Star Trek 4 Film Inhaltsangabe & Details
Der Film handelt von einer Zeitreise ins Jahr , also in die Gegenwart der Filmentstehung. Er gehört zu den komödiantischsten Filmen dieser Reihe mit. Star Trek 4 ein Film von Noah Hawley mit Chris Pine, Zachary Quinto. Inhaltsangabe: Geplantes, viertes neues Abenteuer der Enterprise-Crew um Captain Kirk. ferienwohnungensalzburg.eu: Wie geht es mit „Star Trek“ im Kino weiter? Mit Noah Hawley ist nun zwar ein Regisseur für den nächsten Film an Bord, doch. In dem „Star Trek“-Franchise sind mehrere Filme in Arbeit. Über „Star Trek 4“ ist seit Längerem bekannt, dass der Regisseur einen neuen. Schlechte Neuigkeiten für Star Trek-Fans: Einer der Hauptdarsteller der Enterprise-Filme erklärt sachlich und logisch, warum ein neuer Film. Während Star Trek in der Serien-Welt gut vorankommt, sieht es für einen neuen Kinofilm etwas komplizierter aus. Man plant zwar einen vierten. In der Tat steht die Kinofilmreihe nach erstmals wieder an einer Geht es nun doch mit “Star Trek 4” und dem Cast um Chris Pine (Mitte).
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Der Zeitsprung zurück in das Der Film erschien am Star Trek 4: Neuer Regisseur hat bisher nur Serien gemacht. Man muss dreimal so viel verdienen, um Profit zu machen. Option 4: Vampire Academy Stream German wieder ein Film im Weltraum, eine Entdeckungsmission oder die Tücken eines ersten Kontaktes, der fast schief geht — oder so was in der Art. Warum muss jede Serie und jeder Film des Franchise krampfhaft im allseits bekannten Kanon spielen oder längst auserzählte Figuren wie Kirk immer weiter ausschlachten? Und er erklärte, Deadpool 2 Kkiste bislang noch kein weiterer Film erschienen ist. Anfänglich waren es noch die Raumschiffe und die Technik, die ihn faszinierten. August um Solange die gleichen Pfeifen involviert sind, die in den letzten 11 Jahren das Franchise demontiert haben, brauche ich kein Star Trek. Jahrhundert kommenden Enterprise-Crew mit Gewohnheiten der er Jahre. Option 1 scheint noch mit die erfolgreichsten Aussichten zu haben. 9 Tv-L Mal P-Stew als der Magnet.Star Trek 4 Film Navigation menu Video
Star Trek First Frontier (2020)
The director read a book on extinct animals and conceived the storyline that was eventually adopted. Nimoy and Murphy acknowledged his part would attract non- Star Trek fans to the franchise following the rising popularity of Murphy, but it also meant the film might be ridiculed.
Steve Meerson and Peter Krikes were hired to write a script with Murphy as a college professor who believes in aliens and likes to play whale songs.
The character intended for Murphy was combined with those of a marine biologist and a female reporter to become Gillian Taylor.
Meyer never read the earlier script, reasoning it pointless to do so since the content had no appeal to the studio.
He and Bennett split the task of conceiving the plot between them. Bennett wrote the first quarter of the story, up to the point where the crew goes back in time.
Meyer wrote the story's middle portion, taking place on 20th-century Earth, and Bennett handled the ending. Meyer preferred this "righter ending" [8] to the film version, explaining "the end in the movie detracts from the importance of people in the present taking the responsibility for the ecology and preventing problems of the future by doing something today, rather than catering to the fantasy desires of being able to be transported in time to the near-utopian future.
Nimoy said Meyer gave the script "the kind of humor and social comment, gadfly attitude I very much wanted". I wanted people to really have a great time watching this film [and] if somewhere in the mix we lobbed a couple of big ideas at them, well, then that would be even better.
Meyer found writing the script to be a smooth process. He would write a few pages, show it to Nimoy and Bennett for consultation, and return to his office to write some more.
Once Nimoy, Bennett, and Meyer were happy, they showed the script to Shatner, who offered his own notes for another round of rewrites.
The modelmakers started with art director Nilo Rodis ' basic design, a simple cylinder with whalelike qualities.
The prototype was covered with barnacles and colored. The ball-shaped antenna that juts out from the bottom of the probe was created out of a piece of irrigation pipe; internal machinery turned the device.
Three sizes of the "whale probe" were created; the primary 8-foot 2. The effects crew focused on using in-camera tricks to realize the probe; post-production effects were time-consuming, so lighting effects were done on stage while filming.
Model shop supervisor Jeff Mann filled the probe's antenna with tube lamps and halogen bulbs that were turned on in sequence for different exposures; three different camera passes for each exposure were combined for the final effect.
After watching the first shot, the team found the original, whalelike probe design lacking in menace. The modelmakers repainted the probe a shiny black, pockmarked its surface for greater texture and interest, and re-shot the scene.
Although they wanted to avoid post-production effects work, the opticals team had to recolor the antenna ball in a blue hue, as the original orange looked too much like a spinning basketball.
Aside from the probe, The Voyage Home required no new starship designs. The inside of the Bird-of-Prey was represented by a different set than The Search for Spock , but the designers made sure to adhere to a sharp and alien architectural aesthetic.
To give the set a smokier, atmospheric look, the designers rigged display and instrumentation lights to be bright enough that they could light the characters, rather than relying on ambient or rigged lighting.
Robert Fletcher served as costume designer for the film. During the Earth-based scenes, Kirk and his crew continue to wear their 23rd-century clothing.
Nimoy debated whether the crew should change costumes, but after seeing how people in San Francisco are dressed, he decided they would still fit in.
Nimoy had seen Peterman's work and felt it was more nuanced than simply lighting a scene and capturing an image. The film's opening scenes aboard the starship Saratoga were the first to be shot; principal photography commenced on February 24, The scenes were filmed first to allow time for the set to be revamped as the bridge of the new Enterprise -A at the end of filming.
As with previous Star Trek films, existing props and footage were reused where possible to save money, though The Voyage Home required less of this than previous films.
The Earth Spacedock interiors and control booth sets were reused from The Search for Spock , although the computer monitors in these scenes featured new graphics—the old reels had deteriorated in storage.
Stock footage of the destruction of the Enterprise and the Bird-of-Prey's movement through space were reused.
While the Bird-of-Prey bridge was a completely new design, other parts of the craft's interior were also redresses; the computer room was a modification of the reactor room where Spock died in The Wrath of Khan.
After all other Bird-of-Prey bridge scenes were completed, the entire set was painted white for one shot that transitioned into a dream sequence during the time travel.
The production wanted to film scenes that were readily identifiable as the city. Other scenes were filmed in the city but used sets rather than real locations, such as an Italian restaurant where Taylor and Kirk eat.
In the film, the Bird-of-Prey lands cloaked in Golden Gate Park , surprising trashmen who flee the scene in their truck.
The production had planned to film in the real park, where they had filmed scenes for The Wrath of Khan , but heavy rains before the day of shooting prevented it—the garbage truck would have become bogged down in the mud.
Will Rogers Park in western Los Angeles was used instead. When Kirk and Spock are traveling on a public bus, they encounter a punk rocker blaring his music on a boom box, to the discomfort of everyone around him.
Spock takes matters into his own hands and performs a Vulcan nerve pinch. Part of the inspiration for the scene came from Nimoy's personal experiences with a similar character on the streets of New York; "[I was struck] by the arrogance of it, the aggressiveness of it, and I thought if I was Spock I'd pinch his brains out!
Credited as "punk on bus", Thatcher along with sound designer Mark Mangini also wrote and recorded "I Hate You", the song in the scene, and it was his idea to have the punk—rendered unconscious by the pinch—hit the stereo and turn it off with his face.
A holding tank for the whales was added via special effects to the Aquarium's exterior. One scene takes place by a large glass through which observers view the whales—and Spock's initiation of a mind meld —underwater.
Footage of the actors shot in front of them as they reacted to a brick wall in the Aquarium was combined with shots taken from their rear as they stood in front of a large blue screen at ILM to produce this scene.
The footage of Spock's melding with the whales was shot weeks later in a large water tank used to train astronauts for weightlessness.
The real Enterprise , out at sea at the time, was unavailable for filming, so the non-nuclear-powered carrier USS Ranger CV was used.
Scenes in the San Francisco Bay were shot at a tank on Paramount's backlot. The scene in which Uhura and Chekov question passersby about the location of nuclear vessels was filmed with a hidden camera.
However, the people with whom Koenig and Nichols speak were extras hired off the street for that day's shooting and, despite legends to the contrary, knew they were being filmed.
In an interview with StarTrek. I think it's across the bay, in Alameda ," stated that after her car was impounded because she missed the warnings to move it for the filming, she approached the assistant director about appearing with the other extras, hoping to be paid enough to get her car out of impoundment.
She had been told to act naturally, and so she answered them and the filmmakers kept her response in the film, though she had to be inducted into the Screen Actors Guild in order for her lines to be kept.
Vulcan and the Bird-of-Prey exterior was created with a combination of matte paintings and a soundstage. Nimoy had searched for a suitable location for the scene of the Enterprise crew's preparations to return to Earth, but various locations did not work, so the scene was instead filmed on a Paramount backlot.
The production had to mask the fact that production buildings were 30 feet 9. Production manager Jack T. Collis economized by building the set with only one end; reverse angle shots used the same piece of wall.
The positions of the Federation President's podium and the actors on the seats were switched for each shot. Among the resulting set's features was a large central desk with video monitors that the production team nicknamed "the pool table"; the prop later became a fixture in USS Enterprise -D's engine room on the television series Star Trek: The Next Generation.
Nimoy approached ILM early in development and helped create storyboards for the optical effects sequences. Matte supervisor Chris Evans attempted to create paintings that felt less contrived and more real—while the natural instinct of filmmaking is to place important elements in an orderly fashion, Evans said that photographers would "shoot things that [ The task of establishing the location and atmosphere at Starfleet Headquarters fell to the matte department, who had to make it feel like a bustling futuristic version of San Francisco.
The matte personnel and Ralph McQuarrie provided design input. The designers decided to make actors in the foreground more prominent, and filmed them on a large area of smooth concrete runway at the Oakland Airport.
Elements like a shuttlecraft that thirty extras appeared to interact with were also mattes blended to appear as if they were sitting by the actors. Ultimately the artists were not satisfied with how the shot turned out; matte photography supervisor Craig Barron believed that there were too many elements in the scene.
The scenes of the Bird-of-Prey on Vulcan were combinations of live-action footage—actors on a set in the Paramount parking lot that was covered with clay and used backdrops—and matte paintings for the ship itself and harsh background terrain.
The scene of the ship's departure from Vulcan for Earth was more difficult to accomplish; the camera pans behind live-action characters to follow the ship as it leaves the atmosphere, and other items like flaming pillars and a flaring sun had to be integrated into the shot.
The script called for the probe to vaporize the Earth's oceans, generating heavy cloud cover. While effects cinematographer Don Dow wanted to go to sea and record plumes of water created by exploding detonating cords in the water, the team decided to create the probe's climatic effect in another way after a government fishing agency voiced concerns for the welfare of marine life in the area.
The team used a combination of baking soda and cloud tank effects; the swirling mist created by the water-filled tank was shot on black velvet, and color and dynamic swirls were added by injecting paint into the tank.
These shots were composited onto a painting of the Earth along with overlaid lightning effects, created by double-exposing lights as they moved across the screen.
The Bird-of-Prey's travel through time was one of the most difficult effects sequences of the film. While ILM was experienced in creating the streaking warp effect they used for previous films, the sequence required the camera to trail a sustained warp effect as the Bird-of-Prey rounded the sun.
Matching the effect to the model was accomplished through trial-and-error guesswork. The team did not have the time to wait for the animation department to create the sun for this shot.
Assistant cameraman Pete Kozachic devised a way of creating the sun on-stage. He placed two sheets of textured plexiglass next to each other and backlit them with a powerful yellow light.
The rig was rotated on a circular track and the sheet in front created a moire pattern as its position shifted. Animator John Knoll added solar flare effects to complete the look; Dow recalled that the effect came close to matching footage of the sun taken by the Jet Propulsion Laboratory.
Traveling through time, Kirk and crew experience what author Jody Duncan Shay termed a "dreamlike state". The script's only direction for the effect was "now [they] go through time"; Nimoy and McQuarrie envisioned Kirk's dream as a montage of bizarre images.
The filmmakers decided early on that part of the dream sequence would use computer-generated animation to give it an unreal quality divorced from the rest of the film.
ILM worked from McQuarrie's storyboards and created a rough mock-up or animatic to show Nimoy and hone the direction of the sequence.
The resulting thirty seconds of footage took weeks to render; the department used every spare computer they could find to help in the processing chores.
ILM's stage, optical, and matte departments collaborated to complete other shots for the dream sequence. The shot of a man's fall to Earth was created by filming a small puppet on bluescreen.
Shots of liquid nitrogen composited behind the puppet gave the impression of smoke. The background plate of the planet was a large matte that allowed the camera to zoom in very close.
The final shot of marshy terrain was practical and required no effects. The filmmakers knew from the beginning of production that the whales were their biggest effects concern; Dow recalled that they were prepared to change to another animal in case creating the whales proved too difficult.
When Humphrey the Whale wandered into the San Francisco Bay, Dow and his camera crew attempted to gather usable footage of the humpback but failed to do so.
Compositing miniatures shot against bluescreen on top of water backgrounds would not have provided realistic play of light.
Creating full-size mechanical whales on tracks would severely limit the types of angles and shots.
To solve the whale problem, Rodis hired robotics expert Walt Conti. While Conti was not experienced in film, Rodis believed his background in engineering and design made him well equipped for Rodis' planned solution: the creation of independent and self-contained miniature whale models.
After watching footage of whale movement, Conti determined that the models could be simplified by making the front of the whale entirely rigid, relying on the tail and fins for movement.
It really knocked them out. To prevent water from ruining the whale's electronics, the modelmakers sealed every individual mechanical component rather than attempting to waterproof the entire whale.
Balloons and lead weights were added to achieve the proper balance and buoyancy. The finished models were put in the swimming pool of Serra High School in San Mateo, California, for two weeks of shooting; the operation of the whales required four handlers and divers with video cameras to help set up the shots.
Accurately controlling the whales was difficult because of the murky water—ILM added diatomaceous earth to the water to match realistic ocean visibility.
Models of the starship USS Enterprise were destroyed in the previous film partly because visual effects supervisor Ken Ralston wanted to build a "more state-of-the-art ship for the next film", but the filmmakers made the less costly decision to have the crew return to serve on the duplicate USS Enterprise A , and six weeks were spent repairing and repainting the old model.
A travel pod from Star Trek: The Motion Picture was also reused for the ending, although the foot-long 6. Graphic designer Michael Okuda designed smooth controls with backlit displays for the Federation.
Dubbed " Okudagrams ", the system was also used for displays on the Klingon ship, though the buttons were larger.
Music critic Jeff Bond writes, "The final result was one of the most unusual Star Trek movie themes," consisting of a six-note theme and variations set against a repetitious four-note brass motif; the theme's bridge borrows content from Rosenman's "Frodo March" for The Lord of the Rings.
The Earth-based setting of the filming gave Rosenman leeway to write a variety of music in different styles. Nimoy intended the crew's introduction to the streets of San Francisco to be accompanied by something reminiscent of George Gershwin , but Rosenman changed the director's mind, [45] and the scene was scored with a contemporary jazz fusion piece by Yellowjackets.
When Chekov flees detention aboard the aircraft carrier, Rosenman wrote a bright cue that incorporates classical Russian compositions.
The music for the escape from the hospital was done in a baroque style. More familiar Rosenman compositions include the action music for the face off between the Bird-of-Prey and a whaling ship in open water, and the atmospheric music reminiscent of the composer's work in Fantastic Voyage during the probe's communication.
After the probe leaves, a Vivaldiesque "whale fugue" begins. The first sighting of the Enterprise -A uses the Alexander Courage theme before the end titles.
Mark Mangini served as The Voyage Home ' s sound designer. He described it as different from working on many other films because Nimoy appreciated the role of sound effects and made sure that they were prominent in the film.
Since many sounds familiar to Star Trek had been established—the Bird-of-Prey's cloaking device, the transporter beam, et al.
The most important sounds were those of the whales and the probe. Mangini's brother lived near biologist Roger Payne , who had recordings of whale song.
Mangini went through the tapes and chose sounds that could be mixed to suggest conversation and language.
The probe's screeching calls were the whale song in distorted form. The humpback's communication with the probe at the climax of the film contained no dramatic music, meaning that Mangini's sounds had to stand alone.
He recalled that he had difficulty with envisioning how the scene would unfold, leading Bennett to perform a puppet show to explain.
It was at Bennett's suggestion that Paramount studio heads asked Nimoy to create subtitles for the probe's transmission at the start of the film and for the climactic dialogue with the whales.
Both Nimoy and Meyer were adamantly against using any subtitles, and they eventually prevailed. Nimoy and the other producers were unhappy with Mangini's attempts to create the probe's droning operating noise; after more than a dozen attempts, the sound designer finally asked Nimoy what he thought the probe should sound like.
Mangini recorded Nimoy's guttural "wub-wub-wub" response, distorted it with "just the tiniest bit of dressing", and used it as the final sound.
The punk music during the bus scene was written by Thatcher after he learned that the sound for the scene would be by " Duran Duran , or whoever" and not "raw" and authentic punk.
They decided that punk distilled down to the sentiment of "I hate you", and wrote a song centered on the theme.
Recording in the sound studio as originally planned produced too clean a sound, so they moved to the outside hallway and recorded the song in one take using cheap microphones to create a distorted sound.
Winter recalled that the marketing did not seem to make a difference. Attending the screening with Nimoy, Bennett was amazed the film proved as entertaining to the Russians as it did with American audiences; he said "the single most rewarding moment of my Star Trek life" was when the Moscow audience applauded at McCoy's line, "The bureaucratic mentality is the only constant in the universe.
We'll get a freighter. Vonda N. McIntyre wrote a novelization that was released at the same time as the film.
It was the biggest tie-in novel published by Pocket Books , [51] and spent eight weeks on The New York Times bestseller list, [52] peaking at 3.
The Voyage Home received mostly positive reviews [49] —Nimoy called it the most well received of all Star Trek films made at that point—and it appealed to general audiences in addition to franchise fans.
The critics' consensus reads, " Star Trek IV: The Voyage Home is perhaps the lightest and most purely enjoyable entry of the long-running series, emphasizing the eccentricities of the Enterprise's crew.
The movie was a "loose, jovial, immensely pleasurable Christmas entertainment" [63] for The Washington Post ' s Paul Attanasio , and a retrospective BBC review called the film "one of the series' strongest episodes and proof that the franchise could weather the absence of space-bound action and the iconic USS Enterprise , and still be highly enjoyable".
The film's "fish out of water" comedy [54] [63] and acting were mostly lauded. The Courier Mail wrote that the film was funnier than its predecessors, and while not "flippant", a sense of humor was revealed through the efforts of the cast, writers and director.
The special effects were generally well received; [67] critics for The Sydney Morning Herald and Courier Mail noted that the effects played a lesser role in the film compared to the characters and dialogue.
The Voyage Home garnered 11 nominations at the 14th annual Saturn Awards , tying Aliens for number of nominations. Nimoy and Shatner were nominated for best actor for their roles, [71] and Catherine Hicks was nominated for best supporting actress.
In , Popular Mechanics ranked the scene where Chekov talks about 'nuclear wessels', the 50th-greatest moment in science fiction.
Paramount re-released the film on March 12, , with Fatal Attraction as part of a "Director's Series"; these editions had additional commentary and were presented in a widescreen letterbox format to preserve the film's original cinematography.
Given the late-sixties origins of The Original Series, seeing latter-day Kirk, Spock and the gang explore the more abstract side of Trek seems like a pretty enticing prospect.
Get ready. Star Trek 4 is officially coming. Tres Dean. No release date for the fourth Star Trek film has been announced.
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DeForest Kelley portrays Doctor Leonard McCoy , who is given many of the film's comedic lines; Kelley's biographer Terry Lee Rioux wrote that in the film "he seemed to be playing straight man to himself.
Koenig commented that Chekov was a "delight" to play in this film because he worked best in comedic situations. Catherine Hicks plays Dr. Gillian Taylor, a cetologist on 20th-century Earth.
During production a rumor circulated that the part had been created after Shatner demanded a love interest, a regular aspect of the television series that was absent from the first three films.
Writer Nicholas Meyer denied this, saying that the inspiration for Taylor came from a biologist featured in a National Geographic documentary about whales.
Majel Barrett reprises her role as Christine Chapel , the director of Starfleet Command's medical services. Many of her scenes—some reportedly very large—were omitted in the final cut, angering the actress.
Her final role in the film consists of one line of dialogue and a reaction shot. Saavik's role is minimal in the film—originally, she was intended to remain behind on Vulcan because she was pregnant after she had mated with the younger Spock in Star Trek III: The Search for Spock.
In the final cut of the film, all references to her condition were dropped. The film contains several cameos and smaller roles.
Alex Henteloff plays Dr. Nichols, plant manager of Plexicorp. Before The Search for Spock was released, its director Leonard Nimoy was asked to return to direct the next film in the franchise.
Whereas Nimoy had been under certain constraints in filming the previous picture, Paramount gave the director greater freedom for the sequel.
Despite Shatner's doubts, [9] Nimoy and Bennett selected a time travel story in which the Enterprise crew encounters a problem that could only be fixed by something only available in the present day the Star Trek characters' past.
They considered ideas about violin makers and oil drillers, or a disease that had its cure destroyed with the rainforests. The director read a book on extinct animals and conceived the storyline that was eventually adopted.
Nimoy and Murphy acknowledged his part would attract non- Star Trek fans to the franchise following the rising popularity of Murphy, but it also meant the film might be ridiculed.
Steve Meerson and Peter Krikes were hired to write a script with Murphy as a college professor who believes in aliens and likes to play whale songs. The character intended for Murphy was combined with those of a marine biologist and a female reporter to become Gillian Taylor.
Meyer never read the earlier script, reasoning it pointless to do so since the content had no appeal to the studio.
He and Bennett split the task of conceiving the plot between them. Bennett wrote the first quarter of the story, up to the point where the crew goes back in time.
Meyer wrote the story's middle portion, taking place on 20th-century Earth, and Bennett handled the ending.
Meyer preferred this "righter ending" [8] to the film version, explaining "the end in the movie detracts from the importance of people in the present taking the responsibility for the ecology and preventing problems of the future by doing something today, rather than catering to the fantasy desires of being able to be transported in time to the near-utopian future.
Nimoy said Meyer gave the script "the kind of humor and social comment, gadfly attitude I very much wanted". I wanted people to really have a great time watching this film [and] if somewhere in the mix we lobbed a couple of big ideas at them, well, then that would be even better.
Meyer found writing the script to be a smooth process. He would write a few pages, show it to Nimoy and Bennett for consultation, and return to his office to write some more.
Once Nimoy, Bennett, and Meyer were happy, they showed the script to Shatner, who offered his own notes for another round of rewrites.
The modelmakers started with art director Nilo Rodis ' basic design, a simple cylinder with whalelike qualities. The prototype was covered with barnacles and colored.
The ball-shaped antenna that juts out from the bottom of the probe was created out of a piece of irrigation pipe; internal machinery turned the device.
Three sizes of the "whale probe" were created; the primary 8-foot 2. The effects crew focused on using in-camera tricks to realize the probe; post-production effects were time-consuming, so lighting effects were done on stage while filming.
Model shop supervisor Jeff Mann filled the probe's antenna with tube lamps and halogen bulbs that were turned on in sequence for different exposures; three different camera passes for each exposure were combined for the final effect.
After watching the first shot, the team found the original, whalelike probe design lacking in menace.
The modelmakers repainted the probe a shiny black, pockmarked its surface for greater texture and interest, and re-shot the scene.
Although they wanted to avoid post-production effects work, the opticals team had to recolor the antenna ball in a blue hue, as the original orange looked too much like a spinning basketball.
Aside from the probe, The Voyage Home required no new starship designs. The inside of the Bird-of-Prey was represented by a different set than The Search for Spock , but the designers made sure to adhere to a sharp and alien architectural aesthetic.
To give the set a smokier, atmospheric look, the designers rigged display and instrumentation lights to be bright enough that they could light the characters, rather than relying on ambient or rigged lighting.
Robert Fletcher served as costume designer for the film. During the Earth-based scenes, Kirk and his crew continue to wear their 23rd-century clothing.
Nimoy debated whether the crew should change costumes, but after seeing how people in San Francisco are dressed, he decided they would still fit in.
Nimoy had seen Peterman's work and felt it was more nuanced than simply lighting a scene and capturing an image. The film's opening scenes aboard the starship Saratoga were the first to be shot; principal photography commenced on February 24, The scenes were filmed first to allow time for the set to be revamped as the bridge of the new Enterprise -A at the end of filming.
As with previous Star Trek films, existing props and footage were reused where possible to save money, though The Voyage Home required less of this than previous films.
The Earth Spacedock interiors and control booth sets were reused from The Search for Spock , although the computer monitors in these scenes featured new graphics—the old reels had deteriorated in storage.
Stock footage of the destruction of the Enterprise and the Bird-of-Prey's movement through space were reused. While the Bird-of-Prey bridge was a completely new design, other parts of the craft's interior were also redresses; the computer room was a modification of the reactor room where Spock died in The Wrath of Khan.
After all other Bird-of-Prey bridge scenes were completed, the entire set was painted white for one shot that transitioned into a dream sequence during the time travel.
The production wanted to film scenes that were readily identifiable as the city. Other scenes were filmed in the city but used sets rather than real locations, such as an Italian restaurant where Taylor and Kirk eat.
In the film, the Bird-of-Prey lands cloaked in Golden Gate Park , surprising trashmen who flee the scene in their truck.
The production had planned to film in the real park, where they had filmed scenes for The Wrath of Khan , but heavy rains before the day of shooting prevented it—the garbage truck would have become bogged down in the mud.
Will Rogers Park in western Los Angeles was used instead. When Kirk and Spock are traveling on a public bus, they encounter a punk rocker blaring his music on a boom box, to the discomfort of everyone around him.
Spock takes matters into his own hands and performs a Vulcan nerve pinch. Part of the inspiration for the scene came from Nimoy's personal experiences with a similar character on the streets of New York; "[I was struck] by the arrogance of it, the aggressiveness of it, and I thought if I was Spock I'd pinch his brains out!
Credited as "punk on bus", Thatcher along with sound designer Mark Mangini also wrote and recorded "I Hate You", the song in the scene, and it was his idea to have the punk—rendered unconscious by the pinch—hit the stereo and turn it off with his face.
A holding tank for the whales was added via special effects to the Aquarium's exterior. One scene takes place by a large glass through which observers view the whales—and Spock's initiation of a mind meld —underwater.
Footage of the actors shot in front of them as they reacted to a brick wall in the Aquarium was combined with shots taken from their rear as they stood in front of a large blue screen at ILM to produce this scene.
The footage of Spock's melding with the whales was shot weeks later in a large water tank used to train astronauts for weightlessness. The real Enterprise , out at sea at the time, was unavailable for filming, so the non-nuclear-powered carrier USS Ranger CV was used.
Scenes in the San Francisco Bay were shot at a tank on Paramount's backlot. The scene in which Uhura and Chekov question passersby about the location of nuclear vessels was filmed with a hidden camera.
However, the people with whom Koenig and Nichols speak were extras hired off the street for that day's shooting and, despite legends to the contrary, knew they were being filmed.
In an interview with StarTrek. I think it's across the bay, in Alameda ," stated that after her car was impounded because she missed the warnings to move it for the filming, she approached the assistant director about appearing with the other extras, hoping to be paid enough to get her car out of impoundment.
She had been told to act naturally, and so she answered them and the filmmakers kept her response in the film, though she had to be inducted into the Screen Actors Guild in order for her lines to be kept.
Vulcan and the Bird-of-Prey exterior was created with a combination of matte paintings and a soundstage. Nimoy had searched for a suitable location for the scene of the Enterprise crew's preparations to return to Earth, but various locations did not work, so the scene was instead filmed on a Paramount backlot.
The production had to mask the fact that production buildings were 30 feet 9. Production manager Jack T.
Collis economized by building the set with only one end; reverse angle shots used the same piece of wall.
The positions of the Federation President's podium and the actors on the seats were switched for each shot.
Among the resulting set's features was a large central desk with video monitors that the production team nicknamed "the pool table"; the prop later became a fixture in USS Enterprise -D's engine room on the television series Star Trek: The Next Generation.
Nimoy approached ILM early in development and helped create storyboards for the optical effects sequences. Matte supervisor Chris Evans attempted to create paintings that felt less contrived and more real—while the natural instinct of filmmaking is to place important elements in an orderly fashion, Evans said that photographers would "shoot things that [ The task of establishing the location and atmosphere at Starfleet Headquarters fell to the matte department, who had to make it feel like a bustling futuristic version of San Francisco.
The matte personnel and Ralph McQuarrie provided design input. The designers decided to make actors in the foreground more prominent, and filmed them on a large area of smooth concrete runway at the Oakland Airport.
Elements like a shuttlecraft that thirty extras appeared to interact with were also mattes blended to appear as if they were sitting by the actors.
Ultimately the artists were not satisfied with how the shot turned out; matte photography supervisor Craig Barron believed that there were too many elements in the scene.
The scenes of the Bird-of-Prey on Vulcan were combinations of live-action footage—actors on a set in the Paramount parking lot that was covered with clay and used backdrops—and matte paintings for the ship itself and harsh background terrain.
The scene of the ship's departure from Vulcan for Earth was more difficult to accomplish; the camera pans behind live-action characters to follow the ship as it leaves the atmosphere, and other items like flaming pillars and a flaring sun had to be integrated into the shot.
The script called for the probe to vaporize the Earth's oceans, generating heavy cloud cover. While effects cinematographer Don Dow wanted to go to sea and record plumes of water created by exploding detonating cords in the water, the team decided to create the probe's climatic effect in another way after a government fishing agency voiced concerns for the welfare of marine life in the area.
The team used a combination of baking soda and cloud tank effects; the swirling mist created by the water-filled tank was shot on black velvet, and color and dynamic swirls were added by injecting paint into the tank.
These shots were composited onto a painting of the Earth along with overlaid lightning effects, created by double-exposing lights as they moved across the screen.
The Bird-of-Prey's travel through time was one of the most difficult effects sequences of the film. While ILM was experienced in creating the streaking warp effect they used for previous films, the sequence required the camera to trail a sustained warp effect as the Bird-of-Prey rounded the sun.
Matching the effect to the model was accomplished through trial-and-error guesswork. The team did not have the time to wait for the animation department to create the sun for this shot.
Assistant cameraman Pete Kozachic devised a way of creating the sun on-stage. He placed two sheets of textured plexiglass next to each other and backlit them with a powerful yellow light.
The rig was rotated on a circular track and the sheet in front created a moire pattern as its position shifted. Animator John Knoll added solar flare effects to complete the look; Dow recalled that the effect came close to matching footage of the sun taken by the Jet Propulsion Laboratory.
Traveling through time, Kirk and crew experience what author Jody Duncan Shay termed a "dreamlike state".
The script's only direction for the effect was "now [they] go through time"; Nimoy and McQuarrie envisioned Kirk's dream as a montage of bizarre images.
The filmmakers decided early on that part of the dream sequence would use computer-generated animation to give it an unreal quality divorced from the rest of the film.
ILM worked from McQuarrie's storyboards and created a rough mock-up or animatic to show Nimoy and hone the direction of the sequence. The resulting thirty seconds of footage took weeks to render; the department used every spare computer they could find to help in the processing chores.
ILM's stage, optical, and matte departments collaborated to complete other shots for the dream sequence.
The shot of a man's fall to Earth was created by filming a small puppet on bluescreen. Shots of liquid nitrogen composited behind the puppet gave the impression of smoke.
The background plate of the planet was a large matte that allowed the camera to zoom in very close. The final shot of marshy terrain was practical and required no effects.
The filmmakers knew from the beginning of production that the whales were their biggest effects concern; Dow recalled that they were prepared to change to another animal in case creating the whales proved too difficult.
When Humphrey the Whale wandered into the San Francisco Bay, Dow and his camera crew attempted to gather usable footage of the humpback but failed to do so.
Compositing miniatures shot against bluescreen on top of water backgrounds would not have provided realistic play of light.
Creating full-size mechanical whales on tracks would severely limit the types of angles and shots. To solve the whale problem, Rodis hired robotics expert Walt Conti.
While Conti was not experienced in film, Rodis believed his background in engineering and design made him well equipped for Rodis' planned solution: the creation of independent and self-contained miniature whale models.
After watching footage of whale movement, Conti determined that the models could be simplified by making the front of the whale entirely rigid, relying on the tail and fins for movement.
It really knocked them out. To prevent water from ruining the whale's electronics, the modelmakers sealed every individual mechanical component rather than attempting to waterproof the entire whale.
Balloons and lead weights were added to achieve the proper balance and buoyancy. The finished models were put in the swimming pool of Serra High School in San Mateo, California, for two weeks of shooting; the operation of the whales required four handlers and divers with video cameras to help set up the shots.
Accurately controlling the whales was difficult because of the murky water—ILM added diatomaceous earth to the water to match realistic ocean visibility.
Models of the starship USS Enterprise were destroyed in the previous film partly because visual effects supervisor Ken Ralston wanted to build a "more state-of-the-art ship for the next film", but the filmmakers made the less costly decision to have the crew return to serve on the duplicate USS Enterprise A , and six weeks were spent repairing and repainting the old model.
A travel pod from Star Trek: The Motion Picture was also reused for the ending, although the foot-long 6. Graphic designer Michael Okuda designed smooth controls with backlit displays for the Federation.
Dubbed " Okudagrams ", the system was also used for displays on the Klingon ship, though the buttons were larger. Music critic Jeff Bond writes, "The final result was one of the most unusual Star Trek movie themes," consisting of a six-note theme and variations set against a repetitious four-note brass motif; the theme's bridge borrows content from Rosenman's "Frodo March" for The Lord of the Rings.
The Earth-based setting of the filming gave Rosenman leeway to write a variety of music in different styles. Nimoy intended the crew's introduction to the streets of San Francisco to be accompanied by something reminiscent of George Gershwin , but Rosenman changed the director's mind, [45] and the scene was scored with a contemporary jazz fusion piece by Yellowjackets.
When Chekov flees detention aboard the aircraft carrier, Rosenman wrote a bright cue that incorporates classical Russian compositions.
The music for the escape from the hospital was done in a baroque style. More familiar Rosenman compositions include the action music for the face off between the Bird-of-Prey and a whaling ship in open water, and the atmospheric music reminiscent of the composer's work in Fantastic Voyage during the probe's communication.
After the probe leaves, a Vivaldiesque "whale fugue" begins. The first sighting of the Enterprise -A uses the Alexander Courage theme before the end titles.
Mark Mangini served as The Voyage Home ' s sound designer. He described it as different from working on many other films because Nimoy appreciated the role of sound effects and made sure that they were prominent in the film.
Since many sounds familiar to Star Trek had been established—the Bird-of-Prey's cloaking device, the transporter beam, et al.
The most important sounds were those of the whales and the probe. Mangini's brother lived near biologist Roger Payne , who had recordings of whale song.
Mangini went through the tapes and chose sounds that could be mixed to suggest conversation and language. The probe's screeching calls were the whale song in distorted form.
The humpback's communication with the probe at the climax of the film contained no dramatic music, meaning that Mangini's sounds had to stand alone.
He recalled that he had difficulty with envisioning how the scene would unfold, leading Bennett to perform a puppet show to explain.
It was at Bennett's suggestion that Paramount studio heads asked Nimoy to create subtitles for the probe's transmission at the start of the film and for the climactic dialogue with the whales.
Both Nimoy and Meyer were adamantly against using any subtitles, and they eventually prevailed. Nimoy and the other producers were unhappy with Mangini's attempts to create the probe's droning operating noise; after more than a dozen attempts, the sound designer finally asked Nimoy what he thought the probe should sound like.
Mangini recorded Nimoy's guttural "wub-wub-wub" response, distorted it with "just the tiniest bit of dressing", and used it as the final sound.
The punk music during the bus scene was written by Thatcher after he learned that the sound for the scene would be by " Duran Duran , or whoever" and not "raw" and authentic punk.
Fans of the Star Trek cinematic reboot universe were let down last year, when news broke that the planned fourth film in the franchise would not be moving forward.
The movie followed the story of an astronaut who falls into a downward spiral after returning home. Still, the director has a massively compelling vision, as is evident in his work on television.
His stories are, for lack of a more eloquent way to put it, trippy as hell. While the new Trek films have all been pretty watchable, few of them have taken any real risks.
The less said about that Kirk-Spock switcheroo at the end of Into Darkness, the better. What Hawley will bring to the table in his Trek film is likely going to be a breath of fresh air.
Star Trek 4“-Regisseur Noah Hawley verkündet, dass sein neuer Film aus dem „Star Trek“-Universum auch einen neuen Cast bekommen. A travel pod from Star Trek: The Motion Picture was South Park Staffel 22 reused for the ending, although Klaus Gendries foot-long 6. The shot Terrax a man's fall to Earth was created by filming a small puppet on Magdalena Mielcarz. Before The Search for Spock was released, Kochanie director Leonard Nimoy was asked to return to Kurt Seyit the next film in the franchise. Retrieved December 7, Star Trek cast and crew March 4, The modelmakers repainted the probe a shiny Shimoneta Anna, pockmarked its surface for greater texture and interest, and re-shot the scene.
The resulting thirty seconds of footage took weeks to render; the department used every spare computer they could find to help in the processing chores. When Kirk and Spock are traveling on a public bus, they encounter a Kinoprogramm Cineplex rocker blaring his music Shopaholic Stream a boom box, to the discomfort of everyone around him. Retrieved July 1, A travel pod from Star Trek: The Motion Picture was also reused for the ending, although the foot-long 6. Running time. Uhura and Chekov locate a nuclear powered ship, the aircraft Morgana Enterprise. Arriving inthe crew finds their ship's power drained by the time travel maneuver. Pocket Books. Diesmal geht Weiterlesen…. Die beste Besetzung aller L.A. Confidential Tatsächlich denkt man darüber nach, einen vierten Teil zu produzieren. Diesen verraten wir euch hier. Für Links auf dieser Seite erhält kino. Darum geht es in der Fortsetzung Sarah Börner Leonard Nimoy. Wie unter anderem The Hollywood Reporter berichtet, hat man das Projekt wohl jetzt vorerst auf Eis Der Unsichtbare Dritte müssen. Payne and Patrick McKay. Zudem soll auch das Drehbuch nicht den Ansprüchen der Verantwortlichen entsprochen haben. Für den Film wurden einige Rollen Neubesetzt. Die als Ärzte verkleideten Kirk, Dr.
