Behind The Scenes: The Stories of Classic Movie Props

The Ruby Slippers (The Wizard of Oz, 1939)

In L. Frank Baum's original The Wonderful Wizard of Oz, Dorothy's shoes were silver, but for the 1939 film, production designer Adrian transformed them into ruby red to show off the new Technicolour technology, and stand out against the yellow brick road and emerald Oz.

The shoes were created by the Innes Shoe Company in Los Angeles, with pumps covered in thousands of hand-sewn red sequins to create a shimmering effect. The bows featured red glass beads and rhinestones to enhance their sparkle. Despite the Great Depression, the slippers cost $15-$20 each to create—a significant sum at the time.

Over the years, the ruby slippers were sold, lost, and stolen - becoming the subject of mystery. Today, at least four pairs are confirmed to exist, with one on display at the Smithsonian. In 2000, one pair sold for $2 million. In 2018, another pair were recovered in an FBI sting operation after they were stolen from the Judy Garland Museum.

The Burn Book (Mean Girls, 2004)

The Burn Book in Mean Girls is a scrapbook created by "The Plastics" to document rumors and insults. It needed to look both handmade and detailed, fitting the early 2000s high school aesthetic while capturing Regina George's stylish, superficial personality.

The production design team, led by Carol Spier, started with a basic scrapbook and transformed it with bright pink tones, bold lettering, and embellishments, creating a stylish yet sinister vibe. The props team filled it with handwritten insults, magazine clippings, gel pen doodles, and Polaroid photos, carefully balancing neatness and chaos to mimic high school work.

The production design team worked closely with the writers and director to ensure the Burn Book’s contents matched the humor and tone of Tina Fey's screenplay. Some pages were intentionally exaggerated to maintain the film’s PG-13 rating. The original Burn Book is likely stored in Paramount’s archives and has been featured in exhibitions of movie props.

The Bench (Forrest Gump, 1994)

The bench in Forrest Gump is the film's most iconic prop. The bench scenes were filmed in Chippewa Square in Savannah, Georgia. The square itself was chosen because of its picturesque Southern charm, and the tree-lined aesthetic that fit the tone of the movie.

The bench was not an antique, or a piece sourced from a park. It was designed specifically for the film by the prop team to fit the scene’s requirements. The bench had to be unassuming, to symbolize Forrest’s simplicity, and fit the aesthetics of the location and camera framing. The production team placed the bench in the square specifically for the shoot, and ensured it was positioned for ideal camera angles and lighting.

Once filming was complete, the bench became a piece of cinematic history. It is now housed in the Savannah History Museum to preserve its legacy. A replica bench is in place in the square to honor the film and accommodate visitors who want to recreate the famous scene.

The Briefcase (Pulp Fiction, 1994)

In Pulp Fiction, the suitcase serves as a classic "MacGuffin"—a plot device whose contents are never revealed. Carried by Jules (Samuel L. Jackson) and Vincent (John Travolta), the suitcase emits a captivating golden glow whenever opened.

Inspired by the 1955 film Kiss Me Deadly, the suitcase in Pulp Fiction was an ordinary Samsonite briefcase. The prop department added battery-powered, orange-gelled lights inside, creating the glowing effect. The interior was lined with reflective material to amplify the light, enhancing the suitcase's mysterious aura.

Director Quentin Tarantino heightened the suitcase’s mystique by never showing what’s inside. The actors’ reactions—ranging from awe to reverence—helped convey its importance. Fans have speculated its contents, with popular theories suggesting it holds gold, Marcellus Wallace’s soul, or even the diamonds from Reservoir Dogs.

Michael Myers’ Mask (Halloween, 1978)

The iconic Michael Myers mask in Halloween (1978) was the result of the prop department's ingenuity and the production team’s tight budget of just $300,000. Production designer Tommy Lee Wallace was tasked with finding a low-cost mask to embody John Carpenter’s vision of Myers as a faceless, emotionless force of evil.

Wallace purchased two masks from a costume shop: a clown mask and a $1.98 latex Captain Kirk mask, based on William Shatner’s face. The production team chose the Captain Kirk mask for its blank, inhuman features. Wallace transformed it by removing the eyebrows and sideburns, painting it stark white, and widening the eye holes to create a hauntingly hollow look.

This simple yet effective prop became one of horror’s most recognizable symbols, perfectly embodying the eerie, soulless essence of Michael Myers. Its low-budget origin highlights the creativity of the Halloween production team and their resourceful production designer.

The Red Leather Chair (The Matrix, 1999)

The iconic red leather armchair in The Matrix (1999) plays a central role in the "red pill or blue pill" scene, symbolizing choice and transformation. The high-backed Chesterfield armchair was chosen by the production designer, Owen Paterson, to bring timeless elegance to the gritty, futuristic aesthetic.

The prop team sourced the vintage chair from a second-hand store in Australia, where the film was shot. Its classical design contrasts sharply with the industrial sets, grounding the surreal moment in an air of authority and permanence.

The armchair’s presence perfectly aligns with the production team’s vision of blending old-world sophistication with the film’s modern, philosophical themes. It has since become a cultural symbol of transformation and depth, reflecting the meticulous work of the production designer and prop team in crafting The Matrix’s unforgettable aesthetic.

The Volleyball (Cast Away, 2000)

The idea for Wilson arose as a creative solution to showcase Chuck Noland's deteriorating mental state in Cast Away. Screenwriter William Broyles Jr. devised a “companion” for Chuck to externalize his loneliness. During pre-production, a production assistant smeared fake blood on a Wilson volleyball to mimic a bloody handprint, then added simple strokes to create a face. This spontaneous design resonated with the team and became Wilson’s iconic look.

The production team partnered with Wilson Sporting Goods to use their volleyball as the foundation for the prop. A volleyball was a practical choice, plausibly washing ashore in a FedEx package. Wilson Sporting Goods later capitalized on the film's popularity by selling replicas featuring the famous bloody handprint design.

One of the original Wilson props was auctioned for charity in 2001, fetching $18,400, cementing its place as one of cinema’s most memorable props.

The Rug (The Big Lebowski, 1998)

In The Big Lebowski, Jeffrey "The Dude" Lebowski’s quest for justice begins after two intruders assault him and urinate on his rug, which "really tied the room together." This incident propels The Dude on a chaotic adventure searching for compensation.

Set decorator Richard Johnson searched prop warehouses and antique stores in Los Angeles to find a rug that suited The Dude’s bohemian lifestyle. The props team chose a Persian-style rug with a subdued yet intricate pattern, striking a balance between visual appeal and the laid-back aesthetic of The Dude’s apartment. Its eclectic design subtly reinforced his mismatched, carefree existence.

The props team lightly distressed the rug to give it a lived-in feel, adding scuffs and fading while keeping it intact enough to justify The Dude's attachment. While the original rug hasn’t surfaced publicly, replicas have become fan favorites at events like "Lebowski Fest." .