27 Amazing Photos of Mel Brooks on the Set of “High Anxiety” (1977)

On the set of High Anxiety (1977), Mel Brooks pulled off a masterclass in cinematic parody by doing something most comedians wouldn’t dare: he treated the source material with absolute, straight-faced reverence. As his first film pulling triple duty as director, producer, and speaking lead (playing the acrophobic psychiatrist Dr. Richard Harpo Thorndyke), Brooks was determined that the film shouldn’t just mock Alfred Hitchcock, it had to look like a Hitchcock film.

To capture the master of suspense’s signature style, Brooks hired veteran cinematographer Paul Lohmann and special effects legend Albert Whitlock. On set, Brooks was remarkably disciplined. He routinely watched classic Hitchcock films with his crew before shooting to study the precise camera placement, dramatic tracking shots, and high-contrast lighting.

Brooks famously noted: “I watch the kind of film we're making with the DP, so he knows not to be frivolous. He's got to get the real lighting, the real texture... What does it feel like? How does he light them? How long is a scene? What is the cutting?”

This attention to detail is why the set-pieces—like the tracking shot that literally smashes through a window pane, or the towering, dizzying heights of the Hyatt Regency San Francisco—feel incredibly authentic to the films they are spoofing (Vertigo, Psycho, Spellbound, and The Birds).

The famous parody of the shower scene features a frantic bellhop attacking Brooks with a newspaper, leaving ink running down the drain instead of blood. The high-strung bellhop was played by none other than a young Barry Levinson, who was also a co-writer on the film.

Following production, Brooks hosted a private preview screening for Hitchcock. When the film ended, Hitchcock silently walked out of the room, leaving Brooks terrified that the director hated the spoof. Days later, Hitchcock sent Brooks a case containing six magnums of rare 1961 Château Haut-Brion wine. It included a famous note validating the comedian’s effort: “A small token of my pleasure, have no anxiety about this.”

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Jayne Mansfield Photographed Departing by Helicopter to Rotterdam on October 11, 1957

On October 11, 1957, Hollywood star Jayne Mansfield made a legendary, highly publicized promotional visit to Rotterdam, Netherlands, arriving via a United States Air Force helicopter from Amsterdam. Her action-packed day became a sensational moment in Dutch pop culture and military history.

Mansfield boarded a USAF helicopter in Amsterdam. Photographers and crowds swarmed the landing area as she stepped off the aircraft. True to her signature style, she balanced Hollywood glamour with the cool autumn European weather, wearing a tailored, textured tweed skirt suit paired with dark gloves and a matching dark collar overlay.

She was welcomed aboard the American destroyer USS Massey (DD-778), which was docked in Rotterdam at the end of its North Atlantic cruise. The crew named the 24-year-old actress an honorary shipmate. Later that day, Mansfield visited the iconic Het Kasteel stadium to perform the ceremonial kickoff for a soccer match between Sparta Rotterdam and DOS Utrecht.

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Viviane Fauny: The Ethereal Muse of 1970s High Fashion

Active in the late 1960s and early ’70s, Viviane Fauny was a striking French fashion model who beautifully captured the free-spirited, sophisticated aesthetic of her era. With her classic European features, elegant posture, and sleek, pin-straight hair, she became a frequent face in prominent fashion magazines like Vogue Paris.

Fauny was particularly celebrated for her collaborations with iconic designers of the time, most notably Emilio Pucci, whose bold, psychedelic prints and fluid silk designs perfectly complemented her statuesque silhouette. Photographed by legendary figures such as Franco Rubartelli, her imagery defined the transition into 1970s high fashion, marrying bohemian fluidness with high-society glamour.

Through these timeless frames, Viviane Fauny’s captivating presence and effortless French elegance shine as bright as ever. Dive into this curated collection and experience the true golden age of late 1960s and early 1970s high fashion.

Viviane Fauny wearing a wide felt hat set far back on the head with a black satin ribbon tied under the chin by Castillo, photo by Irving Penn, Vogue, September 15, 1967

Viviane Fauny in make-up by Rafaella Moro for Revlon, photo by Gian Paolo Barbieri, Vogue Italia, April 1968

Viviane Fauny in black crêpe bolero embroidered with gold and silver braid and vivid beads, over white crêpe shirt and black crêpe skirt by Mary McCarthy for Larry Aldrich, photo by Irving Penn, Vogue, February 1, 1969

Viviane Fauny in black silk organza dress with full-blown sleeves, a plunging neckline and high waist wrapped in datin by Chester Weinberg, photo by Irving Penn, Vogue, February 15, 1969

Viviane Fauny in colorful print dress in Qiana satin fabric with a deep V-neck and wide sash-tied waist by Mollie Parnis, photo by James Moore, Harper's Bazaar, March 1969

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20 Striking Photos of Kathy Bates on the Set of “Dolores Claiborne” (1995)

Dolores Claiborne (1995) is the Stephen King adaptation where Kathy Bates delivers what she has called her favorite performance of her career. She plays the titular character—a tough, no-nonsense housekeeper on a remote Maine island—opposite Jennifer Jason Leigh as her estranged daughter. King actually wrote the original 1992 novel with Bates in mind after being thoroughly impressed by her Oscar-winning role as Annie Wilkes in Misery (1990).

Filmed throughout Nova Scotia in 1994, the production demanded rigorous preparation from Bates due to the complex timeline shifts. She had to seamlessly alternate between playing Dolores as a 35-year-old and a 65-year-old character.

Director Taylor Hackford brought in a movement expert to help Bates stiffen her deportment and realistically embody the physical toll of aging for the later timeline. A dialect coach worked closely with Bates on set to perfect a authentic, soft Maine accent featuring elongated vowels and soft “r” sounds. Top-tier wig and makeup artists were flown in from Italy specifically to handle her dramatic age transformations under the harsh, stylized cinematography.

Unlike many standard Hollywood shoots, Bates noted that the set of Dolores Claiborne offered rare artistic freedom. She praised Taylor Hackford as a true “actor’s director” who allowed months of preparation and consistently ensured she had every resource required to tap into the dark, heavy themes of domestic and spousal abuse.

The film was released by Columbia Pictures on March 24, 1995 and was a sleeper hit, grossing $46.4 million worldwide on a $13 million budget and little promotion. It was well received by critics, with the performances of Bates and Leigh being especially praised. In 2014, Time named the film among the top 10 greatest Stephen King film adaptations.

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1957 Bentley S1 Continental Fastback Sports Saloon: The Pinnacle of British Elegance

The 1957 Bentley S1 Continental Fastback Sports Saloon is widely regarded as one of the most beautiful and desirable postwar British grand tourers ever built.

Crafted in extremely limited numbers by coachbuilder H.J. Mulliner, it featured a sleek aerodynamic fastback body with graceful flowing lines and a distinctive low roofline. Powered by a refined 4.9-liter straight-six engine, the Continental delivered smooth performance while offering supreme comfort and effortless long-distance cruising.

Renowned for its exceptional coachbuilt quality and understated luxury, this model represents the pinnacle of British automotive artistry during the golden age of bespoke coachbuilding. These magnificent photos beautifully capture the timeless elegance, flowing proportions, and aristocratic presence of the 1957 Bentley S1 Continental Fastback Sports Saloon, a true masterpiece of British engineering and design.

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Vogue Studio Photography From the Late 1940s and Early 1950s

Vogue studio photography in the 1940s and 1950s marked a golden age of fashion imagery, transitioning from dramatic, theatrical setups to minimalist, graphic modernism. Driven by legendary photographers and post-war cultural shifts, the controlled environment of the photo studio became a laboratory for high art, haute couture, and innovative lighting.

The late 1940s moved away from wartime fabric rationing toward Christian Dior’s extravagant “New Look” of 1947, featuring ultra-feminine, cinched-waist silhouettes that required wider, more grand studio framing. Compositions shifted away from the cluttered, theatrical prop sets of the 1930s toward clean, minimalist paper backdrops that emphasized pure silhouette, form, and line.

Photographers heavily experimented with optical illusions, mirrors, sandwich printing, and avant-garde darkroom techniques to turn clothing into abstract art. While black-and-white dominated serious photography, Vogue pioneered technical masterclasses in early color processing, utilizing rich palettes to capture the luxurious textiles of haute couture.

While the studio remained the anchor for pristine couture documentation, the early 1950s laid the groundwork for a major industry shift. Photographers like Norman Parkinson and later William Klein began spilling out of studio confines onto bustling city streets and New York rooftops, blending high-fashion elegance with raw, spontaneous photojournalistic realism.

Lucky is wearing a coat and hat by Balenciaga, photo by Vogue Studio, Vogue, Paris, November 1951.

Jackie Stoloff is wearing a beautiful evening dress of shirred, black chiffon and overlaid with black lace by Paquin, photo by Vogue Studio, Vogue, Paris, September 1950.

Model is wearing a short jacket and hat in chestnut Astrakhan fur by Jacques Heim, photo by Vogue Studio, Vogue, Paris, September 1950.

Régine Debrise is wearing a tailored suit from Hermès, hat by Legroux Soeurs, photo by Vogue Studio, Vogue, Paris, April 1950.

Régine Debrise is wearing a Lesur wool coat by Jacques Griffe, photo by Vogue Studio, Vogue, Paris, April 1950.

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34 Amazing Photos of Isabelle Adjani on the Set of “The Story of Adèle H.” (1975)

On the set of The Story of Adèle H. (1975), 20-year-old Isabelle Adjani delivered a hauntingly intense, consumed performance that director François Truffaut described by saying, “She acts as though her life depended on it.” Filming the real-life descent into madness of Victor Hugo’s daughter, Adjani’s raw vulnerability and the demanding atmosphere of the production created a legendary, yet deeply exhausting, on-set experience.

Filming occurred from January to March 1975, primarily on location in Guernsey (Channel Islands) for the Halifax scenes, with Barbados sequences shot on Île de Gorée in Senegal. It was an intense shoot.

Adjani was known for her dedication and method-like approach. She reportedly screamed in the shower at night to strain her voice for the role and immersed herself fully, often avoiding rehearsals. Truffaut described the experience as challenging, calling it “daily suffering” for him and “almost an agony” for her due to her intense commitment (he also developed feelings for her, which she rebuffed). He praised her genius and total devotion to the craft.

The production emphasized close-ups on Adjani’s face and expressions, with cinematography by Nestor Almendros creating a moody, intimate atmosphere (often dark or earth-toned lighting to match her character’s turmoil).

Photos from the set typically show a young, strikingly beautiful Adjani with long dark hair, often in period costumes (Victorian-style dresses, bonnets, or simpler attire reflecting Adèle’s declining state), alongside Truffaut directing. She appears focused, ethereal, and sometimes haunted even off-camera, embodying the role’s emotional weight.

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