The prop designers are the masters of the objects that make us believe in a universe. The demands placed on them require a lot of imagination and ingenuity. Nothing is out of the ordinary, everything is calculated and thanks to her talent everything is possible. Without accessories there would be no tests Big Brother Celebrities still closed Get me out of here!no memories of true natureno experiments impressively or games Little tanners still closed silence we playno madness on cheater. Shedding light on this profession through the eyes of three women who, if we are not talking about fiction, do a good job of illustrating the versatility of the task.
Marilyne Lachance, cook props man Little tanners
Photo provided by Marilyne Lachance
Marilyn Lachance
Originally an actress, Marilyne discovered the props and scenery department while recording episodes of Virginie in Radio-Canada’s basement. After working as an assistant artistic director in advertising, as a content researcher, and then as a temp worker, she invested full-time as a props master at La Magic des Stars, Kino Gala Québec, and the youth series. On the set of Petits tannants, she and her colleague Catherine Roy create everything that small hands can reach.
Photo provided by ICI Télé
The little tanners
“I love children and I always have to anticipate their reactions when designing the elements. If they throw the object in the air, they bump it, they can fall, everything has to be nice and safe, she explains. We want color, let it bubble.
When we receive the scenario, a needs analysis is performed. From there I can think, create, make. We produce and process more than just buying or renting. I love it because I can do everything with it: from the sewing machine to the drill! To evoke reactions, we often refer to well-known games that we create from A to Z: a memory game or a ninja game for example. And for the final game, both boxes must be enticing. Whether it takes the cotton candy machine or the dishwasher is up to the child.”
Photo provided by Véro Boncompagni
The little tanners
On each admission day, Marilyne and Catherine set up and took down three games and questionnaires for three children with the help of technicians. In between, everything needs to be put back in order, no matter what the mess. “Whether it’s popcorn everywhere or thousands of balls, everything has to be put in order again. You must have the right tools, be responsive and fast. Everything has to be networked and fair.”
Fridays at 8 p.m. on ICI Télé
Amy Keith, Artistic Director and Prop Designer from true nature
Photo courtesy of Amy Keith
Amy Keith
Amy enjoys telling stories about the universes and elements she creates. Coming from the theater, she has worked in documentaries as well as web series and cinema. We can see his work in the programs Si on s’aime, Moi, je mange and especially in La vrai nature since its beginnings.
“I like to have a scenario, a concept. Telling a story anchors me. When we switched chalets, I was able to rethink the concept and cling more to Jean-Philippe [Dion] through the room and the objects that really belong to it. Since he loves gardening, there are many accessories in the workshop that belong to him. There are things that are part of the show’s signature, the boat, the candles at dinner, the note on the door that we get stuck on even though the location is more modern.
Screenshot provided by production
true nature
“It is important to know that this is a job that depends on the availability of others. If you find an object on Kijiji in Repentigny and the person isn’t free until Monday evening, you have to go there, explains the man who also teaches scenography at the university. I usually get the list of requirements two weeks before a shoot. It is produced and researched. We have resources, specialists, we know where to look. We travel far to find a specific element. I remember we had Katherine Levac record her mother on disc. It was only made in Alberta. You need to plan the delivery time. This is where disappointment occurs when the deadlines are too tight.
“With Vintage, there are more inquiries and therefore more things for sale. A 1981 Grendizer is easier to find than it used to be, but more expensive. Vinyls, everyone wants them now. They used to be found at flea markets in the eastern townships for $2. But the Offenbach of the ’70s, everyone wants it, so the price has changed. The challenge is in the things that people don’t remember. Consumer distribution catalogs are often mentioned. I found one from the 90s for Anne-Elisabeth Bossé. And my colleague Alizée has already recreated an untraceable bag of Maple Leaf chips from the 1950s.
Photo provided by Eric Myre
true nature
“I spend an average of an hour per accessory. If I can find an object in Dollarama, I take the road to Laprairie for another one, which can take three hours in traffic. We have three guests per show for which we can have around ten objects. Add to that the accessories for the activity, things missing from the kitchen, a vintage fondue dish for the meal, pumpkins to put on the table in the fall, decorations for every place, it takes research and organization.
Finesse, endurance and attention to detail, as Amy demonstrates.
Sundays at 9:30 p.m. on TVA
Dominique Massé, prop master at Impressively!
Photo provided by Télé-Québec
Dominique Masse
The science show is entering its 14th season, as is Dominique, who works there full-time. In the few weeks she’s free, she’ll work on other sets, including 100 Genies, Star Académie and The Masked Singers.
“There are five of us in the team and everyone has a different background, whether in geo, communication or scenography. We are involved in the process from the start. We get sheets of the experiment ideas that Martin Carli and the research team came up with, then we think about the setup and start testing.”
Photo provided by Télé-Québec
impressively
“I can tell you that what you see on YouTube is very often fake. We take between half a day and three days per experiment to ensure feasibility. Nothing is left to chance. Not to mention the beauty of the experience, which is also important. Everything is prepared in the workshop. We have a real Ali Baba cave! We have carpenters and patenters on the team. Engineers, Doctors of Chemistry and Mechanics to whom we can turn and who can answer our questions. You learn a lot without a scientific background.”
And what is the biggest challenge?
“The challenge is to make modules that can be disassembled as we have to move everything around the studio. We shoot in front of an audience so we have 5-7 minutes to build an experience and get everything up and running. We’re doing a rehearsal so the director can see where to set up the cameras. We record four shows a day, so seven experiments and five games. Everything must be perfect. We have a clean look, licked, in transparency. We spend a large part of the day with cleaning products. We always manage to meet the requirements by sometimes adjusting them a bit. The light experiments are still the most difficult. Because we even managed to lift a car with a lock of hair!”
Monday to Thursday 7 p.m. on Télé-Québec. Even better Fridays at 6 p.m. on Télé-Québec