Planning - Props & Costumes

When Nicole and I started working through the planning process for Competitive, Much?, we quickly realized that props and costumes are just as important as camera angles and lighting when it comes to telling a story. Before I even started researching this, I assumed that costumes and props were just the stuff actors wear and hold, something you figure out last minute. What I found instead is that every visual detail in a film is a storytelling choice, and in a two-minute opening where we have no time to waste, those choices matter even more than in a full-length film.

According to Fiveable's Film Theory resources, props and costumes go beyond decoration; they drive plots, reveal character traits, and contribute to the overall composition of every frame. That changed how I approached this entire planning section. Nicole and I went back to our characters and asked: what would Audrey actually wear to a workout? What would Mattias have with him at a park? The answers to those questions shaped everything in this post.

We're also keeping our budget in mind throughout all of this. Nicole and I are student filmmakers working with limited resources, so one of our earliest decisions was to have our actors provide their own costumes wherever possible. I found through a Backstage article on costume design that actors tend to move more naturally and comfortably in their own clothes, which actually benefits us on camera. When someone is wearing something they own, it shows, and for a rom-com where we need Audrey and Mattias to feel like real teenagers, that authenticity is exactly what we're going for.

Costume Design

When I was thinking about costume design, I kept coming back to one question: what does this character's outfit tell us before they say a single word? From my research into rom-com conventions, I know that visual characterization is crucial in opening sequences because the audience is forming their first impressions. Audrey and Mattias have less than two minutes to feel like fully developed people, and their clothes are part of how we commuicate who they are instantly.

Audrey's Costume

For Audrey, Nicole and I landed on light blue flared athletic leggings, a matching tank top, a blue satin scrunchie, and white sneakers. Every part of this outfit was a deliberate choice. Audrey is a girl who cares deeply about how she presents herself, she's academic, detail-oriented, and preparing for her birthday in three days. The fact that her athletic wear is color-coordinated tells you something about her personality before she opens her mouth. She doesn't just throw on whatever is clean; she puts thought into even her workout outfits.

The blue color palette also reads as calm, focused, and put-together, which contrasts nicely with the chaos of the rivalry scene that's about to unfold. I thought about using red or pink since those are more traditionally rom-com colors, but I felt blue worked better for Audrey specifically because she's not someone who's thinking about romance at this point in the story. She's in workout mode, birthday prep mode, achievement award mode. The color reflects that.

The satin scrunchie is a small detail, but I think it matters. It's the kind of accessory that signals she cares about looking nice even while exercising. It adds to the "put-together" read without making her look unrealistically polished for a park workout.

Nadia Nicolas, who plays Audrey, is 16 years old, 5'1", and has two years of musical theatre experience. She'll be providing her own costume, which I think works really well for this role specifically. Nadia naturally has the expressive, energetic presence that Audrey needs, and wearing her own clothes means she'll be completely in her element physically. We're going to give her the costume description and let her put together something from what she already owns that fits the look. If she doesn't have something that works exactly, we can discuss adjustments, but I'm confident she'll be able to pull it together.

If Nicole and I decide to go with our alternate intro, which would show Audrey at home before heading to the park, eating healthy and checking her phone, we'd need a couple of additional casual tops or t-shirts from Nadia for those at-home scenes. The at-home wardrobe would be more relaxed than the coordinated park outfit, showing the contrast between Audrey comfortable at home versus Audrey presenting herself to the world. We haven't finalized the alternate intro yet, so this is still a tentative consideration, but it's something we want to plan for just in case.

Mattias's Costume

For Mattias, we went with black shorts, a white t-shirt, and his hockey stick. The simplicity of this was intentional. Where Audrey's outfit is coordinated and deliberate, Mattias's is casual and effortless. That contrast communicates their personalities before the argument even starts. Mattias doesn't overthink things the way Audrey does,  he just shows up in whatever he grabbed that morning, hockey stick in hand, completely unbothered.

The black and white also creates a nice visual contrast against Audrey's blue when they're in the same frame. I found in a StudioSuits article on costume design that color contrast between characters can visually reinforce the idea that they come from different worlds, which is exactly what we need for a rivals-to-lovers dynamic. Their conflicting color palettes will do a lot of narrative work without us having to spell anything out.

Evan Ventura, who plays Mattias, is 15 years old, 5'9", and has 2.5 years of acting experience. Like Nadia, he'll be providing his own costume. For Evan, the instruction will be simple: black athletic shorts, a plain white t-shirt, and his own hockey gear. I don't anticipate any issues here since it's a straightforward look that most teenage boys would have in their closet.

The height difference between Nadia (5'1") and Evan (5'9") is actually something Nicole and I have been thinking about as a visual element too. When they're standing next to each other arguing, the contrast in height adds to the comedic energy of the scene and also sets up the falling-into-arms moment more naturally. It gives the physical comedy more visual dimension.

Actors Providing Costumes

Beyond just the budget benefit, there are a few specific reasons why having Nadia and Evan bring their own clothes is actually the better choice for our film, not just the cheaper one.

First, actors are more physically comfortable and natural in their own clothing. This is especially important for Evan, who has to do the physical comedy sequence with the hockey stick and ball. Moving naturally is harder when you're in unfamiliar clothes. Second, personal clothing tends to be more worn-in and realistic looking than anything we could source or purchase, which fits our goal of making Audrey and Mattias look like actual teenagers rather than characters in costumes.

Third, it removes a logistical challenge from our already tight schedule. Nicole and I have three weeks to film, edit, and finalize this project before March 12, and both of us are juggling drama rehearsals, color guard, and Ramadan commitments. Not having to source, purchase, or coordinate costumes ourselves is genuinely helpful.


Props

Props in film serve two main purposes: they advance the plot, and they reveal character. StudioBinder's breakdown of movie props describes them as objects that characters interact with that carry narrative or symbolic weight. When I applied that framework to our opening, it became clear that we actually have few props, but the ones we do have are doing a lot of work.

Sports Equipment

The most important prop in our entire opening is the soccer ball that triggers Mattias and Audrey's chance encounter. Originally, we had planned to use Mattias's hockey stick and ball as the central objects of the rivalry scene; the ball causing the initial collision, the stick leading to the physical struggle. However, after further planning discussions, Nicole and I realized that approach created some logistical problems. A hockey player practicing on grass felt unnatural, and the small size of a hockey ball made the physical interaction with Audrey awkward and difficult to film.

Now, Mattias and Audrey run into each other at the park, but instead of a hockey-related collision, a ball kicked into the frame seemingly by a nearby child. They would wait a beat, look at each other, and then "tussle" on who gets to kick the ball back. This would show that the rivalry is so serious that they are both willing to fight over something as petty as kicking the ball back and be willing to look like a fool while doing so, increasing the comedic factor. This way, the ball flying towards the camera can be done easier, and them falling into each other's arms will be more natural, as tussling for a ball utilizes upper body movement. 

Nicole's Ball

For sourcing, we're fortunate that Nicole has a soccer ball from her childhood soccer days, a yellow one with blue and red designs that will stand out on camera. The size and bounce of the soccer ball make the encounter dynamic and fun, giving Evan and Audrey room to react physically in ways that feel authentic. We'll still have Mattias's hockey stick present as part of his character identity, VIP Fan Auctions' article on props in storytelling makes the point that a prop used consistently becomes an extension of identity, and the stick still signals "athlete" and "casual confidence" upon his entrance. But now the hockey stick isn't burdened with driving the entire physical comedy sequence.

Potential hockey sticks 

The soccer ball flying toward the camera will also be easier to execute safely and convincingly than our original hockey ball plan. We'll practice the sequence enough times that the timing looks controlled and intentional, not accidental or dangerous. Having the actual prop in hand well before filming day means we can use it during blocking rehearsals, ensuring both actors are comfortable with the physical comedy before cameras ever roll.

Audrey's Phone

Audrey's phone is the second key prop in our opening, and its importance is very specific: it's how we communicate the "Birthday: 3 Days" detail to the audience. The phone itself has a bright pink case with a tiger lily design, which fits Audrey's personality and aesthetic; it's feminine, a little bold, and personal. But what matters for the plot is the screen.

The "Birthday: 3 Days" notification needs to be legible on camera, which means we can't just shoot it casually. We'll need to plan a close-up or insert shot specifically for this moment, make sure the lighting hits the screen without creating glare, and probably set the phone's brightness higher than normal so it reads clearly. I found from my research on prop significance in film that when a prop functions as a plot device delivering information, which Audrey's phone does, the cinematography around it needs to be intentional. We can't leave this to chance on filming day.

The tiger lily case detail is also worth mentioning because it's a small character choice that adds texture. Audrey's phone case isn't just pink, it has a specific design that feels like something she'd pick out herself. It's the kind of detail that might not consciously register with viewers but contributes to the overall feeling that she's a real, specific person.

Kitchenware (Alternate Intro)

If Nicole and I decide to include the alternate intro showing Audrey at home before the park scene, we'd need some basic kitchenware for the healthy eating scenes at Nadia's house, like bowls, cutlery, a cutting board, that kind of thing. The purpose of these props would be to establish that Audrey is intentionally preparing for her birthday, eating well, and taking care of herself. It adds context to why she's then at the park working out.

For this, we'd rely on whatever Nadia already has at home rather than sourcing anything specific. The key is that it looks real and personal, not generic or staged. A bowl that looks like it belongs in a teenager's kitchen is more convincing than something we deliberately styled. This connects back to the same philosophy behind having actors provide their own costumes as authenticity comes from using things that people actually own.

We haven't confirmed whether we're using the alternate intro yet. Nicole and I are still refining the script and discussing whether the added context is worth the extra filming time it would require. But if we do go that route, the props situation is simple and manageable.

Shaky Details

The biggest open question right now is whether we're including the alternate intro. That decision affects both the costume and prop planning, specifically how many outfits we need from Nadia and whether we need to plan a separate filming setup at her house. Nicole and I want to lock this down as soon as we finalize the script so we can communicate the full picture to Nadia and Evan before our first rehearsal.

We also still need to confirm the Amazon order for the hockey stick and ball. We want to do this early so we have them before blocking rehearsals begin. If the order gets delayed or the product doesn't work for our needs, we need time to find an alternative.

Reflection

Going through this planning process made me realize how much thought goes into elements that seem simple on the surface. Before this, I probably would have shown up to filming and just had Evan bring whatever hockey stick he had and not thought twice about it. Now I understand that every prop and every costume choice is contributing to the story, and making those choices intentionally is what separates a film that feels considered from one that feels accidental.

What I'm most excited about is seeing the visual contrast between Audrey and Mattias on screen for the first time. I think the blue versus black and white palette, combined with the height difference between Nadia and Evan, is going to create a really strong image when they're in the same frame. The costumes are doing a lot of characterization work that I hope viewers will feel even if they can't articulate exactly why.

Having our actors provide their own clothes has genuinely made this easier to manage given everything else Nicole and I have going on. And knowing we can order the hockey props from Amazon with quick delivery takes one more logistical worry off the list. The next step is finalizing the script so we can communicate everything to Nadia and Evan and start moving toward our first rehearsal.

Links Used:

https://fiveable.me/introduction-to-film-theory/unit-6/set-design-costuming-props-narrative-tools/study-guide/209At50GSGfUlTHuBackstage — How to Become a Costume Designer for Film and TV
https://www.backstage.com/magazine/article/how-to-get-started-in-costume-design-70464/
https://www.studiosuits.com/blogs/articles/the-art-of-costume-design-exploring-the-creative-process
https://www.studiobinder.com/blog/what-is-a-movie-prop-definition/
https://www.amazon.com/street-hockey-stick/s?k=street+hockey+stick
https://www.amazon.com/street-hockey-set/s?k=street+hockey+set