Things I Learned as a Studio Trainer Part VII: The Bond it Requires

It is not enough that you can teach your dog and it is willing to do it; you must have that special bond with your pet. You pet has to love and trust you more than anything in the world.

A good example I use is that your pet has to be willing to lay on its back, relaxed, while you hold it or massage it on the floor. That position is considered total submission. Your pet is submitting to you. And if it is relaxed while you do it, it is leaving itself vulnerable but trusting that you would not let anything bad happen. Because lying on their back they are in no position to defend themselves or to be able to quickly retreat. This sometimes takes some bonding sessions and sometimes it happens naturally. If it requires some sessions, GO SLOW and only push so far. You want to gain it's trust not increase the distrust by pushing too fast or hard.  Once your pet is comfortable with this the ultimate test is being able to trim its toenails by yourself. It sounds crazy but if you can trim your pets toenails while it lays on its back or in your lap, you have reached the ultimate sign of trust and bonding. But it is important that 2 things never happen. 1) You become nervous or agitated. If you are nervous, you pet will feel that and think something bad is going to happen. 2) It should hurt. If the nails don't need trimming but to gain your pets trust, use a nail file to start with. It you cut the quick and it bleeds, you pet isn't likely to trust you again for a while.

As a veterinary nurse I am called upon to do treatments and procedures on animals that the owner just can't bring themselves to do. Ear cleaning, nail trims, anal gland expression, etc. This is because of 2 reasons. Either the owner has never been taught the proper way to do it while developing a trusting bond with their pet or the owner is afraid of breaking the trust they have by doing something the pet isn't comfortable with.

If you are going to work with your pet on set it requires that trusting bond. You will at some point have to ask your pet to do something that it is not comfortable with and it has to trust you that it will be okay, it won't hurt, and you will reward it tremendously in the end. Usually with a treat, but always with praise and admiration.

Most of the best studio animals spend a great deal of time with their owners/trainers. The owners don't leave for work all day and then come home to them and watch TV or get on the computer. I am not saying you have to be jobless. The best situation is you have a job where you can take your pet to work with you or you work from home. If that is just not possible, you must be willing to make the time and use it to work with your pet.  You are working with your pet and developing a bond every time you take it for a walk and ask it to sit, circle, or lay down in the middle of the beach or park. Massage it every commercial break or ask it to hump your leg or tap your hand. When I had days free and worked the swing shift it was much better for my pets. I could be home more often during the fun hours and I was fortunate enough to be able to bring Petal to work with me so we could have dinner and breaks together. My favorite actress, again is Maggie. She spends virtually 24 hours a day with her owner. They had and immediate bond upon meeting because she was adopted from a shelter. She is a service animal so she can go many places with her owner and be exposed to many different situations. The two of them are adorable together and Maggie will try anything to be with her owner. She rides horses, paddleboards, rides skateboards, pushes shopping carts, agility, and has learned a numerous amount of tricks for set. Everywhere they go Maggie shows off her skills making her use to doing her tricks in multiple types of environments and situations. The bond and trust they have together is amazing. Making Maggie an amazing animal actress. Petal has most of these qualities but isn't as athletic as Maggie. But then again, I am not as athletic as Maggie's owner either.

Developing that bond with your pet is an important part of not just animal acting but in the satisfaction of pet ownership for many activities such as agility, nosework, hiking, surfing, trick training for friends and family, and even just hanging around the house. It is possible with even the most nervous pet. It just takes time and patience and again: Don't push to hard or to fast but push them just to their limits not past them. And you will be amazed at the bond you will develop and the trust the you will have earned.

Things I Learned as a Studio Trainer Part VI: Working with Distractions

In your living room everything is going great. You can get your pet to work at a reasonable distance and it's learning all kinds of new tricks.  But at home there are no distractions. When you bring your pet to the park or on set with workers, noisy lights, and moving equipment, it shuts down and either won't move or just wants to run to you and be near. It doesn't know how to handle distractions.

Agility training will help because there are dogs and people everywhere. I also take my pets to shopping plazas and ask them to perform for the people in stores, near fountains, and just noisy busy area in general. Training in a room with several other pets and trainers can be very rewarding. It requires both you as the trainer and your pet to be able to work with distractions. The boardwalk at the beach or a busy park can be a nice challenge. Never train at a dog park with treats as that is too big of a distraction as all the dogs run towards you for food and a possible fight ensues. You can ask convalescent  or assisted living facilities if your pet can perform for their residents. That is great for training your pet and entertainment for folks.

Noise is the biggest issue for pets on set. Things roar, bang, and strobe. Actors shout and pound things. Cameras are on rails that roll and screech. Phones ring and knocking are done loudly.  All this can be very frightening and many animals that are calm otherwise are freaks on set. The more distractions you and your pet work with the better prepared you will be.

Just a tip: If your pet does become frightened or nervous, don't get nervous with it. Just calming speak to it. Pet or stroke it gently to reassure it and NEVER pick it up or Hug it. That only justifies its fear and will make your battle worse. Work them through it reassuringly.

I did a scene with 8 other dogs once. Dogs were running, barking, jumping, etc., etc., and my dog had to run specifically through the middle of them all. She also has had a scene with a high school band was playing and marching during it. She had to run with a soccer team who were kicking a ball back and forth and she had to follow one player specifically and not be afraid of a ball coming by her that was much the same size as her. But my favorite was the guy in a giant bear costume that raised up tall and growled while she ate out of a bag of Doritos.

So doing tricks in your living room isn't usually going to get your pet many parts. But get them to perform for a crowd and you may have a chance.

Part VII: The Bond it Requires.

Things I have Learned as a Studio Trainer Part V: Not Every Pet is Going to be a Star

 

Some pets have the look but cannot act. I’ve worked with some great animal actors but they just didn’t have the look the director wanted. I also worked with some great lookers but getting them to perform was a whole another story. Unfortunately not all pets are going to become great animal actors.

“Petal”, fortunately enough, has a very unique look. But she has been turned down by several directors because it isn’t the right look. She is too small for any full shots of the actors that include her. You can’t see her in a full screen shot. She is also to “scrappy” looking for some directors. She will never play the pampered well groomed pooch.

It is important that in most instances that the director be able to see the eyes of your pet clearly and that they emote. This sounds ridiculous but it’s true. Black faced dogs are rarely seen on camera. Newfoundlands seem to be an exception to the rule. It is difficult to see the eyes on black faced dogs and also difficult for black dogs to make a nice visual appearance. Dogs with hair in their eyes are rarely chosen unless the scene specifically calls for that. So most hairy dogs have their face trimmed around the eyes or have the hair up in a ponytail or hair clip to pull it off the face. The eyes have to draw the audience in. Some of the animal actors just don’t have what it takes when it comes to their eyes.

If you have a unique looking dog or at least a dog not already over used it can be of some benefit. No director wants to use a collie and have the audience think “Lassie” instead of the character it is portraying or the product being promoted.  Yet some directors want a recognizable look. After “Legally Blonde” & “Beverly Hills Chihuahua”, the call for blonde Chihuahuas went through the roof. And for a while French and English Bulldogs were all the rage in photo shoots.

The disadvantage to a single looking uniqueness is that the dog must be a great performer as well as a great actor. As in a previous blog, there were practically 101 Dalmatians used to film that movie. And a lot of makeups to make them all look like the same dog. Not many other dogs look like little “Petal”.

Most animal actors must also be athletic. They must be able to climb and jump. I highly recommend agility training for any animal actor. It helps them become brave and strong, even the tiniest dog. They don’t have to be fast and fabulous, just willing to do it. Going through tunnels and shoots, jumping jumps, walking on ledges and platforms are common in animal scenes. There are some great animal actors out there but if the director has to shut down production for the day because the pet is tired, scared, or just not willing to work; you probably won’t be getting calls again.

My Jack Russell Terrier was in very high demand because he was friendly and could be on set with other dogs. But he hated it. He would wine and pout in between takes and drive other studio trainers crazy.  He didn’t like to work off leash but was beautiful on leash. He did several jobs and was well paid for each one. I would promise him it was the last, but then the call would come and the money was good I would try to prep him better for the wait and hope he would eventually like it. You’ve probably seen him. He is finally retired.

I also rescued a rat terrier that was a fabulous actress. She was very athletic and willing to do all kinds of stunts and tricks. She was personable but when you looked at her stills or video, she just didn’t draw you in. Nobody would hire her. She was even turned down for several free jobs.

Some breeds of dogs are just stereo typed and you won’t get the parts you want. Most directors won’t hire pit bulls or Dobermans unless they are filming a violence scene. It is just a fact. Others are in great demand because there aren’t many well trained ones available. If you can train a red Dachshund or a Dalmatian you will be flooded with calls. But they are difficult to train.

You take pictures and home video of your dog and everyone things they are stunning. When you walk your pet people stop you to ask about it. You have a dog or cat that people want to pet or a lizard that is stunning when it sits on a rock, or a bird on a perch that entertains your family and friends. Then you just may have an animal actor. But will they do it away from home and with a million distractions?

 

Part VI: Working with Distractions

 

Things I Learned as a Studio Trainer IV: Helpful Hints

Now you want to try some training. Unless your pet has a really solid come and stay command, it is essential that you put a leash on for training. Even if your pet doesn't run away you need to be able to lead them in the direction needed for certain behaviors.

Beginner marks are easy. My favorite is a book that I cover in duct tape of nay color. I often use green or brown so I can use it in tall grass or leaves if needed on set sometimes. Low apple crates used commonly on set in multiple studio situations are used by professionals. But these are pricey. books work just as well. Then as you progress you can get a smaller and thinner book. The first mark needs to be big enough and thick enough that your pet can get their front feet on it comfortably and sit down or lay down while their feet remain in place.  Some other worthwhile marks are card board coasters from bars or restaurants. Mouse pads work well too and you can cut them down to size as the pet progresses. Anything that slides when your pet steps on it is a horrible choice and will just discourage it from that behavior. Blocks of wood, bricks, etc are all good options to start with.

Another helpful tool is a target stick. They can be elaborate or not. I use a wooden dowel about 4 feet long but 6 foot is really the minimum you should use especially with a larger dog.  A dental chew slides over one end with a finishing nail in the end to hold the treat for paying. A tennis ball is placed on the other end for following with just her eyes or her whole body. The target stick is also used to encourage jumping straight up or for teaching your pet to sit up from a distance. I have seen retractable target sticks on line or in some pet shops. The problem I found with these is they are rarely long enough or stable enough when fully extended.  PVC pipe is commonly used with a fork or spork attached to  one end and a hole cut in a tennis ball for the other end. I have seen a home made telescoping pvc pipe target stick made by using a smaller size that fits inside.

A long lead is essential when teaching distance and pace. But if you are working with a reptile or small pet, the standard long leads are often too big and heavy. Laundry cord or small cord rope works well with a clip attached. I have had to resort to 20lb fishing line for one shoot with some not so well trained animals.

Training treats need to be soft and easily eaten. No director wants crumbs or chewing on set. And dog food or standard dog or cat treats are often not enough motivation to get your pet to perform for several hours on set Plus they can be very filling and fattening when giving many during one session. One of my favorites is the natural balance logs cut into very small bites. I can give two if I want a big reward and it is essentially dog food that taste like sausage. Cheese, chicken, hot dogs, and such have all been resorted to at times. I once brought cooked salmon to use as a special pay treat. But by the end of the day Petal smelled like a dead fish and no one wanted to be around her. I also keep a jar of peanut butter and chicken baby food for the times I need to have a pet lick on something for a while.

So now that you have some helpful hints, let the training begin. And remember that it is important that both you and your dog are enjoying yourselves. If not, give up the acting ideal and try another dog sport or activity.

Part V: Not Every Pet is Going to be a Great Animal Actor.

Things I Learned as a Studio Trainer III

So, you really think your dog, or any pet for that matter, is smart and already learned to do a lot of tricks. You've talked to a studio trainer and realize you and your pet still have a lot to learn.

Studio pets are "clicker" trained. Every time they initiate  a behavior(trick) you are asking of them they hear a click and immediately get a reward. As they improve the standards get harder and they only get rewarded for improvement and  then only when it is mastered. Sometimes when it is done exceptionally well they are double rewarded. A special treat for a fine performance. The trick for you in clicker training is timing. The click, the reward, the release all have to be performed with impeccable timing. Okay, so you get the clicker and you may have to get your dog used to it as the loud noise is sometimes scary, and you think you are ready to begin.

Some behaviors are harder to teach than others depending on the pet and what they feel comfortable with and what they tend to offer naturally. Some will do a hand shake or paw way on their own and all you have to do is encourage it to be on command. Others will go retrieve any item in sight and bring it to you. All that is left is for you to be able to direct them to a specific item. Others just won't.  The trick to studio training is getting the pet to do something that doesn't come naturally to them and also knowing when to give it up and realize it just isn't going to happen. "Petal" has been working on a "Take it Command" for over 5 years. It has never progressed into more than she will touch it with her mouth and sometimes even her teeth. She refuses to pick it up let alone hold it in her mouth and bring it to me. But it took only 3 attempts to teach her to "Nudge It" which is to push things with her nose and even less to get her to "Tap" any thing with her front paw. Learning to lift her leg and pretend to pee on things was somewhere in between. The point is, some behaviors are easy and others are not. Sometimes you work and work on a trick and then all the sudden it clicks and the pet gets what it is you want and it's just takes a little work to perfect it. Now you might understand why it may take several look-a-likes to complete a movie. Different pets are trained or capable of certain behaviors and are relied on for doing that behavior on set.

Now comes another common issue. Most people teach their pets to do tricks at their feet. Unfortunately, that mean you are on camera too and no set director wants that. So you have to start by training your pet to stop/start and perform the behavior from a mark. A mark is a spot just like actors use to give direction to an actor including animals. Marks for animals are often a rock, leaf, mark on a rug or an item that they put their front paw on that looks like something that normally would be in the scene. Marks are most often no bigger than a credit card and some are as small as a coin. It depends on the scene and the size of the pet and how visible the mark is allowed to be. Marks are used on every set.

Another common issue is that directors require "quiet on the set". That means you can not verbally ask your pet to do a command. You have to get your pet to do a trick-usually a series of behaviors, from at least 20ft away and without speaking. You do this with hand signals. There are standard hand signals that studio trainers use so it is important that you learn what those are for the times your pet has to have a studio trainer on set. For example: many people teach their pets to play dead by pointing a finger at them and shouting "bang". A studio trainer uses a series of  hand signals that not only asked the dog to lay down on it's side but which side and what direction based on what the director of the film requires. Hence the term "chain of behaviors".

The most common and useful behaviors are not really tricks at all but are truly behaviors. She is often asked to nudge or tap things and to sit up and bark or growl on command. But most often any pet I have worked with on set has had to move from one mark to another while facing a particular direction and at several different speeds. Yes I wrote different speeds and several.  Sometimes the director wants a slow walk vs a fast walk. Sometimes they ask can she put a "skip" in it. Directors want the scene to be shot a certain pace and you have to be able to provide that. A good camera person is essential because they can set the film speed sometimes to help you out. But that isn't always an option.

Now comes another glitch in the training. Not only are you at least 20ft away and not able to talk to your pet, you are often off to the side or at a weird angle crouched behind something. And your pet is supposed to be looking at the actor or something else besides you.  There are some props like target sticks that can help but they must remain off camera and out of the way of microphone booms. So you have to teach your pet to do all their tricks while not looking directly at you.

Now do you have the picture? That is why it is so important to have the help of an experienced studio trainer.  So get a clicker and start teaching tricks to your pet from a distance and from all directions. Remember, timing is everything: ask, click, reward. You must work with your pet at least an hour a day every day. But the pets that do best are worked with several times a day.

Part IV: Some training helpful hints.

Things I Learned as a Studio Trainer Part II: Animal Acting Studios

Let me explain about animal actors. Traditionally there were trainers that would keep and train animals for studio work. Or they would contract with a studio for a project and then acquire the animals needed and train them for the desired behaviors.  Some would keep horses, bears, wolves, Big Cats, monkeys and others would keep domestic animals. Some would do both. These ranches or farms as they were often referred as would be contacted by film studios to provide animals to them for a shoot and a trainer would be on set to work with the animals to get them to do the desired behavior. Often several of one type of animal was need to complete a whole movie or series. For example: many Dalmatians of all ages were needed to film 101 Dalmatians; and several dogs were needed to play Lassie, Benji, and Air Bud.  Animal look-a-likes were available so that several dogs would be available to complete the entire roll. I believe Eddie in the series Fraiser and Murry in the series Mad About You were the first dogs to ever do the roll  as a solo dog. But as Eddie had to be retired, it took many JRTs to fill the roll at the end of the series.

Then an interesting concept was developed. Probably because most ranches were borrowing certain dogs for certain shoots, and craig's list often had posts looking for particular pets for shoots so they wouldn't have to pay the large studio trainer fees for animals that didn't really have to have special training. The animal acting agencies were formed. There are several in all the big cities, but living in Los Angeles, I had access to many.  Rather than housing, farming, or ranching several animals; especially dogs and cats; why not use interesting looking and acting pets. People love to see their pets on camera. Studio trainers could keep a resource of animal available for shoots as needed. When the animal acting agencies were born it was a dual financial reward at times. Owners submit their precious pets to a production studio in hopes of making them a star, These same studios charge for training and studio etiquette classes. The fees and the breakdown varies and some negotiating  can be done. Then depending on how well trained your pet becomes, and how well you and your pet are at studio behavior, the animal acting agencies submit your pet for jobs that they are called upon to find animals for. Some agencies will take a percentage, and others charge the studio a flat fee for negotiating and providing studio trainers for your pet. Most studios do not have exclusive contracts so your pet could be represented by several agencies at one time. Petal was once submitted for the same job by three different agencies. The film studio will pick an agency based on schedule, availability of pets, and financial agreements. Some film studios do not allow the owner on the set and require only a studio trainer be there. This is just to keep the shoot professional and the number of people on set down. Others not only allow you on set with your pet, you are the studio trainer on set with your pet. Sometimes you can get a little extra this way, sometimes it is because the studio doesn't want to pay for a trainer and hope you can do it without one. That is when studio training is just as important for you as it is your dog.

So now you love your pooch or kitty and your think you want it to be a star. You submit your pet to the local animal actor and pet agencies. They most likely will call you. Just be sure you sign that big contract - again they are rarely exclusive-that this really is the thing for you and your pet and you are willing to negotiate the fees and do pay the price to get your pet on screen. Not just financially, but time consuming and work wise too.

Part III: Training you and your pet for studio work.

Things I Learned as a Studio Trainer

I rescued a dog, Petal, from near death one night while working at as a veterinary technician at an animal emergency clinic.  She is adorable & had a unique look.  I was certain I could find her a home. I had done this several times before with others before her and many since her.  But Petal is special and offered me a whole new world of opportunity.

Although she is adorable, her personality was not so desirable.  A friend with a habit of naming cars, animals, and such as flowers; Violet, Sweet Pea, & Tulip as examples; was suggesting names for me to give her: Lily, Rose, Iris, Pansy, etc. etc.  Following her lead, I joking suggested Snap Dragon since it suited her personality. She shot me a dirty look.  So I then suggested “Petal” since being only 5 lbs., she isn’t big enough to be the whole flower. And Petal she became.

I worked hard at socialization so she could be adopted without the fear of her drawing blood from her new owners.  She is a brave and bossy little thing and had to be trained to accept people and other dogs. The dogs were not such a problem, but people she would snap at constantly. I’d never had a small dog before and fund small dogs have earned the reputation they have due to small dog owners.  I took her walking around town, at shopping malls, and hikes. I was fortunate to be able to take her to work where I would ask everyone to pet her. I am lucky that she is very food motivated. She’ll do most anything for food; a trait most little dogs do not possess.   It took some time but she finally realized that people led to food as long as she was friendly and that being petted wasn’t really so horrific.

While on this training journey it became obvious to me that Petal is an attention grabber. People are drawn to her. Some feel she is adorable. Others think she is crazy cute. Some just smile at her oddly and interestingly. Whatever they are thinking, they are drawn to her and forced to smile. My friend saw Petal’s potential and had some connections with a pet magazine. She actively sought out photographers to get Petal into print. At the same time I saw and add in a pet newspaper for Animal Actors. I submitted Petal & shortly got the call. Within weeks our career had begun. Ours meaning Petal’s & mine.

 

Part II will discuss animal agencies and how they work.