The Americas: Meet Irene Mendez-Cruz

How would you describe The Americas?

The Americas is a breathtaking, first-of-its-kind natural history series that celebrates the extraordinary wildlife and landscapes of North, Central, and South America. But what truly makes The Americas special is the storytelling, following the animals through their own trials and tribulation, capturing never-before-seen behaviours, and revealing the incredible adaptations that allow species to survive in these diverse landscapes, along with us. We hope that audiences come to love and care for these animals as much as we did while filming them. Behind The Americas is an incredible production team, talented filmmakers, cinematographers, fixers, guides, and so many others who made this series possible. I hope it inspires people to respect and protect the wildlife of this unique supercontinent!

What is your role in the project?

I was very lucky to work on The Americas as a researcher for over four years on two incredible and very different episodes, The Andes and The Caribbean, alongside producers Matt Richards and Giles Badger, who were great mentors to me. As a natural history researcher, my job is to find the most compelling animal stories, connect with scientists doing groundbreaking work, identify the best locations and seasons to film, and help set up shoots. When I’m on location, I assist directors and camera operators to ensure everything runs smoothly, help direct, and even film some of the behind-the-scenes content. Later in production, researchers also help with organizing weeks’ worth of footage to support the editing process, to make sure that we tell the most compelling and scientifically accurate story possible. It is a role that blends science, storytelling, and logistics, and I love that it allows me to be the bridge between the production team in the UK and the local teams on the ground.

What was it like working with such a great crew?

The best part of my job, beyond the incredible wildlife encounters and thrilling expeditions, is the amazing people I get to meet and work with: passionate scientists, fixers, guides, drivers, and local naturalists, without whom these programs wouldn’t be possible. When you’re on shoots in remote locations, with no internet, no running water, and often harsh conditions, it can be tough, but that’s when you truly learn to rely on one another. You form incredibly strong bonds, and those friendships last well beyond the shoot.

What were some challenges of working on the project?

No matter how much preparation you do, wildlife never follows your script! We worked closely with scientists to anticipate animal behaviours, but nature is unpredictable, especially with climate change impacting patterns that used to be more reliable. For example, there were a few stories we were keen to tell in The Caribbean episode, but due to overfishing and environmental changes, some species that were once abundant have now become incredibly difficult to find. That sense of responsibility, to capture these animals and environments before they vanish, was a huge driving force behind our work.

In the case of the purple-throated Carib hummingbird, we felt it was especially important to include the wider context in our story. Around 75% of their population was wiped out during Hurricane Maria, which means the stakes for our male to find a mate are much higher: his success or failure could have real implications for the future of his species in Dominica.

Another huge challenge of working on this project, was filming in extreme environments. In the Andes, for example, we had to deal with high altitudes and thin air, which made hiking and carrying equipment exhausting. One of the toughest shoots was at Laguna Colorada in the Altiplano, where we had to wade knee-deep through caustic, alkaline waters. It was physically tiring, but the alien landscapes and wildlife we captured made it all worth it.

What are some of your favourite memories from working on The Americas?

Filming the real-life Paddington bears in Ecuador was one of the absolute highlights of working on The Americas. That shoot was extra special for so many reasons. Spectacled bears are incredibly elusive and notoriously difficult to film. For the first couple of weeks, we couldn’t find our momma bear and her cubs, so we were getting very nervous. When we finally spotted them, it was one of the happiest moments of my career, quickly followed by the most nerve-wracking one, watching those tiny cubs navigate a perilous cliffside descent.

After our shoot, one of the bear cubs was named Irene after me, which is just so special! I feel an even deeper connection to those bears. And just last week, I got the amazing news that Irene is now all grown up and pregnant, which means she’ll soon be leading her own cubs down those same paths, through those same magical fruiting trees.

What else are you working on?

I’m currently working on another project with BBC Studios which also involves filming wildlife in South America. No matter how many stories we tell from this continent, there’s always more to explore, and the people I meet along the way make each experience unique. As someone who’s proudly from South America, filming there always feels like coming home.

This project is especially exciting for me because I’m getting more opportunities to spend time behind the camera, filming with long lenses and drones, something I’m deeply passionate about. I’m also developing ideas for my own short films, but this time to tell some of the human stories from the region.

Sammi Turano

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Sammi has been a journalist for over a decade, specializing in entertainment, lifestyle, sports and celebrity news. She is the owner of TVGrapevine and Football in High Heels and the Host of Grapevine in High Heels With Sammi.

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