Village Matters

Meeting the Prop Master

We are loving having a peek behind the scenes at Shepperton Studios. Not on set, you understand, but what goes on in the making of a film. Last month we brought you a piece on Motion Capture and the role it plays in blockbusters. This month we are talking props with Prop Master, Barry Gibbs (No, not that one!)

Firstly, what are props? Props are the property in a film. All the things you might see, from a pen to an umbrella to a jet and everything in between. Props might be things that already exist, sometimes hired from specialist suppliers, to things that are mythical and have to be hand crafted. With technology these days, 3D printing also offers a new avenue to facilitating the creation of props, with less requirement for hand crafting. (The compass in the Golden Compass for example, was generated by 3D printing, but hand finished by a skilled artist who painted all the figures on it).

The Prop Master is responsible for purchasing, acquiring, manufacturing, properly placing, and/or overseeing any props needed for a production. Barry Gibbs has been working as a Prop Master since 1985. He had started as a stage hand at Pinewood Studios but moved to props when he was only 21 for a two week stint and never looked back. He was a Prop Master within 3 years and his first production was on ‘Danny Champion of the World’ for Thames TV.

Barry describes his role as turning the artistic dream into reality. He works with the director, set designer and decorator, production designer and camera man to physically express their style and aesthetic requirements. His job does not cover costumes or weapons. (There is such a role as a weapons master – maybe we can cover that another time). He will also work with the script supervisor and continuity during production. Props can be hired, or sourced from the likes of Kempton Antique Market.

Barry has seen a lot of changes in the industry since he started. Now is the age of freeze framing. We can scrutinize every moment of a film. There has to be a great eye for detail, continuity and getting it right so that the magic of the film is not spoiled. ‘Dr Strange’, due out shortly, is a case in hand. Barry spent time with neuro and orthopedic surgeons to understand the medical instruments and machinery used in these professions to create authentic scenes in the film.

Many of the Marvel films are made at Shepperton Studios. Barry describes these as very bespoke. Producers want to be unique and surprise viewers. On Guardians of the Galaxy there was a team of 90 prop makers working on creating unique props. Thor’s hammer, Mjolnir, was created specially, with decorative etching made by a jeweler. A film like this represents a kind of ‘history meets hi tech’ challenge.

We asked about skills and qualifications needed to get into working in props. Although grads are taken on, there is again an emphasis on interest and a genuine desire to work in film. It helps to have CAD knowledge and they need also sculptors, metal workers and painters. But it is equally important also to be able to work well in a team, have an interest in people and demonstrate common sense.