Issue link: https://digital.copcomm.com/i/1538452
PROPERTYMASTERSGUILD.ORG 23 Craig Perry: By Scott A. Buckwald, PMG F ew producers in the film industry demonstrate a deeper understanding of the collaborative nature of storytelling than Craig Perry. From the genre-defining suspense of the Final Destination series to the sharp humor and emotional honesty of the American Pie franchise, his work highlights a strong sense of tone, structure, and visual storytelling. Most recently, Craig has returned to the franchise that helped define a generation of horror with Final Destination: Bloodlines, the first new entry in the series in 14 years. His thoughtful approach to filmmaking, paired with a genuine appreciation for the artistry behind the details, makes The Prop Culture Interview his voice a meaningful and respected addition to this issue. PROP CULTURE: Craig, it is always a pleasure to connect. We really appreciate you coming to talk with us today. CRAIG PERRY: Very glad to be here and I think it's emblematic of what people don't know about props, which is why I'm glad that we are speaking and that this magazine exists and that people outside of the inner sanctum can get a real sense of the length and breadth of thought and care that goes into every single prop that every single actor interacts with. This is a valuable opportunity for anyone curious about how props contribute to the stories and films we create. PROP CULTURE: To that point, one of the primary goals of Prop Culture is to demonstrate that the Property Department brings a distinct and meaningful artistic voice to the filmmaking process. CRAIG PERRY: Let's talk about that for a second, because I think what people often overlook is that props are the conduit between the set and the character. They are the things the actors physically touch and interact with, and they are essential in making that space feel real and the character feel authentic. They are the linchpins. Every department has to communicate with props, because props are with the actors at all times. It is constant. And I think it speaks to exactly what you are saying, the artistic value and absolute necessity of a Property Department that not only cares but is fully invested and integral to bringing the director's vision and the actor's choices to life. Does that seem fair? PROP CULTURE: That absolutely seems fair, and I am really glad you brought that up. The Property Department is often the most direct link between the actor and the world they are inhabiting. Property Masters must in some ways become characters within the story as well. CRAIG PERRY: That is exactly right. In this role, you have to be a psychologist, fully stepping into the mindset of the character. But you also have to be a historian. You need to understand what is accurate and specific to the time period and context of the story. Take something as simple as a prop backpack. If a character comes from a different socioeconomic background, they are not going to have the same gear as someone else. Maybe their backpack is secondhand, heavily worn, and dated to late 1986, something they picked up at a thrift shop. There is a whole chain of thought behind why that character walks through the door with that exact item. I also love what Chris Call pointed out in his article about the "Anatomy of a Scene" from American Pie (Prop Culture issue 1), a prop should feel lived in. A high school kid's backpack should not look empty. Nothing pulls you out of a scene faster than an actor carrying something that clearly has no weight. It looks like it was just handed to them. And I keep going back to American Pie because it is