Filmmaker, producer and cinematographer John Jurko II has lived in Los Angeles and Atlanta, and worked in the camera department since 2010. He is one of the producers, writers and directors of feature documentary Rhino Man (alongside filmmakers Matt Lindenberg and Daniel Roberts), which premiered earlier this year at the Boulder International Film Festival. It follows the passionate, intense, and perilous work of rangers determined to stop the killing of rhinoceroses in South Africa. He also hosts The Rhino Man Podcast, which seeks to build awareness of such activity, while also examining the rhino poaching crisis, and the role of the community in the murderous battle.

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Eoghan Lyng – One of the talking heads compares rhino poachers to a modern day mafia; fair thing to say?

John Jurko II – Yes, it’s definitely fair to compare the rhino poaching syndicates to a modern day mafia, much like the cartels in Mexico in fact. Julian Rademeyer, an investigative journalist in South Africa, has done a ton of work uncovering the convergence of crimes connected to poaching and illegal wildlife in the Greater Kruger Area. There are plenty of bloody stories of kingpins battling for territory, corruption in government and law enforcement, cash in transit heists, drug deals, hits on rival factions and police, you name it. It is a very intense situation. Until recently, wildlife crimes carried lenient sentences, creating a low-risk, high-reward environment for syndicates. Thankfully, that’s beginning to change.

EL – Was this film developed during Covid, and if so, how difficult was it to organise?

JJII – Much of the film was shot before the Covid-19 pandemic, but it did throw a big wrench in things. The project started in 2015, and I became involved in 2018. I really wanted to focus the story on a couple of main characters, and that’s what I and co-director Matt Lindenberg did when we made a two-week trip that year to capture more footage and fill in the story gaps. As 2020 was approaching, we realised we still didn’t have all we needed. We were working to raise funds to buy out a production partner, and just when we thought we had those funds I quit my job, purchased a bunch of gear on credit, and flew to South Africa. It turns out I landed in Johannesburg on the day they shut the international borders down. Lockdown began, we lost the funds to buy the film out, and I spent 9 months in South Africa shooting another ranger film that may never see the light of day. Luckily we managed to regain control of Rhino Man, but it set us on a long winding journey to the end.

EL – How did you attract the attention of Prince William of Wales?

JJII – All of the credit goes to Anton Mzimba, the lead ranger in the film. Anton was an incredible human. He was a kindhearted and passionate man, and 100% dedicated to his work as a ranger. It turns out he had a conversation with Prince William over a Microsoft Teams call regarding new tech that was being developed to detect rhino horns and ivory in airports. They wanted to talk to someone on the ground and Anton was their man. He made such an impression that when Anton was assassinated, Prince William tweeted the next day what happened, and that justice must be had. A member from United for Wildlife reached out to us and we started to build a relationship with Prince William and their team. They’ve been extremely supportive in so many ways, from the film, to Anton’s team and family, and toward the cause of supporting rangers. It all culminated in an incredible private screening at the Cinema in the Battersea in London, 2023.

EL – It must have been exciting to commit the ranger selection to camera. Were you met with any resistance during the recording?

JJII – Wow, the ranger selection was an intense shooting process. It was just Matt and I running around out there for 5 days with a camera and audio equipment. We had an incredible relationship with Ruben and Marianne de Kock, who were leading the selection thanks to the years Matt had spent working with them at the Southern African Wildlife College. We never faced any resistance from the candidates, but it was a balance of trying to be right there with them in these moments of trial while respecting that these were pivotal events in their lives. Honestly, everyone was very collaborative and open. The biggest challenge was attempting to capture the late night sleep deprivation scenes without losing our own sanity.

EL – There is an inspiring moment when one of the men says he wants to do this for his future son; did the rangers regard this as a crusade as such?

JJII – I believe that many of the candidates realised what was at stake. That this wasn’t just a way to provide for their families, but that they would be responsible for protecting their national and natural heritage for generations to come. In a way, that is what the selection process is attempting to do. To weed out the candidates that may be there just for the job opportunity, and to select those who have a true passion for conservation. These are big boots to fill, and they know it, or they find out fairly quickly.

EL – There’s a holistic quality to the film – were you inspired by documentarians Michael Palin and David Attenborough? At times the viewer is up close with the wildlife

JJII – Yes, I was definitely influenced by David Attenborough growing up. And before that, Marty Stouffer and National Geographic in the US. We wanted to make sure the audience would feel like they were in a living African landscape, but at the same time we had no illusions that we were creating a natural history film at the level of those mentioned. For me, this film was always about the human side of conservation. These were incredible, passionate people living out lives of purpose in the face of intimidating odds. They were inseparable from the natural setting and the rhino poaching crisis.

EL – We see a gruelling exercise regime, where the men do push-ups and leg warmers. How far were the participants willing to push themselves?

JJII – The physicality of selection is very intense. Throughout the film you hear the lead trainer, Ruben, talk about some of the reasons behind this. On one hand, it’s to make sure these candidates will be capable in the field, where the physical demands are real, often life or death. And on another, it’s to test their mental state, will, and ability to work with others. It was incredible to watch the transformation in these candidates as they were met with these physical challenges. Most of the candidates who dropped out left in the first couple of daysut when they were confronted with the rigorous regimen. Those who made it to the half-way point began to see that they had more inside of themselves than they ever imagined. Suddenly, there was no way they were giving up and they began pushing even harder. It was inspiring to witness.

EL – The part that moved me the most was the monologue in which a man looks over a carcass and a rhino horn, lamenting the cruelty of man. Was this scripted, or did it flow directly from his heart?

JJII – There are very few scripted moments in the film, and this was not one of them. It came straight from the heart. Everyone in this fight is so dedicated, passionate, and connected to the environment. As you hear, losing a rhino is like losing a family member for many of the rangers and wildlife vets in the film. They get to learn the personalities and movements of these animals that roam through their protected areas. They spend weeks away from their human families to ensure their protection. When a rhino is lost to poaching, it’s a terrible blow to their heart.

EL – A conspiracy theory is touched upon: rhino powder can seemingly cure cancer. Do you know how this proclamation came to light?

JJII – Yes, there are many reasons that rhino horn has a high demand—some medicinal, some status and investment related. From what I understand, the idea that rhino horn could be used as a cancer cure was elevated by a Vietnamese official who claimed it saved his grandmother. But currently most of the demand seems to be driven by its use as a status symbol. It’s often carved into libation cups and ornamental artworks. Rhino horn is made of keratin, so it’s the same material as fingernails or hair. It has no real value as far as Western medicine is concerned.

EL – How do you think South African audiences will react to the picture?

JJII – We have already screened the film for quite a few people in South Africa. From rangers at the Wildlife College, to Anton’s family and team, to folks in the conservation space in Hoedspruit and Johannesburg, the reactions have been amazing. Honestly, when rangers came up and told us how good it made them feel to know their stories are being told, or told us how they had faced similar situations and that the film accurately portrayed their lives, that’s when we knew we had accomplished what we set out to. I’ve sat in on quite a few screenings in South Africa and everyone has been glued to the screen and full of tears by the end. It’s a mixture of sadness, inspiration, and a renewed love for their home and the people fighting for it. As a filmmaker, it has been a wonderful experience to witness its reception. To feel we got it right.

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JOhn Juko II is pictured at the top of this interview. The other image is a still from Rhino Man.