Issue link: https://digital.copcomm.com/i/1544153
24 PROP CULTURE I SPRING 2026 Frankenstein's classroom demonstration is a wonderful example of the collaboration between the Property Department, art department, and puppeteers. The batteries Frankenstein uses were designed early in prep by the production designer Tamara Deverell since their full-scale version would dominate most of the set in Frankenstein's laboratory. These prop handheld versions were built by Walter Klassen FX and contained custom RC4 transmitters. The Property Department did extensive testing with the filament, glass opacity and materials in order for the final look to come together. Each unit had a rechargeable battery and could either be paired to the lighting board or operated remotely via an iPad and the transmitter. They also contained small magnets so that the batteries could lock into place within the base and stand up correctly. The half-torso was a practical effect operated by multiple puppeteers and catching the ball from Victor's throw relied on traditional movie magic techniques rather than relying on VFX as most films do today. It speaks volumes that Del Toro is willing to put in the time and effort of traditional filmmaking in order to make his projects. I believe that this dedication to realism is what draws audiences to the theaters to watch his films. As audience goers, we still know when an actor is performing in a real space with real props versus interacting with a ball on the end of a stick. There is something more innate in their performances when they are not half concentrating on creating a world in their own head and instead are interacting with real objects. As Property Masters, we are often tasked with creating personal props which are items that a character has on them or with them for the duration of the film. These include but are not limited to eyeglasses, wristwatches, pocket watches, wedding rings, and a variety of other objects. Christoph Waltz's character, Frankenstein's benefactor named Harlander, carries with him a beautiful cane throughout the film. The cane also contains a hidden compartment where he hides a glass vial of mercury. This prop stands out as an intricate, gorgeous addition to his character and represents a massive amount of work from the Property Department. Based on reference images pulled from museums and auctions by Monaghan, Andy Tsang, one of the art department members, created a 3D model of the cane head. Geggie and Tsang spent at least a week tweaking the design in order to get it just right. The cane head and body were sent to Walter Klassen FX for fabrication where Monaghan pushed for the body to be made from real ebony veneer instead of just painting it black. She knew that the detail the subtle dark orange veining that real ebony contains would be a small detail that truly would make TAKU DAZAI OF WALTER KLASSEN WITH FRANKENSTEIN'S BATTERY CHRISTOPH WALTZ AND HIS CANE VICTOR'S PROSTHETIC LEG