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There are reports that animals in entertainment, especially chimps, are being cruelly treated. TBS Superstation has had promotions for two new shows using chimpanzees and orangutans. What can AHA tell me about the TBS shows, Monkey-ed Movies and The Chimp Channel?

AHA's Film and Television Unit has monitored the filming of both shows. The chimps and orangutans are receiving a very high standard of care. The trainers use modern, humane techniques to cue and motivate the animals. AHA's Guidelines safeguard animal actors, promote a high standard of care within the film community, and encourage humane training techniques. The TBS production team has been very cooperative, has upheld the Guidelines and insures the wellbeing of the chimps during filming.

What about the allegations that chimps are "trained" off the set and that those training methods are cruel? Does AHA monitor pre-production training at compounds?

Most professional trainers working in the film industry today are practitioners of modern humane training techniques. Although AHA is not officially authorized to oversee pre-production training methods employed off the set, many top trainers in the industry have voluntarily given AHA access to their compounds and pre-production training sessions, as in the case of the Chimp Channel. It is also AHA's practice to recommend to producers that we be contacted as soon as a trainer is hired so training sessions can be included in our oversight program.

The modern training techniques (described later in FAQ's) used today by the top trainers are a testament to AHA's 60 year history of diligent and persistent advocacy on behalf of animal actors. As human understanding of animals has deepened and the public's awareness of animal issues grows through media exposure, many professional trainers have adapted new and more humane training concepts. AHA urges producers to utilize great care when hiring trainers, and encourages them to hire trainers with both a humane ethic and experience in the unique demands of movie work.

Many of the film industry's professional trainers working today take humane considerations very seriously. Many of them make a lifelong commitment to the care and well-being of their animals. There is a dramatic difference between these professionals and an amateur who chooses to own an exotic animal as a backyard pet. AHA deals with both types of "trainers" and appreciates the distinction. Film companies do occasionally hire "backyard trainers". Such projects require our constant vigilance.

What other factors have influenced a change in philosophy?

Since movies began, trainers in the industry have used a barrage of "techniques" to get animals to perform. In the "bad 'ol days" these techniques often included cruel discipline and dangerous stunts. AHA set up the Los Angeles office in 1940 to fight this cruelty. After forty years of advocacy, in 1980, the industry collectively committed to treat their animals humanely and authorized AHA to monitor their compliance. Animal care in the industry improved dramatically over the next decade. Unfortunately, many people are still under the illusion that the antiquated and ostracized methods are still the common practice today. In reality, AHA's leadership and our fight to institute Guidelines for animal safety and a high standard of care have made a drastic change in attitude and awareness within the industry. That's why the phrase "no animals were harmed…" has become a part of the vernacular. AHA is very proud of the difference we have made.

What are some of the techniques used today?

Many elements come together to create today's best training styles. The first is the creation of a strong animal/human bond while the animals are still young. The trainers reinforce this bond throughout the animals' lifetimes. Most of today's working primates were born in captivity. Their trainers know and care for them from the time they are youngsters. In the old days, it was a common practice to take primates directly from the wild, often already adults. The practice then was to use force, fear and dominance to make the primate work. These days, the taking of animals from the wild for any purpose is rare and strictly regulated and no animals are taken from the wild for use in the U.S. movie industry.

A second key element is the understanding of the different individual personalities of each animal. Through early bonding exercises trainers learn what motivates each, unique individual. For example, one animal may enjoy a reward of something good to eat, another may be more satisfied with a big hug. The animals learn that performing a behavior earns them the specific reward they treasure.

The rewards themselves are a basic element of today's training, called "operant conditioning." These rewards or "positive reinforcements" are what make it work.

As they say, however, all work and no play… Just as critical to the bonding process is play time, and the apes get plenty of it both on and off set. They live in communal groups where the interaction and play among their peers helps them to become socialized. Through play, their natural behaviors, such as grooming and foraging, are encouraged.

Just as the apes play with each other, they also play with their trainers. This is functional as well as fun. It enables the trainer to set up ground rules by conditioning young animals to practice proper manners. At the same time it teaches the ape the difference between work time and play time. The animals, in turn, learn to enjoy the training process. The challenge of learning new things is enriching. It keeps their highly intelligent minds occupied and stimulated. In fact, the recreational aspect of the training session, by itself, is often enough of a motivator for the apes to learn. Receiving rewards helps to make the experience more positive and the apes more eager.

Another important key to the system is ensuring that the animals' time is properly distributed so that the training sessions are not excessive. Unlike trainers in the past, who usually had only one animal, most now have several. Having access to more than one animal means that a trainer can replace one animal with another rather than pushing any one animal to "get the job done." This prevents an animal from working too many hours in a day.

Through these methods, today's best trainers are able to accomplish the same goals without using "old school" methods such as force and intimidation. It takes time to form relationships built on mutual trust and respect. The best training methods today are designed to foster, rather than inhibit, these bonds. The trainers who excel are those who have made this their lifestyle and vocation, twenty-four hours a day, seven days a week and have a true appreciation for their animals.

What happens to the chimps and other apes when their film career is over?

This is one of the most serious issues regarding primates and other wild exotic species in captivity. While the film industry has not yet fully addressed this problem, it is becoming a common practice among the top professional trainers to either keep the animals at their compounds or to find suitable sanctuaries and pay for their retirement. Some production companies have also taken a proactive role in providing funds for animal retirement. Two such production companies are TBS Superstation and Baywatch Production Company. Money has been donated to zoos, local humane organizations and sanctuaries.

Are all animals in film and television protected by AHA?

Since 1980, AHA's Film and Television Unit has been officially authorized to protect animal actors through a contractual agreement with the Screen Actor's Guild (SAG) and the Alliance of Motion Picture and Television Producers (AMPTP). Productions working under this contract are required to notify AHA if they are using animals.

Many productions working outside of this contractual arrangement still voluntarily ask AHA to monitor the welfare of their animal performers. AHA's program is widely regarded as the industry standard.

In recent years the film and television industries have become global industries, as producers from around the world move seamlessly from country to country, putting together the best ensemble of talent, location and financing for each specific project. One of the few constants has been that the U.S. audience and media expect American Humane Association to answer their questions about productions with animals that are released in the American marketplace. No matter where a project is filmed, the producers often want the visibility, publicity, and dollars associated with the U.S. market.

However, this globalization of production does concern AHA. Cultural and legal differences mean that animal actors may, or may not, receive comparable care in countries where filmmakers have not established similar humane oversight programs.

To respond to the increasing need to assure that animal actors are protected on film projects around the world, American Humane Association is working with humane organizations in a number of countries to develop collaborative partnerships. When structured appropriately, these partnerships can be beneficial to all involved. The animals are protected, the production is assured that their responsible animal care has been observed and documented, the public is informed, and the local humane organization develops more supporters in their community and more visibility worldwide. As the film and television industries become seamless global industries, filmmakers and humane workers need to work together to create a seamless system for protecting animal actors.

Some questions have been raised about the anthropomorphic characterizations and the script content of the Chimp Channel.

While creative artists may not always tell stories to our liking, the First Amendment protects their right to do so - just as it protects your right to criticize their work. Without this right, the powerful interests that have historically exploited animals would have been able to suppress stories about their plight. For all its imperfections, the expansion of the global visual media over the last twenty years has been the single most effective and powerful tool in the improvement of the lives of animals around the world.

The media exposure of animal issues has been instrumental in raising public consciousness and a powerful catalyst for change. Turner Broadcasting has been one of the foremost providers of nature programming and has provided viewers with many productions that have raised wareness of animal and environmental issues. Their care of the primates working on these productions has been excellent.

While we in the animal movement may prefer that programming always depict animals in their natural state, these comedy programs may reach others less educated about animals and stimulate them to be more interested, more supportive, or more humane. Few people will ever read academic study statistics but millions watch TV and go to the movies. These programs may help them instinctively "get" the many human/primate similarities. There are many teachers because there are many paths to truth. Anthropomorphic images of animals have always encouraged people to identify with and have empathy for our fellow creatures.

American Humane Association has opinions about images that thrill or chill us, but we have found that condemning the content of stories is in conflict with our unique specific mission to protect the live animal actor. The worse the content, the more we need to be there.

We encourage the public to express their opinion of desirable and undesirable content and to voice this directly to the broadcaster and the advertiser. Through our mutual efforts we may realize our humane goals much more quickly.