Random pics

[herne]

Poor man's Jodels. Looks about 4'8''.

[herne]

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[herne]

[Kwon]

I thought of you when I saw this posting Kwonster.

MUCH appreciated!

[wes]

[herne]

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[wes]

[Kwon]

Social Engineering of Peace

Is this what the kids grow up with today?

[loco]

[Kwon]

Any Getbigger in Baltimore? GOOD LUCK

Baltimore Legalizes Looting!

[Krankenstein]

Director Ivan Reitman with Bill Murray and Dan Aykroyd during the filming of a deleted scene for Ghostbusters, where they play two bums walking through Central Park and bump into Rick Moranis as he’s being chased by the Terror Dog.

[Krankenstein]

During an early screen test for the timeless classic “The Wizard of Oz,” Judy Garland, known for her signature brunette locks, sported a striking blonde wig and donned heavy makeup.

Ultimately, the decision was made to retain Garland’s natural hair color, cementing the image of the beloved ruby-slippered heroine that continues to captivate audiences to this day.

[Krankenstein]

On the set of “The Godfather: Part II,” a heartwarming sight awaited the crew and cast as 3-year-old Sofia Coppola, daughter of director Francis Ford Coppola, had her very own miniature director’s chair.

Little did anyone know that this tiny director’s chair would serve as a precursor to Sofia’s own remarkable directorial career, making this behind-the-scenes tidbit an affectionate nod to the early beginnings of future cinematic talent.

[Krankenstein]

Wes Craven with the cast and crew of A Nightmare on Elm Street. With his unmistakable passion and creative vision, Craven fostered an environment of collaboration and innovation on set.

This snapshot captures the essence of a unified team, working together to bring forth the chilling tale that would soon become a horror film icon.

[Krankenstein]

Puppeteers working on the set of E.T. the Extra-Terrestrial. These talented artists, hidden from the camera’s view, employed their expertise to imbue E.T. with a lifelike quality, captivating both the cast and audiences alike.

Through a delicate combination of puppetry and animatronics, they breathed movement and personality into the beloved extraterrestrial, allowing him to interact seamlessly with the human characters in the film.

[Krankenstein]

Amrish Puri with his stunt double Frank Henson and Jonathan Ke Quan’s stunt double Felix Silla on the set of Indiana Jones and the Temple of Doom.

[Krankenstein]

Jessica Lange filming King Kong, 1976. For the close-up shots and scenes requiring intricate movements, a highly detailed full-scale animatronic King Kong was built.  This animatronic creature incorporated a complex system of motors, cables, and hydraulics, allowing it to simulate lifelike movements and facial expressions.  Skilled puppeteers operated the animatronic Kong, bringing the character to life with remarkable realism.  In addition to the animatronic model, the filmmakers also employed large-scale models for wide shots and action sequences. These models, meticulously crafted to resemble King Kong, were manipulated by a team of skilled technicians using various rigging techniques.  This allowed for dynamic movements and interactions with the surrounding environment, creating the illusion of a colossal ape in the midst of the action.

[Krankenstein]

Buzz Neidig turning Jim Fye into the Statue of Liberty for Ghostbusters II. With meticulous attention to detail, Neidig and his team painstakingly applied the elaborate prosthetics and makeup required to bring the colossal symbol to life.

The process involved carefully sculpting and painting the prosthetic pieces to match the statue’s features and texture, ensuring an uncanny resemblance.

Once the transformation was complete, Fye’s performance, enhanced by the stunning effects, seamlessly blended with the surrounding environment, resulting in the awe-inspiring sight of the Statue of Liberty walking the streets of New York City.

[Krankenstein]

John Matuszak getting his make-up done to be Sloth on the set of The Goonies.

Each application involved blending layers of special effects makeup, ensuring that Matuszak’s unique facial features were seamlessly integrated into the design.

As the transformation progressed, the astonishing metamorphosis unveiled the lovable and unmistakable appearance of Sloth.

[Kwon]

Girl upset with Passport Bros

Perpetual Peaceful Passport Bros of Peace




"Of Peace"

[Krankenstein]

Michael Jordan filming Space Jam. To achieve the illusion of interaction between Michael Jordan and the animated characters, a combination of practical effects and visual effects were utilized.

During filming, actors often performed opposite green screen placeholders or stand-in puppets to provide the necessary eyelines and physical cues.

This allowed for a more natural and immersive performance from both Jordan and the animated cast.

In post-production, skilled animators meticulously hand-drawn and digitally animated the Looney Tunes characters frame-by-frame, ensuring their movements and expressions seamlessly matched Jordan’s on-screen performance.

[Krankenstein]

Douche bag continues to clutter Random pic thread with his YT bullshit

Perpetual Peaceful Piece of Shit Poster

"Of Peace"

Kill yourself

[Krankenstein]

The 218 cm (7’2″) tall actor Bolaji Badejo who played the Alien in the movie Alien. To achieve the otherworldly appearance of the Alien, Badejo was fitted with an intricately designed and exquisitely detailed costume.

[Krankenstein]

The letter a young Warwick Davis wrote to George Lucas asking for toys.

[Krankenstein]

Robin Shelby getting into the Slimer suit on the set of Ghostbusters II. Once inside the suit, Shelby’s movements were controlled by a team of skilled puppeteers and animators.