao in 1972–73, but a Muslim-Christian civil war forced him to leave. When he returned to the islands in 1977, Kennedy brought with him Neil Rettig, Wolfgang Salb, and Alan Degen. The three young men had recently filmed Harpy Eagles in South America. With a grant from National Geographic, Kennedy and the three filmmakers took off for Mindanao to make films of a rare, never-before-photographed eagle.
“That’s where it all started,” says Rettig, “this obsession with the Philippine Eagle.”
But first they had to find a nest. And a nest hadn’t been seen in years—at least by anyone in the government. Kennedy, Rettig, and the team split up to different parts of the island and found a nest in a remote jungle corner of Mindanao. Then they began spiking up nearby trees, hauling lumber into the canopy, building platforms, and filming.
They climbed up every day at dawn and endured torrential rains and clouds of bugs. Gnats pasted themselves to their eyelids. Hours passed when nothing happened.
Then one day Rettig noticed the female eagle began to shuffle on the nest. As she moved, Rettig spotted the egg beneath her cracking open.
Rettig and his assistants kept the film rolling as the chick grew. Every 10 days Kennedy climbed the tree and into the nest to weigh the chick. These were perilous visits. Once an eagle attacked, leaving a deep gouge in Kennedy’s motorcycle helmet. Even so, all was going to plan.
Then, when the chick was 27 days old, a catastrophe. As Rettig was filming, the chick refused morsels from its parent. It began shaking its head violently, gagging for several minutes. In a series of spasms, it died. Something, perhaps a bone, was lodged in its throat.
“The whole project fell apart,” Rettig recalls. “We went back to Davao, to our house, and we just sat there. What are we going to do next, you know?”
Then more disaster. Armed guards at the airport X-rayed the crew’s film of the chick. The only footage in existence of a Philippine Eagle nest was shot through with electromagnetic waves.
“It looked like the aurora borealis in every frame. Just curtains of light,” says Rettig. “That X-ray mishap probably destroyed three weeks of some of the rarest footage we got on the whole project.”
Still, Rettig and his team regrouped and carried on to look for another nest. After two months, they found one after tagging along with loggers on Mindanao.
“Because that’s where we could find eagles, in the forest that they were intending to cut,” says Rettig.
The eagle was nesting in a lauan tree marked with a blue X. A road had been cut right up to the tree. Machinery and bulldozers were staged to cut it.
“We were desperate,” says Rettig. “This was the perfect nest for filming.”
Rettig and Kennedy talked to the head of the logging company. Not only would he spare the tree, he said, he’d set the area aside as a sanctuary.
Then the government got involved, and it overreacted, expanding a no-cut zone around the tree to 2 kilometers and forcing farmers off their land.
“So all of the families, some of these were traditional peoples who had lived in those mountains from the beginning of time, they were going to lose their ancestral properties and everything else,” recalls Kennedy. “Well, they justifiably became angered. And who is responsible for this but a guy named ‘Bob Kennedy’. Right away there was a price on my head.”
Kennedy went directly to President Marcos and convinced him to allow the people back on their land, which made it safe for the filmmakers to go back to work. Despite Marcos’s reputation for corruption and destructive logging, the Philippine president was a strong supporter of the filming effort in the late 1970s. After one crucial meeting with Rettig and Kennedy at the Malacañang Palace, Marcos renamed the “Monkey-eating Eagle” as the Philippine Eagle, an eminently more honorable moniker. Marcos also proclaimed the eagle to be the national symbol. Today, the Philippine Eagle appears on the nation’s currency, and it’s an emblem for many units of the Philippine Air Force.
Kennedy and Rettig left the Philippines in 1979 with exhilarating photos and film of Philippine Eagles flying, hunting, nesting, and caring for their young. The first film they completed, in 1981, has been shown to Filipino school kids and communities for more than 30 years. Rettig also produced a film about the eagle for the BBC.
Kennedy wrote “Saving the Philippine Eagle” for the June 1981 issue of National Geographic, illustrated with photography from the three cameramen. Kennedy climbed the tree and into the nest to weigh the chick. These were perilous visits. Once an eagle attacked, leaving a deep gouge in Kennedy’s motorcycle helmet. Even so, all was going to plan.
“At that time, National Geographic had a circulation of 10 million people. You could go to remote places of the Philippines and they could hardly afford food, but somebody in town had a subscription to National Geographic,” says Kennedy.
“And that film alone was so popular in the Philippines that one of their famous newspaper editors or editorial writers, he was so moved by that film that he urged all the Filipinos to fall behind to help save that bird,” Kennedy continues. “In fact, he ended up writing a check for 40,000 pesos out of his pocket, because he thought it was so important.
“It fueled a whole conservation movement,” Kennedy says, noting that today’s Philippine Eagle Foundation was created by the Philippine government as an offshoot of that first filming project. “There are a lot more people out there that are interested in trying to save it now than there ever were back in the ’60s and ’70s.”