Whether it’s the proton packs in Ghostbusters, the sinister teacup in Get Out (2017), or one of the many unsung objects used on sets every day, prop masters are responsible for buying, making, and/or managing many of the items you see onstage or onscreen. Mental Floss spoke to several of these multi-talented (and multi-tasking) professionals from film, TV, and indie theater about what it's like to wrangle foam core, test fake drugs, and make sure the food always look fresh.
1. THEY’RE BASICALLY MACGYVER.
Prop professionals have to make or buy a wide variety of objects, often using restricted materials or a limited budget, so it’s no wonder that they have a reputation for being skilled jacks-of-all-trades. According to Joanna Tillman, a prop professional working primarily on TV shows (she was the on-set prop master for Orange Is the New Black), prop work is a great fit for the rare individual who’s “an expert at knots, firearms, cars, and making things out of tape.”
That’s particularly true on indie or low-budget productions, where a prop designer has to “look at something that’s supposed to be one thing and see something different,” Stephanie Cox-Williams, a prop and special effects/gore designer for indie theater and film, explains. Williams says she once created a race car for a theatrical production out of foam core, wires, hoses, and a Nintendo console.
On big union shoots, however, a prop master’s job can be much more specialized, which means they may not have to employ MacGyver-level skills (although they always help). Anna Butwell, an on-set and assistant prop master for film and TV productions like The Affair series, says her job is specifically focused on managing interactions between actors and props on set, or “putting props in people’s hands and really hoping that they don’t get lost, broken, or damaged.”
2. THEY ARE EXPERT SHOPPERS.
The job of a prop master often has less to do with being a mad scientist than with being a savvy shopper, and a project may involve long hours of trolling Amazon rather than hours spent in an art studio. “People think it’s this interesting journey,” Tillman says, “but instead it’s like 18 hours on eBay.”
Smart and efficient prop shopping is a skill that’s acquired over time, and much of it depends on knowing where to look. A good prop master will have a sense of whether a prop should be rented from a prop house, bought at a big box store, or scrounged from a dollar store or Goodwill.
3. JUST ONE PROP IS NOT GOING TO CUT IT.
It’s not enough for a prop person to locate just one perfect prop—they also need multiple backups. According to Hannah Rothfield, a New York-based film and TV researcher, art director, and prop master on the forthcoming Alec Baldwin movie Blind, “You should have at least three extras of any prop, because accidents happen all the time.” Props take a beating on set and get broken; mechanical props can malfunction; and props sometimes go missing. On a tight shooting schedule, considerable headache and panic can be avoided by always having a backup prop waiting in the wings.
Cox-Williams says that durability is a big issue for stage props, especially in indie theater, where the luxury of backups might not be an option. Props have to last. She describes being tasked with finding pool cues to be used in an action scene and discovering “the most expensive would not last more than a couple of hits in a fight. Therefore, the cheapest most durable prop I ever made was dowel rods and model magic painted to look like pool cues.”
4. THEY ARE VERY ORGANIZED.
Even if a production has multiple backup props, it’s still crucial to keep a careful eye on them. Prop departments on large productions maintain a system of bins and labels to keep props organized and in their correct place. Great prop masters will also sometimes try to stay a step ahead of the production in terms of anticipating unvoiced needs. Rothfield says that after going through a script and highlighting all of the props mentioned, she makes a second list of props that are not mentioned by name but that might occur in a given setting. That way, if a director or actor requests something new, she isn’t caught completely off-guard.
Surprises do happen, though. Rothfield describes an instance when an actor requested a photo album for his character during rehearsals and she had 45 minutes to compile the photos, print them, and bind them if the production was going to stay on schedule.
5. THEY BECOME EXPERTS IN WEIRD AREAS.
Since props can encompass such a wide range of potential objects and time periods, prop masters often find themselves deeply immersed in a highly specific area. “A props person ends up being an expert in whatever it is they’re doing,” Tillman says. For example, while working on Mr. Robot she became familiar with how computer servers function; Nurse Jackie taught her about automatic external defibrillators (AEDs) and emergency room procedures; and Orange Is the New Black was a chance to learn about what is and isn’t considered contraband in prison and what might be considered a potential weapon.
“You have to make sure you understand [the prop] because you’re going to have to explain it to the actor,” Tillman says, “and they’re going to have more questions about it than you ever thought possible.”
6. THEY ARE RESPONSIBLE FOR FURRY CREATURES, TOO.
Cats, dogs, and birds may not immediately come to mind when you think of props, but the prop department plays a key role in handling animal actors. Tillman explains that while union productions typically hire an animal wrangler, props is responsible for finding an animal vendor and acting as a liaison between the director, writer, and vendor.
The situation can be a bit messier on non-union productions. Tillman says that one of her first production jobs was acting as both a rabbit wrangler and a prop-maker charged with creating a fake rabbit. “I was living in a hotel in Albany with two rabbits … [and] hollowing out a rabbit’s foot [to make a prop],” she says. “The rabbits would be looking at me, and I was like ‘don’t judge me.’ It was such a weird summer.”
7. THEY MIGHT HAVE TO DO DOUBLE-DUTY AS A CHEF.
Food-focused productions with a big enough budget typically hire a food stylist to oversee on-camera eats, but in other instances, that task falls to the prop handler. Their job includes making sure that the food looks the way the director wants it to, and that there are many, many, many backups, so that the food always appears fresh on camera. One potential complication in this area: actor dietary restrictions. Rothfield describes a shoot where a vegan actor was to be depicted eating a steak, so she and her prop assistant (who fortunately happened to be an ex-sous chef) went to a vegan restaurant for a seitan steak, which they smothered in mushroom sauce.
8. THEY’RE ALSO RESPONSIBLE FOR CARS. AND FIREARMS. AND SOMETIMES BLOOD.
Stunt choreographers are called in when a scene involves a car chase or shootout, but the stunt department doesn’t usually provide the guns or cars. That’s the job of the props department—although the stunt department often adds safety structures to the items. According to Tillman, every prop person with a union card receives a weapons certification and training on safe handling of firearms, and must undergo an FBI background check to rent blank-firing weapons in NYC.
Depending on the shoot, prop masters may also be in charge of fake body parts, blood, and other fluids. And according to Tillman, props may also provide hospitality items like heaters, tents, and chairs. Once again, their versatile reputation is well-earned.
9. THEY TEST THE FAKE COCAINE THEMSELVES.
Prop master tips for creating fake cocaine and other faux drugs, like the ones used in The Wolf of Wall Street (2013), seem to be a source of ongoing fascination, no matter how many times they provide their secret recipe. (Cornstarch or Vitamin B powder for cocaine, oregano or hobby store moss for marijuana, freeze-dried regular mushrooms for magic mushrooms.) “There’s all these articles describing ‘this is what fake cocaine is,’” Tillman says. “Everyone knows what fake coke is. What they don’t know is that I test it to make sure it doesn’t hurt the actor to snort.”
10. MUCH OF THEIR WORK GOES UNNOTICED.
When it comes to prop versions of common objects, a lack of attention from audience members means that the prop master has done their job correctly. Butwell says that her work generally should not be noticed “unless it’s an amazing prop, or you screwed up.”
“Props are essentially an iceberg,” she explains, “you see 10% sticking out of the water, but the 90% of the mass under the surface makes up the bulk of the material. If you see an actor drinking a beer on screen, there are probably five/six identical bottles standing by just in case. Most likely, all of these bottles had to have their real labels scraped off and fake ones put on. Someone else had to generate the graphics ... It has to be reset every take. And this is just for someone to drink a beer on screen.”
11. THEIR JOB IS NOT JUST ABOUT STUFF.
Union rules specify that a prop is any object touched by an actor, which means prop people have to think about the human side of the equation as well as how things look. They have to watch out for the safety and comfort of the actor at all times, whether that means testing cocaine or teaching actors how to use an AED. “A lot of the time you’re handing an actor something they could hurt themselves with, so you have to communicate,” Tillman says. This goes for common household items, like spray bottles of Lysol, as well as more dangerous props.
“The objects that we use in our everyday life, as soon as you put it on camera and give it to an actor it becomes the most foreign thing in the whole world. Normally people think ‘I won’t spray myself in the face,’ but the actor is doing a lot of work on their character.”
And, of course, props have little meaning outside of their relationship to an actor. “I love when you get on set and you lay out your props and the actor suddenly gets into character with it,” Rothfield says. “That’s when the prop can become a star of the film.”