A Q&A on wild places, storytelling and seeing the world through a different lens.

From the Fiordland town of Manapouri, Mat Goodman has built a career capturing the natural world in its rawest form. A wildlife filmmaker and cinematographer, his work has taken him from the backcountry of New Zealand to the plains of Africa, where he spent over four years filming the Emmy-nominated BBC series Serengeti. Whether working with RED cameras and stabilised rigs to bring cinematic storytelling to life, or simply plunging into the icy waters of Lake Manapouri after a day on set, Mat is deeply grounded in both his craft and his place. For him, wild spaces are more than just subjects to film — they’re a source of perspective, patience and connection.

Q — Mat, you’re based in Manapouri, Fiordland — a place surrounded by mountains, lakes and incredible biodiversity. Can you share what projects you’re currently working on, whether here at home or abroad?

A — Right now I’m splitting time between local conservation projects in Fiordland and some ongoing filming overseas. It’s nice to have a balance, time in the bush here and then heading off to places like Malaysia, Tanzania, Uganda and Kenya when projects line up.

Q — You spent over four years living in Africa filming the BBC’s Serengeti series. How did immersing yourself so deeply in that landscape shape the way you see wildlife and storytelling?

A — Living in Tanzania for that long really slowed me down. You start to read the rhythms of animals and landscapes differently, and it gave me a much deeper respect for patience in storytelling.

Q — Your career has taken you from New Zealand’s backcountry to some of the most iconic ecosystems in the world. What continues to draw you back to wildlife filmmaking and why do you believe these stories matter?

A — It’s the connection. Being close to wildlife is always magic. These stories matter because they remind people that what we have on this planet is fragile and worth protecting.

Q — Watching animals in their natural environments requires patience, instinct and resilience. What have you learned from those long days or months in the field that has influenced your perspective on life?

A — Field work teaches you patience more than anything. You can’t rush nature and that’s a good lesson to carry into the rest of life too.

Q — You often spend weeks in solitude, waiting quietly for the right shot. At the same time, your work reaches millions of viewers through BBC and Netflix. How do you navigate the shift between those extremes?

A — It’s a funny switch, weeks of silence in the field and then suddenly millions of people watching the end result. I just try to keep grounded and remember that the work is about the animals, not me.

Q — We hear your Davaar jersey has become a bit of a companion — from filming in wild places to warming up after plunging into cold Fiordland water. How does it hold up in the kinds of demanding conditions you work in?

A — The Davaar jersey has basically become part of the kit bag. It’s warm, tough and holds up after some pretty wild conditions, whether that’s rain in Fiordland or cold mornings, especially when working around the house or heading out for a dip in the lake.

Q — Can you describe a moment in the wild that has stayed with you — whether that’s awe, fear or a deep sense of connection?

A — One moment that sticks is sitting with a family of elephants at sunset in the Serengeti. Everything went still for a while and it just felt like time stopped.

Q — Cinematography is as much about technology as it is about storytelling. You’ve used tools like RED cameras and stabilized rigs to capture wildlife in cinematic style. How does the craft side of your work influence the stories you tell?

A — The gear helps tell the story. Stabilised rigs and REDs let you bring cinematic quality to wildlife, but at the end of the day it’s still about capturing behaviour honestly.

Q — You’re also someone who plants native trees and works on building projects back home. Do those hands-on, grounded pursuits balance out the intensity of your film work?

A — Yeah, totally. Planting trees or building at home feels grounding, it balances out the long, intense shoots overseas. However, eventually I feel I need to spread my wings and be off again.

Q — Who inspires you — whether fellow wildlife photographers, conservationists or storytellers — and why?

A — I’m inspired by people who stick at it, conservationists who dedicate their lives quietly, without fanfare. And storytellers who make people feel something. I have filmed people working in anti-poaching and rangers in different places that really have a passionate drive to make a change, even if it is small.

Q — For the next generation of New Zealanders who want to step into conservation or natural history filmmaking, what do you think is most important to nurture?

A — For young New Zealanders, nurture patience and curiosity. The tech you can learn, but caring about the story and the place is what matters. It is hard as sometimes it doesn't work but you just have to keep trying and celebrate the moments when something does have a positive impact.

Q — When you’re outdoors for long stretches, what do you look for in the gear and clothing you take with you? What makes you keep coming back to certain pieces?

A — Comfort and durability, gear that works hard without me needing to fuss with it. I keep going back to pieces that just last. However, Fiordland is a place that really tests even the most durable gear.

Q — Life today moves quickly, but much of your work depends on slowing down. How do you personally make space for stillness and clarity?

A — The outdoors makes it easy to slow down. Ideally, I would be off into the mountains on a trip. Nothing quite like a hut with a fire going.

Q — What values guide you when deciding which projects to take on — and which to let go?

A — I look for projects that feel purposeful, that the story will make a difference. If it’s not aligned with that, it can then really feel like work!

Q — Is there one small but meaningful object, piece of clothing or piece of gear that always travels with you? What’s the story behind it?

A — Not too meaningful, but a Leatherman that has travelled with me since 2016 has been a great addition and always useful. I’m pretty practical so in that way it is very meaningful.

Mat Goodman
@mat_goodman