The Motion Picture Studio Insider (1935)

June, 1 935 table and carries on a conversation, the table would be arranged and decorated by the swing-gang. But if she picks up a comb, even if only to finger it idly, then that comb is a working prop and it’s up to the head property-man to make absolutely sure that it’s just the sort of comb it should be. The personnel of the property depart¬ ment includes Milton, as head; Jules Strader, his secretary, who keeps track of who is working and when, and all other miscellaneous details connected with office routine; Herb Levitane, who arranges tieups; Ted Dickson, as head set-dresser, with his two assistants. George Montgomery and Faye Babcock. Dave Campbell is the department’s florist. Then there are two checkers, Joe Eckley and James Miller. Eckley is person¬ ally responsible for seeing that every¬ thing that comes into the room also leaves — and as soon as possible, to les¬ sen the rental cost. It's up to Miller to see that the objects are in perfect con¬ dition; if they’re lost or damaged, he makes, with Milton’s O. K., the neces¬ sary adjustments. Robert Kirk, as outside man, does all the necessary purchasing. He shops for anything from an out-of -season Bartlett pear to an antique music box with danc¬ ing mannequins. Herbert Leslie, as houseman, is responsible for every prop owned by the studio. If a director asks for a paper-knife used two years ago — and it belongs to the studio — Leslie will Motion Picture Studio Insider RENTAL FIRMS PROVIDE MOST "PROPS" USED IN FILMS AT COLUMBIA PLANT find it for him without a momen’t delay. He also makes sure that the said direc¬ tor’s special property-man returns that paper-knife — or else! Robert Priestley and Frank Tuttle su¬ pervise the swing-gang, the personnel of which includes George Ballerino, James Warner, Joe Kish, Ted Cummings, Everett Richardson, Joseph Freedman, Milton Green, William Black, Clarence Peete, A1 Richard, James Crowe, Robert Bradfield, Sy Shelley, George Taylor and A1 Woodford. There are seven head prop-men — Jack Wrenn, Stanley Dunn, Frank Foster, Charles Granucci, Mel Wolf, Ray Hunt 27 and George Rheim. No matter how they are aided by the department itself, theirs is the personal responsibility of the picture to which they are assigned. Every time any one of them makes a mistake, the whole world writes in to tell his boss about it. But when the property department, as typified by the head prop-man, is right — as 999 times out of 1,000 he is — it’s all in the day’s work. Prop-men are the best all-around “worriers” in the business and they do so much worrying the whole prop de¬ partment co-operates in fretting. But even though they’re unhonored and unsung, it can never be said that the world little notes nor long remem¬ bers what they do for a living. Propmen start being Johnny-on-the-spot and Jack-of-all-trades several days before a picture goes into production. Their work is finished when the film goes to the cutting room, but they’re on the spot for years to come. Some fan in faroff Finland is apt to ferret out a flaw long after the studio has forgotten the picture was ever made. Prop-men must be as diplomatic as sec¬ retaries of state, as ingenious as Robin¬ son Crusoes, as inventive as Edison, and as energetic as perpetual motion contrap¬ tions. They are never permitted alibis or explanations; they deliver! But property-men, even though they won’t admit it, even to themselves, get their greatest delight out of unearthing errors in pictures made by other studios! COLUMBIA STUDIO'S efficient property department crew. Shown. left to right, are Al Woodford, George Taylor, Sy Shelley, Robert Brad field, James Crowe, Al Richard, Clarence Peete, William Black, George Rheim, Milton Green, Joseph Friedman, Frank. Tuttle, Everett Rich ardson, Ted Cummings, Joe Kish, James Miller, James Warner, Faye Babcock., Joe Eckley, George Ballerino, Dave Milton, Robert Priestly.