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Main Article: Draco
The coaches were no longer horseless. There were creatures standing between the carriage shafts. If he had had to give them a name, he supposed he would have called them horses, though there was something reptilian about them, too. They were completely fleshless, their black coats clinging to their skeletons, of which every bone was visible. Their heads were dragonish, and their pupil-less eyes white and staring. Wings sprouted from each wither – vast, black leathery wings that looked as though they ought to belong to giant bats. Standing still and quiet in the gathering gloom, the creatures looked eerie and sinister.
-J.K. Rowling, Harry Potter and the Order of the Phoenix
Standing in the doorway, illuminated by the shivering flames in Lupin’s hand, was a cloaked figure that towered to the ceiling. Its face was completely hidden beneath its hood. Harry’s eyes darted downward, and what he saw made his stomach contract. There was a hand protruding from the cloak and it was glistening, grayish, slimy-looking, and scabbed, like something dead that had decayed in water…
But it was visible only for a split second. As though the creature beneath the cloak sensed Harry’s gaze, the hand was suddenly with-drawn into the folds of its black cloak.
-J.K. Rowling, Harry Potter and the Prisoner of Azkaban
In the late 80s, Raffaella de Laurentiis began proposing to various Studio Executives her pet project — a fantasy film set in the 10th century, about the unlikely alliance between a Dragon and a Knight. Written by Charles Edward Pogue and based on a story by Pogue and Patrick Read Johnson, Dragonheart was a project that for many years was unable to be realized, due to the complexity of its main character — a talking Dragon. Named Draco (after the latin term draco, in turn derived from the ancient greek word δράκων), the creature demanded an unprecedented special effects complexity — mainly due to the human range of expression he should be able to display.