30 Amazing Behind the Scenes Photos From the Making of “Dragonslayer” (1981)

Dragonslayer is a 1981 American dark fantasy film directed by Matthew Robbins from a screenplay he co-wrote with Hal Barwood. It stars Peter MacNicol, Ralph Richardson, John Hallam, and Caitlin Clarke. It was a co-production between Paramount Pictures and Walt Disney Productions, where Paramount handled North American distribution and Disney handled international distribution through Buena Vista International. The story is set in a fictional medieval kingdom where a young wizard encounters challenges as he hunts a dragon, Vermithrax Pejorative.

About 25% of the film’s budget went into the dragon’s special effects. Graphic artist David Bunnett was assigned to design the look, and was fed ideas on the movement mechanics, and then rendered the concepts on paper. They decided early to emphasize flying, because the most important sequence is the final battle. Bunnett gave it a degree of personality, deliberately trying to avoid the creature from Alien, which he believed was “too hideous to look at.”

After Bunnett handed his storyboard panels to the film crew, the dragon design used a wide variety of techniques. The final creature is a composite of several different models. Phil Tippett of ILM finalized the design, and sculpted a reference model, which Danny Lee of Disney Studios closely followed in constructing the larger dragon props for close-up shots. Two months later, Lee's team finished a 16-foot head and neck assembly, a 30-foot tail, thighs, legs, claws capable of grabbing a man, and a 30-foot-wide (9.1 m) wing section. The parts were flown to Pinewood Studios outside London in the cargo hold of a Boeing 747.

Brian Johnson was hired to supervise the special effects, and began planning on- and off-set effects with various specialists. Dennis Muren, the effects cameraman, stated, “We knew the dragon had a lot more importance to this film than some of the incidental things that appeared in only a few shots in Star Wars or The Empire Strikes Back. The dragon had to be presented in a way that the audience would be absolutely stunned.”

After the completion of principal shooting, a special-effects team of 80 people at ILM studios in northern California worked eight months in producing 160 composite shots of the dragon. Chris Walas sculpted and operated the dragon head used for close-up shots. The head measured 8 ft in length. The model was animated by a combination of radio controls, cable controls, air bladders, levers, and by hand—thus giving the illusion of a fully coordinated face with a wide range of expressions. Real World War II-era flamethrowers were used for the dragon’s fire-breathing effects. The animals used for the dragon’s vocalizations included lions, tigers, leopards, jaguars, alligators, pigs, camels, and elephants.

Phil Tippett built a model for the dragon’s walking scenes. He did not want to use standard stop-motion animation techniques, and had his team build a dragon model that would move during each exposure, rather than in between, as was once the standard. This process, named “go motion” by Tippett, was tested with motion control in The Empire Strikes Back. To make the motion even smoother, they decided to use a motorized rod puppet with a computer program that recorded the creature's movements in motion as a real animal would move, which added motion blur and removed the jerkiness common in prior stop-motion films.

Ken Ralston was assigned to the flying scenes. He built a model with an articulated aluminum skeleton for a wide range of motion. Ralston shot films of birds flying to incorporate their movements into the model. As with the walking dragon, the flying model was filmed using go-motion techniques. The camera was programmed to tilt and move at various angles to convey the sensation of flight.

Elliot Scott was hired to design the sets of the film’s sixth-century world. He temporarily converted the 13th-century Dolwyddelan Castle into Ulrich’s ramshackle sixth-century fortress, to the surprise of the locals. He built the entire village of Swanscombe on a farm outside London. Although Scott extensively researched medieval architecture in the British Museum and his own library, he took some artistic liberties in creating the thatched-roof houses, the granary, Simon’s house and smithy, and Casiodorus’s castle, because he was unable to find enough information on their exact look. He built the interior of the dragon’s lair, using 25,000 cubic feet (710 m3) of polystyrene and 40 tons of Welsh slate and shale. The shots of the Welsh and Scottish landscapes were extended through the use of over three dozen matte paintings.

Nearly all of the outdoor scenes were shot in North Wales. The final scene was shot in Skye, Scotland.

The costumes were designed by Anthony Mendelson, who consulted the British Museum, the London Library, and his own reference files to evoke the designs of the early Middle Ages. They are roughly stitched and use colors that would have been possible with the vegetable dyes of the time. The costumes of Casiodorus and his court were designed of fine silk, as opposed to the coarsely woven clothes of the Urlanders.

The film received generally positive reviews from critics, but it performed poorly at the box office, grossing $14.1 million worldwide against a production budget of $18 million. It was nominated for the Academy Award for Best Original Score, which went to Chariots of Fire. It was nominated for a Hugo Award for Best Dramatic Presentation, again given to Raiders of the Lost Ark.

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30 Fascinating Vintage Photographs Capture Parisian Café Culture in the 1960s

Parisian café culture in the 1960s was iconic, vibrant, and central to Paris’s social fabric. Cafés were more than just places for eating and drinking; they served as cultural hubs where intellectuals, artists, and ordinary Parisians gathered to socialize, debate, and create. The 1960s in particular were marked by a spirit of social and political transformation, and cafés were the backdrop for much of it.

Paris had a long tradition of famous intellectuals frequenting cafés. Sartre and Beauvoir famously held court at Café de Flore and Les Deux Magots, which had also been the haunt of Hemingway and Picasso in earlier years. During the 1960s, these cafés were still associated with existentialism, but also saw a new wave of creatives—writers, filmmakers, and musicians exploring new forms of expression.

Cafés were also frequented by filmmakers of the French New Wave (Nouvelle Vague), who used them both as meeting places and film locations. Directors like Jean-Luc Godard and François Truffaut often filmed in Parisian cafés, embedding them as essential to the French cultural scene.

The atmosphere was typically casual, with a mix of artistic decor and classic Parisian charm. Café interiors featured round marble tables, Thonet bentwood chairs, and zinc countertops. Smoky rooms were common, with patrons lingering over espresso or wine.

Fashion trends of the era also influenced café culture, with patrons dressed in the style of the day: miniskirts, turtlenecks, leather jackets, and berets. French pop icons like Françoise Hardy and Serge Gainsbourg captured this stylish, rebellious spirit, and their music was often played in the background.

By the 1960s, coffee drinking habits began to shift. People enjoyed staying longer, ordering espresso, and treating cafés as an extension of their homes. This culture emphasized leisure over speed, and café terraces became popular for people-watching along the boulevards.

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30 Gorgeous Photos of Hedda Hopper in the 1920s and ’30s

Elda Furry (1885–1966), known professionally as Hedda Hopper, was an American gossip columnist and actress. At the height of her influence in the 1940s, over 35 million people read her columns.

A strong supporter of the House Un-American Activities Committee (HUAC) hearings, Hopper named suspected communists and was a major proponent of the Hollywood blacklist. She continued to write her gossip column until her death in 1966.

Her work appeared in many magazines and later on radio. Hopper had an extended feud with Louella Parsons, an arch-rival and fellow gossip columnist. Take a look at these gorgeous photos to see portraits of Hedda Hopper in the 1920s and 1930s.

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Rare Footage of Early Nirvana Rehearsing at Krist Novoselic’s Mother’s House in Aberdeen, Washington, 1988

It’s a rare thing to catch a band before they were famous – especially when the band is Nirvana and they’re still at the “playing at their parents house” phase of their career.

In 1988, Nirvana, then still an emerging band, often rehearsed at Krist Novoselic’s mother’s house in Aberdeen, Washington. Krist’s mom was known for being supportive of the band, and this early practice space was integral to their development.

The footage was filmed by Novoselic’s younger brother Robert, and features original drummer Chad Channing, not Dave Grohl.

The trio at the time—Kurt Cobain, Krist Novoselic, and Chad Channing—used the space to craft their early sound, blending punk with heavier, sludgier tones. Rehearsing in Krist’s mom’s house meant experimenting with volume, raw energy, and ideas that later would define the grunge movement. This setup was informal and gritty, emblematic of their early years when they were just honing their craft without knowing they’d soon be at the center of a cultural revolution.

45 Vintage Snaps of People at Halloween Parties From the 1970s

Halloween parties in the 1970s were vibrant and often reflected the decade’s eclectic culture. People embraced creative and sometimes DIY costumes, often inspired by popular movies, TV shows, and music. Classic monsters like vampires, witches, and ghosts remained popular, but there was also a rise in costumes inspired by the counterculture, such as hippies and rock stars.

Halloween parties were common, with themes ranging from haunted houses to disco-themed bashes, reflecting the era’s dance craze. Costume contests were popular, and people would often gather for games like bobbing for apples or ghost stories.

The music at Halloween parties included everything from rock ‘n’ roll to disco, with songs that evoked spooky themes. The popularity of artists like Alice Cooper, whose theatrical performances often included Halloween themes, also influenced party atmospheres.

Overall, Halloween in the 1970s was a lively mix of traditional customs and the innovative spirit of the era. These fascinating photos were taken by Nick DeWolf that show portraits of people at Halloween parties at Hotel Jerome, Aspen, Colorado from 1975 to 1979.

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Extraordinary Black and White Photos Captured Winter Scenes in Japan in the 1950s and 1960s

Asano Kiichi (1914–1993) was born in Kameoka, a rural farming community in Kyoto Prefecture, at an early age Asano’s family relocated to Kyoto City and opened a confectionery shop while he was in grade school. Kyoto was to become Asano’s permanent home and growing up there he was heavily influenced by Kyoto’s arts and traditions.

His passion with photography began while in high school when he saved up enough money to buy a camera. Soon after he began photographing Kyoto, a subject that became his lifelong obsession. This was when historical Kyoto was being transformed into a modern city and Asano documented it’s old ways which were rapidly fading away.

In the 1950s he did his most important work including essays on Kyoto’s geisha in the Gion district and an essay on Japan’s snow country which was also intended to record a disappearing way of life. For this Asano spent three years photographing rural life and traditions in Echigo, Noto, and the Tohoku regions.

Throughout his life he received many awards and citations and was a lifetime member of the Japan Professional Photographer's Society. He also published several books including; Snow Country, Nihon No Sakura, Invitation to Japanese Gardens, and the multi book set Splendors of Kyoto Through the Year. His works are held in the permanent collections of many museums including the Tokyo Metropolitan Museum of Photography and the San Francisco Museum of Modern Art.

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30 Vintage Photos of a Young and Beautiful Grace Slick of Jefferson Airplane in the 1960s

Grace Slick (born Grace Barnett Wing; October 30, 1939), a powerhouse vocalist and songwriter, was a central figure in the 1960s counterculture and psychedelic rock scenes, especially known for her work with Jefferson Airplane. She joined the band in 1966, bringing with her two iconic songs: “White Rabbit” and “Somebody to Love.” Both became anthems of the era, fueled by her rich, distinct voice and her fearless, commanding stage presence.

Her look in the 1960s—often featuring long, dark hair, bold eyeliner, and eclectic, bohemian outfits—reflected the rebellious and free-spirited vibe of the times. She was known for her outspoken nature and rebellious stance, which set her apart as a woman in a male-dominated rock world. Along with her music, Slick also advocated for social and political change, a sentiment that resonated deeply with her audience during the civil rights movement, anti-war protests, and the countercultural revolution.

Her influence extended beyond her vocals; she helped define the San Francisco sound, a blend of rock, folk, and psychedelia that left a lasting impact on the music industry. Here’s a collection of 30 vintage photos of a young and beautiful Grace Slick in the 1960s:

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40 Beautiful Studio Portraits of Romanian Women From the Early 20th Century

In the early 20th century, Romanian women’s appearance reflected a mix of traditional and modern influences, shaped by regional customs, socioeconomic status, and cultural changes.

Many rural women wore traditional folk costumes, characterized by vibrant colors and intricate embroidery. Headscarves or traditional hats were commonly worn, often made of wool or cotton, reflecting local styles.

In urban areas, women began to adopt Western fashion trends. This included simpler, more tailored dresses that emphasized the waistline and featured shorter hemlines compared to traditional attire. Accessories such as gloves, hats, and jewelry became popular among women in cities, showcasing a more cosmopolitan lifestyle. Hair was typically worn long and often styled in braids or updos. In urban settings, women might adopt more modern hairstyles.

Here below is a collection of beautiful photos from Costică Acsinte that shows portraits of Romanian women in the 1920s and 1930s.

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A Four-Man-Trip on an Excelsior 7 in 1913

Pictured here is Toronto Canada native, C. McDonald on his Excelsior 7. Notice that he is carrying three passengers with him, partially on the motorcycle and partially on the wicker sidecar. The four men made the 40 mile trip from Toronto to Hamilton to participate in a motorcycle hillclimb in the summer of 1913. Traveling at 20 miles per hour, it was a dusty four hour round trip.

In 1913, the Excelsior was the hot motorcycle to own. Just a few months earlier in December of 1912, an Excelsior became the first motorcycle to break the 100 miles per hour. The “7” in the model’s name referred to the seven horsepower output of the engine. That engine was typical of it’s day, being a F-head style 61 cubic inch v-twin. This engine was mated to a single speed transmission and stopping was accomplished by a rear coaster brake.

According to the photo, this motorcycle was actually entered in some events. It’s hard to believe that it could have completed a hill climb with four riders, but perhaps that’s how they got the slowest time award.

(via Riding Vintage)

Beautiful Photos of Carole Lombard During the Filming of ‘White Woman’ (1933)

White Woman is a 1933 American pre-Code drama film directed by Stuart Walker and starring Carole Lombard, Charles Laughton, and Charles Bickford. The screenplay concerns a young widow who remarries and accompanies her husband to his remote jungle rubber plantation. It is based on the 1933 Broadway play Hangman’s Whip, written by Norman Reilly Raine and Frank Butler.

One of hundreds of Paramount films held in limbo by Universal Studios, Universal gained ownership of Paramount features produced between 1929 and 1949. Paramount remade the film in 1939 as Island of Lost Men, with Anna May Wong, J. Carrol Naish and Broderick Crawford in the roles originated by Lombard, Laughton and Bickford. It was directed by Kurt Neumann.

Take a look at these vintage photos to see portraits of Carole Lombard during the filming of White Woman in 1933.

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40 Bodacious Behind the Scenes Photos From the Making of “Bill & Ted’s Excellent Adventure” (1989)

Bill & Ted’s Excellent Adventure is a 1989 American science fiction comedy film directed by Stephen Herek and written by Chris Matheson and Ed Solomon. The first installment of the Bill & Ted franchise, it stars Keanu Reeves, Alex Winter and George Carlin. It follows Bill (Winter) and Ted (Reeves), who travel through time to assemble historical figures for their high school history presentation.

Herek screened between 200 and 300 actors for the main roles, asking actors to try for both parts during auditions. Pauly Shore and Gary Riley were among the hundreds of actors considered for the role of Ted, while Matt Adler, River Phoenix, Donovan Leitch, Gary Riley, Sean Penn and then-upcoming actor Brendan Fraser reportedly auditioned for Bill.

Keanu Reeves was one of the first to audition, and Herek quickly identified him as their Ted, making much of the rest of casting to find a match against Reeves. Alongside Reeves, 24 actors were called back and auditioned in various pairs to find a good chemistry. On that day, Reeves was one of the first to arrive along with Alex Winter, and while waiting for the auditions to start, found out they had a lot of personal details in common, such as a common interest in bass guitar and motorcycles. They quickly developed a rapport between each other during auditions, which earned them the title roles. A longstanding urban legend has it that Reeves auditioned for Bill and Winter for Ted. According to Winter, the story emerged because the characters are so similar, and even he and Reeves sometimes became confused about who was who.

Through rehearsals, Winter and Reeves worked on developing their Bill & Ted characters to move them away from being stereotypical comedic slackers and insert sincerity and other more human elements into them. While they developed mannerisms outside of the script, influenced partially by British comedians like Peter Sellers and Spike Milligan, the pair kept to the dialog written by Solomon and Mathseon, with Winter calling it “very floral, so paradoxical to how you think dumb Valley guys would speak.” Winter said that to develop Bill’s character, he borrowed from the looks and trends along Venice Beach, California, where he had been living, including wearing a baseball cap backwards and pulling part of his hair through that opening.

Winter described the casting of George Carlin as Rufus as a “very happy accident.” The role of Rufus had not been established when filming started. Herek stated that their intention was to have Eddie Van Halen as Rufus, given the frequency of Van Halen references in the screenplay, but this was not possible because of the low budget for the film. They started looking at other actors who would fit the rock motif, making a short list that had included Ringo Starr, Roger Daltrey, Sean Connery, and Charlie Sheen. They soon recognized that no one on this list was a comedian, except for perhaps Starr. Producers Scott Kroopf and Bob Cort had just finished filming Outrageous Fortune, which co-starred George Carlin, and, with the film’s production nearly complete, were able to get him to complete filming.

The film was shot on a US$8.5 million budget over a period of 10 weeks, including two weeks in Italy. As Herek was going after the same comedic approach to history as in Monty Python and the Holy Grail, they brought in its production designer, Roy Forge Smith, for this film. Principal filming was shot in 1987 in the Phoenix, Arizona and Tempe, Arizona metropolitan areas. Many scenes were filmed in and around Scottsdale’s Coronado High School. Coronado’s auditorium was torn down during 2005-07 renovations, but its unique roof and intricate exterior mosaic, seen in an opening scene when Bill and Ted leave school in a red Mustang, was saved and moved, piece by piece, to the new auditorium. The interior shots of the auditorium were filmed inside the East High School auditorium, which was in Phoenix on 48th Street just north of Van Buren. East High School was demolished in 2002 as part of a redevelopment project. The production also shot a sequence on the Western Street on the back lot of Southwestern Studio in Carefree, Arizona, as well as the scenes set in the future.

The scenes at the “Waterloops” water park are a combination of establishing shots at Raging Waters in San Dimas and shots with the actors at Golfland Sunsplash in Mesa, Arizona. Because of the limited budget, they could not close down the waterparks for filming, and thus, all those in the background of these shots were paying customers to the waterparks on those days. The bowling alley was a Fair Lanes-branded alley at that time but is now the AMF Tempe Village Lanes on Rural Road at SR 360 (now signed as US 60), three miles south of Arizona State University. The mall was Phoenix Metrocenter, between Peoria and Dunlap Avenues at Interstate 17. It closed on June 30, 2020. The Circle K store is at the intersection of Southern and Hardy in Tempe. An empty office building in Scottsdale served as the police station.

Additional filming took place at selected locations in Italy, including Odescalchi castle standing in as the Evil Duke’s castle.

Bill & Ted’s Excellent Adventure received positive reviews and was a modest box office success, grossing $40 million against a $10 million budget. Winter and Reeves reprised their roles in two sequels: Bill & Ted’s Bogus Journey (1991) and Bill & Ted Face the Music (2020). Below is a gallery of 40 bodacious behind the scenes photos from the making of Excellent Adventure:

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