A young wizarding apprentice is sent to kill a dragon which has been devouring girls from a nearby kingdom. Hal Barwood , Matthew Robbins. What is Emily Mortimer Watching? Roleplay Society Potential Watches.
Share this Rating Title: Use the HTML below. You must be a registered user to use the IMDb rating plugin. What To Name Your Dragon? Nominated for 2 Oscars. Learn more More Like This. Dennis Quaid, Louis Gossett Jr. The Last Starfighter Jones, Melody Anderson, Max von Sydow. Conan the Barbarian Edit Cast Cast overview, first billed only: Casiodorus Rex Albert Salmi Princess Elspeth Emrys James Valerian's Father Roger Kemp Brother Jacopus Ken Shorter Edit Storyline A King has made a pact with a dragon where he sacrfices virgins to it, and the dragon leaves his kingdom alone.
It was a magical time but darkness rule the land. A young apprentice sorcerer faces a terrifying quest - he must destroy the fire-breathing Vermithax. For he is the. Vistasonic some 35 mm prints Dolby 35 mm prints 70 mm 6-Track 70 mm prints. Edit Did You Know? Dragonslayer-themed stories are also sometimes seen as having a chaoskampf theme - in which a heroic figure struggles against a monster that epitomises chaos. A dragonslayer is often the hero in a " Princess and dragon " tale. In this type of story, the dragonslayer kills the dragon in order to rescue a high-class female character from being devoured by it.
This female character often then becomes the love interest of the account. There are, however, several notable exceptions to this common motif. In the legend of Saint George and the Dragon , for example, Saint George overcomes the dragon as part of a plot which ends with the conversion of the dragon's grateful victims to Christianity, rather than Saint George being married to the rescued princess character. After slaying the dragon, Sigurd drinks some of the dragon's blood and thereby gains the ability to understand the speech of birds.
He also bathes in the dragon's blood, causing his skin to become invulnerable.
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Sigurd overhears two nearby birds discussing the heinous treachery being planned by his companion, Regin. When he spreads the ashes over the fiery lake, the wizard is resurrected within the flames. Ulrich reveals that his time is short and that Galen must destroy the amulet "when the time is right". The wizard then transports himself to a mountaintop, where he summons a storm and confronts Vermithrax. After a brief battle, the monster snatches the old man and flies away with him. Cued by Ulrich, Galen crushes the amulet with a rock.
The wizard's body explodes and kills the dragon, whose corpse falls out of the sky. In the aftermath, villagers inspecting the wreckage credit God with the victory. The king arrives and drives a sword into the dragon's broken carcass to claim the glory for himself. As Galen and Valerian leave Urland together, he confesses that he misses both Ulrich and the amulet. He says "I just wish we had a horse.
According to Hal Barwood, he and Matthew Robbins got the inspiration for Dragonslayer from The Sorcerer's Apprentice sequence in Fantasia , and later came up with a story after researching St. George and the Dragon. Barwood and Robins rejected the traditional conceptions of the medieval world in order to give the film more realism: Instead we set out to create a very strange world with a lot of weird values and customs, steeped in superstition, where the clothes and manners of the people were rough, their homes and villages primitive and their countryside almost primeval, so that the idea of magic would be a natural part of their existence.
Barwood and Robins began to hastily work on the story outline of the film on June 25, and finished it in early August.
They received numerous refusals from various film studios, due to their inexperience in budget negotiations. The screenplay was eventually accepted by Paramount Pictures and Walt Disney Productions , becoming the two studios' second joint effort after the film Popeye. Twenty-five percent of the film's budget went into the special effects to bring the dragon to life. Graphic artist David Bunnet was assigned to design the look of the dragon, and was fed ideas on the mechanics on how the dragon would move, and then rendered the concepts on paper.
It was decided early on in production that as the film's most important sequence would have been the final battle, it was deemed necessary to design a dragon with an emphasis on its flying abilities. Bunnet also designed the dragon to have a degree of personality, deliberately trying to avoid creating something like the titular creature from Alien , which he believed was "too hideous to look at".
After Bunnet handed his storyboard panels to the film crew, it was decided that the dragon would have to be realized with a wide variety of techniques: Phil Tippett of ILM finalized the dragon's design, and sculpted a reference model which Danny Lee of Disney Studios closely followed in constructing the larger dragon props for closeup shots. Two months later, Lee's team finished building a sixteen-foot head and neck assembly, a twenty-foot tail, thighs and legs, claws capable of grabbing a man, and a foot-wide 9.
The parts were flown to Pinewood Studios outside London in the cargo hold of a Boeing Brian Johnson was hired to supervise the special effects, and began planning both on and off-set effects with various special effects 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 eighty people at ILM studios in northern California worked eight months in producing composite shots of the dragon.
Chris Walas sculpted and operated the dragon head used for close-up shots.
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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 expression. Phil Tippett built a model for the scenes in which the dragon would be required to walk.
Tippett did not want to use standard stop motion animation techniques, and had his team build a dragon model which would move during each exposure rather than in between as was once the standard. This process, named "go motion" by Tippett, recorded the creature's movements in motion as a real animal would move, 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 in order to give it a wide range of motion. Ralston shot films of birds flying in order 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 in order to convey the sensation of flight.
Peter MacNicol first met Matthew Robbins while waiting to audition for the pilot film of Breaking Away , and agreed to take part in Dragonslayer , despite having a dislike for performing magic tricks.
McNicol had to learn horse riding , both English style and bareback for the role. McNicol found this difficult, saying that "They took away my stirrups, they took away my reins and whipped the horse, and then they told me to windmill my arms and turn a complete circle in the saddle. Then they took away the saddle! Caitlin Clarke was initially hesitant to involve herself in the film, as she was preparing to audition for a play in Chicago.
Her agent insisted, though, and after doing an audition tape, was called back for more tests.
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Clarke failed them, but managed to pass after doing another test at the insistence of Matthew Robbins. She got on well with Ralph Richardson, and stated that he taught her more in one rehearsal than in years of acting classes. 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, much to the surprise of the locals.
Next, Scott built the entire village of Swanscombe on a farmside outside London.