After making major films such as “The Name of the Rose” with Sean Connery and “7 Years in Tibet” with Brad Pitt, Jean-Jacques Annaud chose a different path focusing on animal-centered productions, selecting projects like “Bear” and “The Last Wolf.”
The author had the opportunity to work with Annaud personally on one of these animal-centric films. The project was SM Minor, a large-scale production shot at Ciudad de la Luz studios a few years back. By that time, the author had already amassed significant experience on important shoots. Annaud had previously collaborated with Carlos Saura and was busy with Asterix and Obelix at the Olympic Games, another major production that brought together well-known talents such as Elsa Pataki, Gérard Depardieu, and Alain Delon in the cast.
Across these shoots, the author’s responsibility was to safeguard the welfare of the animals involved. In Asterix and Obelix, for instance, a stable capable of housing more than fifty horses was constructed on location, and the team even organized healing sea-water baths for the creatures in between takes to support their well-being and comfort. This was not merely about appearance; it was about creating environments where animals could be calm and healthy on screen.
With SM Minor, the focus shifted to ensuring that the pigs appearing in the film were kept in peak comfort and health. To achieve this, artificial ponds and multiple individual showers were installed in their dedicated swimming areas so the animals could drink whenever needed and move freely between spaces. The dietary plan was equally meticulous, featuring high-quality food and France-sourced supplements to support their health. Even a personal veterinarian was brought from Paris to oversee the animals’ care, underscoring the commitment to top-tier welfare standards.
In truth, the animals did not need to execute demanding performances on camera. They appeared in various staged contexts and still frames designed to blend naturally with the scenes. Yet there were moments when some animals hesitated or refused to cooperate. During those times, director Jean-Jacques Annaud remained patient and understanding. If a shot could not be completed, the crew would be sent home, and shooting would resume the next day, with the director calling everyone back in a characteristic, light-hearted, affectionate French phrase that reminded the crew of the shared goal: Tout le monde à la maison!
The author recalls asking Annaud why he pursued filmmaking with animals when the process could be so unpredictable. The response captured the essence of his philosophy: although working with animals could pose challenges at times, it was generally easier than coordinating performances from a cast of human stars. The remark carried a mix of humor and pragmatism, reflecting the practical realities of bringing animal actors to the big screen. In the end, the commitment to animal welfare, the meticulous planning of environment and care, and the collaborative spirit on set defined these productions as more than just films. They became demonstrations of how respectful, well-managed animal filmmaking can be a powerful storytelling tool while ensuring ethical treatment and safety for every creature involved. [Source attribution: industry interviews and production notes]