Issue link: https://digital.copcomm.com/i/1544153
PROPERTYMASTERSGUILD.ORG 27 through many rounds of research and development with Geggie working with a company called West End Offset in Toronto. They printed some on glass and some on polished stainless steel. The entire process went through over 50 tests until they landed on the final product which looks gorgeous on camera. While Victor works to set up the laboratory equipment to bring the Creature to life, we watch as he scales the top of the building to attach the lightning rod. This prop was fully practical and controlled remotely. Built by Walter Klassen FX, parts of the rod were 3D printed and other parts were made using carbon fiber in order to make it as lightweight as possible. Because they knew the prop needed to function in the rain, the rod required a significant amount of development. Monaghan shared a story of checking in on the process at the shop and "seeing the rod open under full water in a shower stall with a timer running." This testing of a prop's reliability ensures that it will work on set every time without having to wait on the Property Department to roll. When we jump to the Creature's point of view, the audience learns that a large portion of the Creature's education takes place in a cabin in the forest. He reads from various books and a large Bible throughout different scenes. The Property Department had the advantage of the extensive experience that Geggie had working with Del Toro over the years. He knew that a simple line in the script such as "the Creature flips through a book" would likely turn into an intricate build. All of the books in the cabin were handmade. That required sourcing the leather and paper, printing the copy, and creating the embossing plates. Monaghan spent weeks selecting and pairing the leather and hand- dyed Italian paper. Their bookbinder worked for months building around 100 different books. This is a prime example of how a single line of text in a script can become a tremendous project for the Property Department. As property people, we have the privilege and responsibility of creating the props that build character and help create worlds. Much like Victor Frankenstein, we often find ourselves hunched over worktables late into the PROPERTY DEPARTMENT Property Master Christopher Geggie Assistant Property Master Emma Monaghan Key On Set Props Rachel Heacock 1st Assistant Props Everett Biggar 2nd Assistant Props Diane Cabral Props Buyer Daniel Smallegange Props Buyer Yasmyn Lee Ryan Props Trainee Eli Prinsloo night, splicing together items for a prop, and laughing maniacally while screaming "IT LIVES" off the back of a tailgate when it turns out to be successful. And while maybe that last part is just me, I am constantly reminded of how much work we do to create some of the most memorable moments in cinema. The property team from Frankenstein made something truly incredible and their work will stand the test of time which is all any of us could ever hope for. L-R: OSCAR ISAAC AND GUILLERMO DEL TORO DISCUSS THE TEACHING PUPPET PROP