Issue link: https://digital.copcomm.com/i/1542039
26 PROP CULTURE I WINTER 2026 Ripley David Gulick, PMG & Antonio Fraulo E x c e l l e n c e i n T e l e v i s i o n M i n i s e r i e s 2 0 2 5 DAVID GULICK: The challenging part of Ripley was the scope of the project. The props were to play a major role in explaining the plot of the story. Envelopes, newspapers, translations, currency, watches, stamps, even the prices of food, all helped tell the story of deceit. There were more than 30 specific Italian newspapers with photographs and headlines that wove eight hours of Patricia Highsmith's novel into this wonderful show. In my 40-year career, I am used to doing 20 takes. On Ripley, we were doing 40! PROP CULTURE: In preparing for such an intricate, period-driven production, how did you approach Ripley? ANTONIO FRAULO: For Italy in the late 1950s, it was a time of significant transition and studying and understanding, it was fascinating. The director told us, "For me, a prop is just as important as an actor's performance. Props are essential to the storytelling." Steve would often stop by our property room, and we would spend time talking and imagining what might be useful to look for. This ongoing exchange made us feel deeply involved and allowed us to make the most appropriate and thoughtful choices every time. DAVID GULICK: Research is my favorite part. l960's New York and Italy are well documented. Looking for what would be used in everyday life was the challenge. We approached the job with careful attention to each item. We needed perfection on every object. Our DP, Robert Ellswit, said to Antonio and me how much he loved everything we made, and "we are going to shoot inserts of everything." PROP CULTURE: Was there a particular prop on Ripley that turned out to be your biggest prop challenge and how did you overcome it? ANTONIO FRAULO: The prop that was the most challenging was Caravaggio's book. We had to print 36 copies, since a glass of wine was going to be spilled on one of them. Just a few days before using the book, Steve Zaillian, the show's creator and director, asked us to add photos of other Caravaggio works to it. It was quite demanding to insert the new photos and rebind them in time. On the morning of the shoot, Steve asked me to add one more painting. I asked, "How much time do I have?" he calmly replied, "Do you think you can do it in three or four hours?" As complicated as it was, the book was ready and on set by 10:30 am! BUDGET: $875k CREW: 2 Property Masters, 2 Stand-by Props, 2 Buyers, Prop Graphic Designer PREP: 16 weeks