Are You Over-Engineering Props for Your Film? Why ‘Shoot Before They Break’ Beats ‘Build to Last’

The Pitfall of Overreaching Ideals

In creative endeavors, I’ve learned that producing something—even if it’s imperfect—is far more rewarding than getting stuck in the pursuit of unattainable perfection.

When I first attempted filmmaking as a high school student, I had grand ambitions but lacked the skills and experience to realize them. Inevitably, my projects were abandoned midway. It wasn’t until my third year of college that I completed my first feature-length adventure film, The Legend of the Crystal Skull. I treated it as a “once-in-a-lifetime effort” and poured all my energy into it.

Through this journey, I learned that while aiming high is commendable, it becomes counterproductive if it prevents completion. This lesson applies not only to the overall project but also to prop-making.

Props are Meant to Break

Props can range from small on-screen items to large, intricate constructs like mechanical contraptions—or even the main creature itself. Being drawn to “craft-heavy cinema,” I’ve often invested significant effort in props. For The Legend of the Crystal Skull, for example, I built:

• Miniature boats
• Life-sized backpacks
• Miniature ruins and altars
• A crystal skull
• An aquatic creature for a cave scene
• Mummified dinosaur fossils
• A life-sized elder mannequin
• Pterosaur miniatures and a full-sized version
• Three types of primary monster miniatures

Creating these props consumed the majority of my filmmaking energy, as they were essential to the narrative. However, I’ve realized that hand-made props are inherently fragile. Focusing too much on durability means dedicating additional time and resources to their construction, which isn’t always worthwhile. Even durable props break eventually, especially since filming requires constant handling.

Finding Balance Between Craft and Cinematic Needs

After completing a few projects, I came to a surprising realization: props that were over-engineered for durability weren’t necessarily more effective on-screen.

For example, a well-built monster miniature might look great, but its screen time is usually limited by the storyboard. Extending its screen presence often reveals its flaws, and I’d regret the excess energy spent on making it. In contrast, props that were hastily assembled or even falling apart during filming often performed just as well (if not better) after being cleverly shot to hide their imperfections.

Conclusion: Props as a Collaboration with Filming

Film props only need to look good during the moment of shooting. Striving for structural perfection can lead to over-quality designs that slow down production. Instead, adopt the mindset that “props are completed during filming,” balancing effort with practicality to maintain a steady production pace.