Yves: As a store manager, you are responsible for the project's internal props and equipment warehouse. At best, you are the person who always knows what is in the warehouse, in what quantity and in what condition and where it is, or which items have left the warehouse and where. The core elements of the job are storage, packing and unpacking and documentation. While the colleagues in the department are mainly busy "organising" things, Store Managers manage these things in the background and quite independently of the rest of the department. Points of contact mainly arise, for example, when discussing upcoming deliveries or transport to the set. The most frequent contact is with the drivers who bring the items to the warehouse and with the dressers.
Aylin: For longer series projects with lots of long-term rentals, it's important to document the props from the various locations precisely during the preparation phase so that everything can be sent back to the right place when the film is finished. During the filming period, I usually also come to the set for the pre- and dismantling stages to keep track of the whereabouts of the items. Occasionally there is also time for minor repair and breakdown work.
Tom: Thank you for allowing me to comment on my duties as a Prop Driver - Set Dec driver here. I started as a production driver. After 2005, I became more and more interested in the equipment used in film and television. I was lucky enough to work as a set dec driver on MONUMENTS MEN in 2013. It was a huge film, very complex.
Through my work at Studio Babelsberg, I gained a lot of experience at stage construction in the first few years. It is important to read the script. This gives you an overview of what to expect.
On the one hand, as a prop driver you have to know the addresses of the rental companies and have a good relationship with their employees. On the other hand, it is also important to be skilled at craftsmanship. There are also purchases via classified ads or from companies. These can be large cupboards or even small items.
Communication with the equipment department employees is very important. All projects are different. There are films that are predominantly shot in a studio, but there are also projects based somewhere in the city or in the country. There is a lot to consider.
It is important to consider in advance whether I need to rent a van or a vehicle with a tail lift. If I have a lot to load and transport, I need helpers.
It is also important to have helpers or set dressers for the motifs.
I really appreciate working with the Store Manager and Art Department Coordinator. On the one hand, they relieve you of work, but on the other hand, they plan a lot of things in advance.
It's a nice job, a lot of collaboration with the other departments.
Florian: As a Set Dec Buyer, I am primarily responsible to the Set Decorators. Under their supervision and with their authorisation, I buy and rent furniture, materials, objects, items and art that we use as decoration for studio and location sets. In addition, I have specific things made. I have furniture built, upholstered, covered, curtains sewn, lamps made, etc. It is weighed up financially whether something can be found or whether it might have to be built for a special set.
This is usually done in close consultation with the Set Designers, as I can orientate myself on the construction plans of the sets and the corresponding dimensions.
Over the years, I have developed an extensive knowledge of furniture and furnishings throughout history from different eras. A buyer is also expected to know the landscape of the city they are working in and build working relationships with its shops, vendors and appropriate lenders.
My network means everything to me. My contacts with retailers and suppliers are very important to me and help me in my work every day. Without my contacts, I wouldn't be able to do my job.
If things have to happen very quickly, this can only be achieved through trust built up over a long period of time.
Because when trust is established, doors open to private collections, enchanted attics and dusty barns where I can search for treasures.
In the absence of the Set Dec assistants, I also take care of the organisation and delegation of the dressers and the scheduling of logistics.
For projects with several buyers, the set decorators divide up the sets and assign each buyer a specific set. A buyer is then responsible for each set, which ensures order and gives us a lot of autonomy.
In addition, constant dialogue with colleagues from other departments and the interfaces within your own team are particularly important:
Aesthetics & costs of the sets: Consultation with the set decorators / production designers
Plans / Construction / Painters: Agreements with the Art Department
Costs: Authorisations via the Accounting Department (digital authorisation systems / bank transfer / petty cash)
Filming locations on location & studio: consultation with the location manager
Transport and internal set dec budget: Arrangements with the Art Department Coordinator (team planning / customs / international transport etc.)
Purchasing and finding materials: Arrangements with shoppers and prop drivers
Assembly and dismantling of the sets: Consultation with set dressers
Warehouse and logistics: arrangements with store manager (When is something coming and where is it going?)