Issue link: https://digital.copcomm.com/i/1533885
30 PROP CULTURE I SPRING 2025 W hat sounds like a fairly simple question becomes a rather amorphous concept. Ask 100 Property Masters and get 150 slightly different answers. It can change from project to project or even scene to scene within one shooting day. It can change depending on who you are working with or the union jurisdiction you are working under. A prop's meaning is ever-evolving and must be clearly defined on every production for the Property Department to succeed. And so, we return to the important question: What exactly is a prop, anyway? The broadest definition has always been: whatever the actors touch. This is technically accurate but a limited way of thinking and shortsighted to successfully delivering on the needs of the production. What happens if an actor picks up a piece of set dressing on a whim? Or a musical instrument is dressed into the look of the room? Or the key must fit into a lock that exists on location? Whose job is it then? Is it a hand prop or something else? Instead, let's think a bit differently. The most important role of the Property Master and their team is to represent all aspects of the art of the film while working with the shooting crew. The Property Master is the on-set representative who works directly with the director, actors, and director of photography to meet any art needs WHAT EXACTLY IS A PROP, ANYWAY? B y T h e r e s a C o r v i n o THE F**K-IT LIST (top and center) UMMA