Issue link: https://digital.copcomm.com/i/1542039
16 PROP CULTURE I WINTER 2026 differences in the challenges of going from a 1970's period film like Casino to a futuristic production like Total Recall with Arnold Schwarzenegger? DENNIS: All the things for Casino were readily available through a number of sources and prop houses. I used real money and had an open credit line at the casino cage for use in the film. I never lost a dollar. If I couldn't find it, I had it built. The film Total Recall was different because it was futuristic and I needed to build almost all of it. I went to Las Vegas with Syd Stembidge, and we found the Calico guns that had never been used in a film and did modifications to make them even better. We clad working machine guns with outer makeup to make them more futuristic and still have them function. The televisions and tracking devices all had to be made. It's a whole different deal doing these kinds of films. We had some early CGI and green screen used in the film. PROP CULTURE: Tell us about working with Ron Howard. Here is someone who has grown up on a film set. What was that collaboration like? Ron is known for being very actor-focused and detail-driven. How did that translate to your work. DENNIS: I met Ron on Splash. I got the call to replace the property team on the film at Disney. I told them to keep the existing crew, and I would take over control and make sure all the things that Ron needed were there. It was a little uncomfortable for the Disney crew, but it all worked out. I later got a call from Ron to do Night Shift with Henry Winkler and Michael Keaton. Michael is as funny as it gets, and he and Henry worked great together. Ron gave me lots of space to create the car for Michael, a Stutz never seen before in film. The gaudy décor and decoration were perfect for the character. When we had the frat party in the morgue, Ron let me come up with all the games and things they were doing. It was a fun film to make and working with Ron was a pleasure. The last film I made with Ron was Backdraft. This was a very difficult film to make because of the fires, smoke special EFX, and the equipment. We shot into the winter in Chicago and rolling up wet fire hoses at wrap gave me a great deal of respect for the firemen of this country. Kurt Russell was great, and the cast of firemen and actors were great help in handling all the gear for the film. Ron Howard is a fine filmmaker, and it was a pleasure to work on his films. PROP CULTURE: Talking about someone who has grown up on a film set, your daughter Hope Parrish has also had a long and distinguished career. What words of advice and guidance did you bestow upon her as she was starting out. DENNIS: Well, she spent most of her childhood running around the world to be with her family on film locations. I never regret taking my kids on location. The experience they had, you cannot find in a schoolbook. They went to school in Taiwan, Hong Kong, Spain, and so many other locations. She always wanted to help on the set, and I made no effort to stop her from joining the team. I did tell her she needed to find her own niche and build a resume before we could work together. I wanted to protect her from nepotism remarks and let her make her own mark. It was a few years before we finally worked together. She is a much better Property Master than I was. After she retired, she asked me to join her at the Johnny Carson School of Theatre & Film in Nebraska to teach props and film to young students. We did this for a number of years. It was very rewarding for me, and I look back at those classes with great affection. She is now the city historian for Culver City and Past President of the Culver City Historical Society. If you are interested, you can view the programs on www.culvercityhistoricalsociety. org or YouTube. My final program last January covered my entire film career. It is called Around the World in Fifty Years by Dennis Parrish. PROP CULTURE: What's the most unusual or unexpected request you've ever received from a director or actor? DENNIS: Tommy Chong on set asked me for a roach. So knowing the history of Tommy, I brought him a series of marijuana cigarettes. He took one look and said, "No, I mean a real roach." So, I scoured the Universal backlot and came up with a few. He rolled the camera and promptly squashed the bug, rolled it in a joint, and smoked it. That was fairly unusual. There are more I am sure but it's getting late. PROP CULTURE: We touched on how the industry has changed over the years. Now as we face an ever-changing industry with streaming and runaway film production, what advice would you give to someone just starting a career as a Property Master? DENNIS: If you are intent on working in the industry, you must prepare for a tough road ahead. Never turn down a one-day call. Some of my best jobs came from a one-day call. You have to meet people who can help your career. Never lose your enthusiasm for the job. Evolve with the changing technology and convince your bosses that they couldn't do another film without you. Or you could take my father's advice and become a policeman. PROP CULTURE: Okay, if you could own any one prop from the history of film or television, what would it be? DENNIS: I would like the cabinet with all the sliding drawers built by Jamie Wilkinson in the UK for Willy Wonka. My second choice would be The Maltese Falcon, and third would be the ruby red slippers from The Wizard of Oz. PROP CULTURE: Dennis, I cannot thank you enough for taking the time to sit down and talk with me. I am both humbled and in awe of your career. It really was a pleasure! DENNIS: It was my pleasure. I love the magazine, and I can't wait to see the article! Hope to see you in the near future and here is hoping that the business comes back home. SPACEBALLS RAMBO: FIRST BLOOD PART II