Issue link: https://digital.copcomm.com/i/1544153
"We Shall Be Monsters" I f you have not had a chance to watch Guillermo del Toro's latest film, Frankenstein, I highly suggest that you do. The sweeping Gothic style that has become synonymous with Del Toro's films combined with standout performances from the cast are reasons alone to give the film a chance. However, what brings this article to fruition is the remarkable and transformative props that were created by Del Toro's longtime Property Master, Christopher Geggie, and his amazing Property Department. I had an opportunity to speak with Geggie's Assistant Property Master, Emma Monaghan, about the incredible work that they did on this film. From the design and construction to the action on set, not one detail was missed and as a result, their work stands out as some of the most detailed and beautiful props present-day cinema has to offer. Within the first six minutes of the film, we are introduced to a world that in most modern films would have been created using CGI. Guillermo del Toro, known for his insistence upon fully real sets and props, has truly outdone himself with this opening sequence. Not only was an entire ship set built which could be seen from the opposite side of downtown Toronto anytime you looked toward the studio, but the props found within these opening moments represented countless hours of design, craftsmanship, and implementation. The pikes, mallets, shovels, torches, lanterns, and giant saws had not BY Lauren Shell, PMG 22 PROP CULTURE I SPRING 2026 Designing and Creating the Props from Frankenstein only real versions, but also stunt versions created in order to make the actors safe during the massive stunt sequences. Monaghan said that everything they built on Frankenstein usually started with an original antique item. Sourced everywhere from eBay to antique stores, these original pieces were then reproduced in order to have multiples of every piece. Real period ice saws were procured and the blades recast in aluminum so that the background artists could use the prop without a fear of hurting themselves. The stretcher and sled that Victor was hoisted up onto the boat with were fabricated copies of antiques found both online and in person with Mennonite saddlers creating the functional dog harnesses. And one of my favorite props in this film, the captain's blunderbuss, is no exception to this level of detail and work. A collaboration between Geggie, armorer Charlie Taylor, SPFX coordinator Geoff Hill, as well as Del Toro, this weapon went through extensive testing and multiple variations before a final version was made. 3D printing helped to quickly produce parts in order to test the look and the scale prior to final approvals. Monaghan said that one thing that really stood out to her on this production was "the importance of giving directors the opportunity to be heavily involved in every step of the build. Showing a cardboard mock-up or a quick, unpainted 3D print can save having huge issues further down the line because it allows directors to identify problems before you go too far." The blunderbuss, though based on an actual historical weapon,