Where Were Priscilla Presley 1960 Public Appearances Filmed For TV?

You know how some faces feel like they belong to a dozen different backdrops? Priscilla’s 1960s photos capture that exact shift—she goes from a quiet teenage life in Germany to the glitz around Elvis in America, and the shoots reflect that travelogue. The earliest images from the late '50s and very early '60s that people often lump into her '60s era were taken in Bad Nauheim, the small German town where she lived while Elvis was stationed there. Those pictures have this innocent, everyday quality—park benches, local streets, and homey interiors—because that’s literally where she was living then. They’re intimate and domestic rather than studio-glamour shots. Once she moved to the United States in 1963 and settled into life at Graceland, a lot of the portrait sessions and candid photography naturally happened around Memphis—Graceland’s grounds, the house’s interiors, and nearby locales. Press photographers and friends took many of the iconic domestic portraits there. Around the same time, as Elvis’s career pulled them into show business circuits, a significant chunk of publicity and magazine-style photoshoots occurred in Los Angeles. Hollywood studios, hotel suites, and Sunset Strip locations were common for more stylized, fashion-forward images. If you look at paparazzi and publicity photos from the mid-to-late '60s, you’ll see lots of hotel lobbies, studio backlots, and L.A. terraces—classic showbiz settings. She also appears in photos taken during trips to Las Vegas and Palm Springs, spots Elvis frequented for performances and downtime, so photographers followed. And every so often, shoots happened on or near film sets and on-location shoots tied to Elvis’s movies—think Hawaiian or beachside vibes for tropical productions, or other locations where Elvis was working. Magazine spreads and promotional portraits were often done by commercial studios in Los Angeles or by freelance photographers who followed the couple on tour. I love how that variety traces her life story visually: from a German teenager to a young woman navigating fame—with snapshots that feel both private and staged. Looking through those images, you can almost hear the era’s soundtrack, and I always get a little nostalgic flipping through them.

If you’re asking about the big-screen 'Elvis' that features Priscilla as a central character, most of the shooting actually took place down under in Australia. The production built huge period-accurate sets at Village Roadshow Studios on the Gold Coast and used locations around Brisbane and Sydney to stand in for mid-century American streets. A lot of what looks like Memphis and Graceland in the film is a meticulously recreated set rather than the actual house. There were also some shoots done in the United States, with Los Angeles locations and second-unit work supplementing the Australian footage for authentic-looking concert and Hollywood scenes. I thought the choice to recreate everything in controlled studios paid off — the production design nailed the era, so even close-up scenes that clearly had to match archival footage feel seamless, and that’s what sold it to me.

It's funny how questions like this mix the real people and the movie versions — so here's the straightforward take: if you mean the recent Baz Luhrmann film 'Elvis', Priscilla Presley herself was based in Los Angeles during the movie's production, but the woman who played her, Olivia DeJonge, was an Australian actress who came from Melbourne and joined the on-location shoots in Australia. Luhrmann shot a huge chunk of 'Elvis' on the Gold Coast in Queensland, with additional scenes staged to represent Memphis and Las Vegas. That meant the cast — including Austin Butler and Olivia DeJonge — were largely working in Australia during principal photography, then some sequences and pick-ups were done to recreate American locations. Real-life Priscilla was involved behind the scenes as a consultant and holds a producing credit, but she wasn't living on set; her home and life were primarily in the U.S., while the actors traveled to where the cameras rolled. If you trace this back to the actual historical timeline, it’s easy to see why people get mixed up: Priscilla first met Elvis in Germany in 1959, later moved to Graceland and then to Los Angeles after their marriage. During Elvis’s 1960s movie years — when he shot films like 'Blue Hawaii' or 'Viva Las Vegas' on location — Priscilla didn’t always accompany him on every shoot as she was still fairly young and adjusting to life with him. For the modern biopic, though, think of it like this: the on-screen Priscilla was an Australian actress working in Australia, while the real Priscilla was stateside and advising the production — a neat split between the life behind the camera and the life being portrayed. Pretty cool to see how those layers come together, if you ask me.

I get a kick out of vintage pop-culture geography, and this one’s a neat little piece: in 1962 Priscilla Presley was living in West Germany. Her father was in the U.S. Air Force, and the family was based in the Wiesbaden/Bad Nauheim area, part of the American military community there. That’s where she spent her teenage years after the family moved overseas in the late 1950s. She actually met Elvis in 1959 while he was serving in the Army in Germany, and they kept in touch over the next few years. By ’62 she was still at the American base community near Wiesbaden, attending the schools Americans set up for military families. It wasn’t until 1963 that arrangements were made for her to move to the U.S. to live with Elvis and his parents in Memphis. Thinking about it now, it feels so cinematic — a teenage girl living on a military base in Germany who ends up at the center of pop culture history. Kind of surreal and sweet to picture her there, just being a normal teen in a very strange, famous orbit.

I love how films disguise one place as another, and with 'Priscilla' that sleight of hand was super obvious and delightful. The bulk of the movie was shot in New Orleans, Louisiana — the city’s mix of period neighborhoods and roomy studio space made it a perfect stand-in for 1960s Memphis and the glitzy Las Vegas stages. The production leaned heavily on soundstages and local production facilities to rebuild interiors like Graceland’s living areas and the neon-packed showroom sets, while select exteriors used New Orleans streets and mansions that could pass for the South of the era. What I appreciated as a viewer was how the production design and locations worked together. Instead of trying to shoot everything in Memphis, the crew used New Orleans’ architectural variety and tax incentives to their advantage, building meticulously detailed sets so the camera never felt like it was “standing in” for somewhere else. There were also some additional shoots and second-unit work in California to capture certain exteriors and studio-specific needs, but New Orleans was clearly the production’s home base. Seeing the recreated Graceland interiors and Las Vegas numbers on screen felt authentic, which is a testament to scouting and set construction — it made the film’s atmosphere much more immersive, and I enjoyed spotting little period details throughout.

Todavía me emociona hablar de esto porque la película 'Priscilla' tiene ese gusto a recuerdo y la mezcla de lugares reales con recreaciones es fascinante. Gran parte de lo que vemos en pantalla está pensado para evocar tres sitios clave de la vida de Priscilla: Wiesbaden (Alemania), Graceland en Memphis y los escenarios de Las Vegas. En la práctica, muchas escenas que representan Alemania se rodaron en localizaciones europeas que podían parecerse a barrios militares de los años 60, y varias casas y hoteles se recrearon en decorados o en calles europeas adaptadas para la época. Por otro lado, las escenas que muestran la vida en Estados Unidos —sobre todo los interiores de Graceland y los conciertos— combinan rodaje en estudios con algunas visitas a locaciones reales o muy parecidas, porque es habitual que el equipo construya réplicas para controlar iluminación y vestuario. Las actuaciones en clubes y salas de concierto muchas veces se hicieron en sets y en teatros de ciudades como Los Ángeles o en estudios europeos que sirvieron de sustituto. En resumen: la película mezcla rodaje en locaciones europeas y estadounidenses y muchas recreaciones de estudio para capturar con precisión la estética de la época; para mí eso funciona genial, le da un aire nostálgico que me gustó mucho.

I've always been drawn to celebrity moments that feel both public spectacle and private intimacy, and Elvis and Priscilla's wedding is exactly that kind of memory. They tied the knot on May 1, 1967, in Las Vegas — specifically at the Aladdin Hotel. It was a relatively small, private ceremony by Las Vegas standards, more about the couple than a gigantic stage performance, though you could tell the city's neon energy hovered around them. To me, imagining that scene is like picturing two very different worlds colliding: Elvis, this global superstar, and Priscilla, still young and stepping into a life under the spotlight. The Aladdin Hotel setting gives it a classic Vegas postcard vibe — bright lights, hurried guests, and a little pocket of calm where they said their vows. It always feels bittersweet to recall how fleeting some of those chapters were, but the image of them in that hotel chapel sticks with me.

The photos of young Priscilla with Elvis carry this peculiar mix of glamour and awkwardness, and the image people usually mean when they say 'Priscilla at 16 photographed with Elvis' was taken in Germany — specifically in Bad Nauheim, where Elvis lived while stationed in Europe with the U.S. Army. Elvis was assigned to Friedberg but rented a house in the spa town of Bad Nauheim, and a lot of the early snapshots of the two of them together come from that setting: social gatherings, candid moments around Elvis’ home, and those small-town backdrops that feel frozen in late-50s/early-60s time. I get a little nostalgic looking at those pictures because they capture a weirdly private, early chapter of a relationship that later became one of pop culture’s most public romances. Priscilla first met Elvis in 1959 when she was 14 and he was stationed in Germany; the images taken when she was 16 are just a part of that German period when they were getting to know each other. You’ll see photos of them at the house in Bad Nauheim, sometimes in informal poses or at parties — they look young, stylish for the era, and often a little posed because photographers and friends were around. Those are the photos that pop up in books, documentaries, and retrospective articles whenever people dig into Elvis’ life abroad. If you hunt through biographies or archival photo collections, the context is always the same: post-Army Elvis, the German assignment, the rented house in Bad Nauheim, and a teenage Priscilla being photographed alongside him. After those years, she eventually spent more time in the U.S. and later moved into Elvis’ world at Graceland; but the 16-year-old images are rooted firmly in that German chapter. For anyone who loves visual history, those shots are fascinating because they show a contrast between Elvis’ huge fame and the intimacy of domestic life in a small European town. I’ve seen prints and scan collections online and I always linger on how ordinary some of those moments look despite the superstar status. If you like visual sleuthing, comparing captions and publication dates in different photo archives helps confirm that Bad Nauheim is the correct place for most of the early teen photos. They’re little time capsules — equal parts awkward, sweet, and slightly cinematic — and I keep coming back to them when I want a peek at the quieter side of Elvis’ life.