Chapter 14

There’s An Animal In My Film

“Anyone who hates children and animals can’t be all bad.”

W.C. Fields

(That’s because they always steal the scene.)

INTRODUCTION

There are several companies that specialize in the training of the animals we see in films, TV shows and commercials. Much more goes into the selection, training and filming of these animals than one would imagine. That’s why the process has to start in the early stages of pre-production. Even animals that just seem to blend into the background and aren’t seen doing anything extraordinary (like cows and chickens) are first acclimated by exposure to faux cameras and lights and a lot of (real) people standing around them before ever being brought to an actual set.

If you’re one of those individuals who believe that your adorable pet would be a great addition to your film, think again, because not all animals (as cute as they may be) make good movie stars. Your beloved Fluffy or Spot may not be comfortable, may not take direction well and could easily be spooked when confronted with a noisy, busy set. That’s why the use of properly acclimated, trained and handled animals is the only insurance you have that no one working around the animals will get hurt.

THE PROCESS

Talk to your animal expert as soon as possible, and send him or her a script — at least a month in advance if the animal(s) you’re looking for is going to have a constant presence in your show, longer than a month, if the animal’s role is more significant. If it’s a dog you want, for example, you’ll want to cast that dog as close to the way it’s written as possible. And if the script specifies a certain breed, you’ll want a dog as close to that breed as possible. If the director and producer are open, and the animal expert/trainer can get a feel for their mindset, he or she will usually send pictures and suggest specific animals that might work best for the project.

In talking to Boone Narr of Boone’s Animals for Hollywood, Boone told me that it took six months to cast the animals for the film Cats and Dogs (a 2001 Warner Bros. release). It took that long to assemble the right blend of dogs and cats that would work well together yet be distinctive. They ended up with 80 different animals and used as many as 18 to 26 trainers at any one time. The seven or eight main (animal) characters each had their own trainer with them, as well as doubles — look-alike dogs and cats used for stunt work, long shots, etc. — just like human actors. The animals he didn’t have at his ranch he secured from competitors, specific breeders and shelters. (He claims that shelters are a great place to find dogs with character.)

Boone explained that it could take a year to properly train an animal for film/TV/commercial work and up to sixteen weeks of intensive training (eight hours a day, six days a week) to prepare for a specific project. And in working with a new animal, it could take a couple of weeks just to find out if the rookie has what it takes, as not all critters are naturals in front of a camera.

Some people believe that if they’re working under the constraints of a low-budget, that they can’t afford professionally trained animals, but that’s not necessarily true. If you start the process early and are flexible, you might very well be able to use an animal that’s already been trained and would need very little additional training. If you’re realistic and don’t change your mind once an animal has been selected and prepped, and you actually use the animal on the days it’s scheduled to work (and the schedule doesn’t change), you might very well be able to swing it.

There are several companies that train animals for film, TV and commercial work, and some specialize in specific types of animals. There are some for example that exclusively house and train livestock and barnyard animals, while others may be known for their training of exotics (such as lions and tigers); and still others — reptiles. Others, like Boone and his staff, work with all types of animals. Although a majority of the animals that reside at his ranch are the domestic type (dogs, cats, birds, etc.), they bring in and train animals from other companies as needed and coordinate all the animals any one production may need. You want to use a company like this, so if your script were to call for a dog and a cougar, for example, you wouldn’t have to go to more than one company for both.

Shipping Animals

Companies like Boone’s don’t exist in many places outside of majorfilmhubs, andmostare locatedinSouthern California. So it’s not uncommon for his animals to be shipped all over the country, and often, to other countries. But when you’re contemplating the shipping of animals, start the process early, because getting the necessary permits and making all the arrangements can sometimes take months. Here are some items for your to-do list:

• Determine the agency or agencies governing the type of animal(s) you’ll be shipping. Depending on the animal(s) and where you’re shipping it/them to, you may be dealing with U.S. Fish and Wildlife Services, the Department of Agriculture and/or the Department of Animal Care and Control.

• Determine if any permits or bonds are required.

• Talk to your shipping company to determine the fastest and most comfortable mode of transportation for the animal(s).

• Arrange for ground transportation for the animal(s) to and from the airport.

• Plan on scheduling the arrival of the animal(s) in advance of filming, so they have time to get acclimated to the new location.

• Research quarantine regulations.

• Obtain animal mortality insurance as necessary.

• Obtain veterinary and health certificates as required.

• Make arrangements for the housing and feeding of the animal(s) on location.

• Find a local vet on location who’s aware of the animal(s) you’re bringing to the area and whose services would be available if needed.

• Make arrangements for any special grooming that might be required.

• Decide on the animal trainers/handlers who will accompany the animal(s).

Animal Trainers

The trainers assigned to the animals that will be appearing in your show will go on your payroll during their prep period with the animal(s), which may or may not be the same as the production’s prep period. When required to travel to a distant location with the animals, the production is responsible for the transportation, housing and per diem of all trainers/handlers/wranglers — just like the rest of the crew. And when shooting locally, they’ll be on your payroll for those days they’re on set with the animals. Most are union employees, and those out of the Los Angeles area in particular are members of the Teamsters Local 399.

SOME EXPERT ADVICE

Some final words of advice from Boone:

• Ordering an animal is not like ordering a pizza. Plan ahead, and allow for the necessary training time.

• Everyone says they can ride a horse, but make sure your actors actually know how to ride before you put them on a horse.

• Make sure your actors are comfortable around animals.

• Make sure your actors aren’t allergic to animals.

THE AMERICAN HUMANE ASSOCIATION

Established in 1940, the American Humane Association’s Film & TV Unit is the only animal welfare organization with on-set jurisdiction authorized by the Screen Actors Guild to monitor the use of animals in film and television production. They’re also the only organization with the authority to issue their renowned and globally respected “No Animals Were Harmed”^® end credit disclaimer.

American Humane sends trained Certified Animal Safety Representatives™ to film and television sets in the U.S. and around the world to protect the animals^TM being filmed and to ensure that productions meet their guidelines for the safe use of animals — “animals” defined as all sentient creatures, including birds, fish, reptiles and insects. And their protection covers all animals, even those used as background or off-camera to attract the attention of other animals being filmed.

They collaborate with producers and trainers during pre-production to assure that the animal action can be accomplished in ways that provide producers and directors with the images they need without cruelty or injury to the animals. And during filming, American Humane monitors the animal action, steps in as needed to protect the animals and documents how each scene is accomplished as well as the level of care the animals receive during the production.

American Humane’s Film & TV Unit also monitors nonscripted TV shows as well as commercials. Although there are no end credits on commercials, most networks won’t air a commercial that includes animals unless they receive a “sign-off” letter issued by American Humane attesting to the fact that no animals were harmed during the production of the commercial.

If you have animals in your show, contact American Humane (818/501-0123); you can either download the guidelines posted on their website (http://www.ahafilm.org)or ask them to send you a bound copy. You’ll also need to provide them with a copy of your script, call sheets, etc. They’ll assign an American Humane representative to your film, regardless of whether you’re a SAG signatory or not.

American Humane doesn’t charge the production for the services of an animal safety rep, as long as the show is being shot within the United States. When shooting outside of the U.S., however, they charge the production a fee to cover the cost of their expenses. Fees are generally based on a per-hour fee structure, although when a production has intense animal action over an extensive period of time, they’re more likely to work out a per-production cost with you.

American Humane will often collaborate with producers to include animal welfare messages in shows — messages that range from condemning animal cruelty to encouraging pet adoption from shelters. The increased public demand for positive animal messaging has placed even greater importance on the inclusion of the “No Animals Were Harmed”^® end credit on TV programs and films. American Humane is able to support the release of a film nationally through their public relations pipeline as well as provide unique, animal-centric movie reviews on their popular website.

My thanks to Boone Narr and Jenifer Box of Boone’s Animals for Hollywood (located in Castiac, California) for their help with this chapter and for being such a pleasure to work with. And thanks to Jone Bouman at American Humane’s Film & TV Unit.