Das Schloss Film

[Kaskuser Kiss]

Salzburgas a film city and setting is not new. As early as 1911, a Salzburg motif - the "Steamboat Ride on Lake Zell" - flickered across the screen for the first time. Starting in 1919, the first film crews began to arrive in Salzburg, initially staging the largely unknown but all the more dramatic mountain world of the Grossglockner, Grossvenediger and Kaprun.

Since the international classic "The Sound Of Music" was filmed at Schloss Leopoldskron in 1964, the palace, which is not open to the public, has established itself as a popular film and photo location. The combination of baroque state rooms, 17 acres of enclosed park, lush flowering garden and impressive lakeside terrace with a dreamlike view of the mountain panorama makes the palace truly unique.

Many small productions, but also international Hollywood blockbusters have since been shot at Schloss Leopoldskron. In addition, the palace is also known as a backdrop for numerous music videos, opera productions, fashion shows, or cultural events.

Whether it is an advertising shoot, a television production, a music video or a Hollywood film, due to its versatility, Leopoldskron Palace offers a unique scenery! Please contact us for a non-binding offer for your film shoot at Schloss Leopoldskron.

Numerous state rooms are available in the palace, including the historic Max Reinhardt Library, the opulent Marble Room, the playful Green Salon or the extravagant Venetian Salon, which served, for example, as the ballroom in "The Sound Of Music". Versatile rooms for production, administration, direction, make-up and wardrobe are also available. 12 suites round off the facilities for crews and actors.

The palace's terrace and the "Mansbach Garden Parterre" in front of it, with its view over the Leopoldskron lake and the fantastic mountain panorama, is a highlight at any time of the year. The romantic Hercules pond is embedded in the park in a natural landscape, which is rarely found today. In winter, an enchanting fairy-tale landscape offers itself, which resembles a "winter wonderland".

This historic square courtyard houses, among other things, the hotel's reception, a small caf with terrace, 55 boutique rooms and two townhouses, various seminar and production rooms, as well as a beautiful courtyard with green space and fountain. The rooms in the Meierhof are perfect for film crews and teams.

I am a hotel guest and just want to take photos and videos?

As a hotel guest, you can take photos on the property and in the palace without special permission, as long as they are purely private. Commercial use of recordings is allowed only after prior consultation and with written permission from the hotel. Otherwise, the hotel reserves the right to take legal action.

I would like to make a film/music video/professional photo shoot/commercial video at the palace?

Please send us a request with details of your intention, we will contact you afterwards to discuss the further procedure.

Are drone flights possible?

The use of remote-controlled drones is NOT permitted over the property and the pond for privacy and traffic reasons, as well as to protect the privacy of our guests, except for large film productions with prior written permission.

What does it cost to film at Schloss Leopoldskron?

The location fee depends on whether you are planning a photo shoot or a film/video shoot, as well as on the number of shooting days and the size of the crew.

Do I need to obtain a filming permit?

Schloss Leopoldskron is privately owned and not open to the public. All photo shoots, video shoots and film productions must therefore be requested in writing and approved in advance. Depending on the size of the production, local permits may also need to be obtained.

Do you allow filming at night?

Filming at night is possible, but outdoor lighting must be registered and approved in advance with the Salzburg Nature Conservancy. Failure to do so may result in administrative penalties.

Schloss Leopoldskron has been dubbed the "Sound of Music" palace for more reasons than its outdoor movie scenes: one of the main rooms of the palace, the Venetian Salon on the first floor, was completely replicated in order to be used as a film setting. The magnificent handcrafted, gold wall panels and mirrors served as a model for the ball room scene in the film. It was also the backdrop for the private performance of the marionette theater.

Howl's Moving Castle (Japanese: ハウルの動く城, Hepburn: Hauru no Ugoku Shiro) is a 2004 Japanese animated fantasy film written and directed by Hayao Miyazaki. It is loosely based on the 1986 novel by British author Diana Wynne Jones. The film was produced by Toshio Suzuki, animated by Studio Ghibli and distributed by Toho. The Japanese voice cast featured Chieko Baisho and Takuya Kimura, while the English dub version starred Jean Simmons, Emily Mortimer, Lauren Bacall, Christian Bale, Josh Hutcherson and Billy Crystal. The film is set in a fictional kingdom where both magic and early twentieth-century technology are prevalent, against the backdrop of a war with another kingdom. It tells the story of Sophie, a young milliner who is turned into an elderly woman by a witch who enters her shop and curses her. She encounters a wizard named Howl and gets caught up in his resistance to fighting for the king.

Influenced by Miyazaki's opposition to the United States' invasion of Iraq in 2003, the film contains strong anti-war themes. Miyazaki stated that he "had a great deal of rage" about the Iraq war,[1] which led him to make a film which he felt would be poorly received in the United States. It also explores the theme of old age, depicting age positively as something which grants the protagonist freedom. The film contains feminist elements as well, and carries messages about the value of compassion. The film is significantly thematically different from the novel; while the novel focuses on challenging class and gender norms, the film focuses on love, personal loyalty and the destructive effects of war.[2]

Howl's Moving Castle premiered at the 61st Venice International Film Festival on 5 September 2004, and was theatrically released in Japan on 20 November 2004. It went on to gross $190 million in Japan and $236 million worldwide, making it one of the most commercially successful Japanese films in history. The film received critical acclaim, with particular praise toward its visuals and Miyazaki's presentation of the themes. It was nominated for the Academy Award for Best Animated Feature at the 78th Academy Awards, but lost to Wallace & Gromit: The Curse of the Were-Rabbit. It won several other awards, including four Tokyo Anime Awards and a Nebula Award for Best Script.

Sophie, a young milliner and eldest of three sisters, encounters a wizard named Howl on her way to visit her sister Lettie. Upon returning home, she meets the Witch of the Waste, who transforms her into a 90-year-old woman. Seeking to break the curse, Sophie leaves home and sets off through the countryside. She meets a living scarecrow, whom she calls "Turnip Head". He leads her to Howl's moving castle, which she enters without invitation. She subsequently meets Howl's young apprentice Markl and a fire demon named Calcifer, the source of the castle's magic and movement. Calcifer makes a deal with Sophie, agreeing to break her curse if she breaks his link with Howl. When Howl appears, Sophie announces that she has "hired herself" as a cleaning lady.

Meanwhile, Sophie's nation is caught up in a war with a neighboring kingdom, which is searching for its missing prince. The King summons Howl to fight in the war. However, Howl decides to send Sophie to the King, under the pretense of being his mother, to tell him that Howl is too much of a coward to fight. Before leaving, he gives Sophie a charmed ring that leads her to Calcifer and guarantees her safety. Sophie meets Suliman, the king's head sorceress, and also the Witch of the Waste, whom Suliman punishes by draining all of her power and reverting her to her true age, thus reducing her into a harmless and very elderly woman. Suliman warns Sophie that Howl will meet the same fate if he does not fight for the King. Howl then arrives to rescue Sophie. Suliman tries to trap him by turning him into a monster, but with Sophie's help he remembers himself and just barely avoids death. The duo escapes along with the former Witch of the Waste and Suliman's dog Heen. Soldiers break into the homes of both Jenkins and Pendragon (Howl's two aliases), finding them to be nothing more than abandoned buildings in disguise; the castle's magical door had allowed travel through both false shopfronts.

Sophie learns that Howl's life is somehow bound to Calcifer's and that Howl has been transforming into a bird-like creature to interfere with both sides in the war, but each transformation makes it more difficult for him to return to human form. Howl then has the castle magically linked to Sophie's home, parking the castle itself on the town's outskirts. A few days later, the town is bombed by enemy aircraft and Suliman's henchmen attack the house and Sophie's hat shop. Howl heads out to protect the group. Sophie then moves everyone out of the house and removes Calcifer from the fireplace, which collapses the castle. The Witch of the Waste realizes that Calcifer has Howl's heart and grabs the fire demon, setting herself on fire. Sophie panics and pours water onto the Witch, which douses Calcifer. The remainder of the castle then splits in two; Sophie falls down a chasm and is separated from the group.

Howl's Moving Castle contains strong anti-war themes, influenced by Miyazaki's distaste for the 2003 Iraq War.[7] When he received an Oscar for Spirited Away, he said that he "had a great deal of rage about [the war]. So [he] felt some hesitation about the award."[8] Miyazaki identifies as a pacifist.[9] On the eve of the Iraq War, Miyazaki decided to make a film that he felt would be poorly received in the United States.[10] The brutality and futility of warfare is graphically depicted in the film; entire cities are set aflame, and the titular castle is made to fall apart.[11] Animation scholar Susan J. Napier writes that Howl is placed under a "spiritual form of curse", his horror and fury growing over the course of the film as he witnesses the fighting.[12] According to film critics Colin Odell and Michelle Le Blanc, the film shows people being exploited and "[turned] into something they are not", in many cases in service of a political agenda.[13] Napier also draws a comparison to the character San of Princess Mononoke; she and Howl are isolated from humanity by circumstance, and both ultimately go to war to defend the goodness in their lives.[14]

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