Star Trek 2

Star Trek 2 William Shatner presents Star Trek II. – The Wrath of Khan (Der Zorn des Khan)

Admiral Kirk fühlt sich in die Jahre gekommen und spielt mit dem Gedanken, in den Ruhestand zu gehen. Seine Pläne werden jedoch durchkreuzt, als sein alter Kontrahent Khan in ein Raumlabor eindringt, in dem an einem streng geheimen Gerät arbeitet. Heute gilt Star Trek II als eine der gelungensten und innerhalb Star Treks einflussreichsten Leinwandadaptionen. Inhaltsverzeichnis. 1 Handlung; 2. Star Trek Into Darkness ist ein US-amerikanischer Science-Fiction-Film von J. J. Abrams aus dem Jahr Es ist der zwölfte Kinofilm, der auf der. Doch zurück zu STAR TREK II. Die Chemie der Darsteller unterienander stimmt und mit Ricardo Montalban ist ein charismatischer Antagonist für Kirk und Co. Khan Noonien Singh nutzt die Gelegenheit von seinem Gefängnis auf dem Planeten Ceti Alpha V zu.

Star Trek 2

Star Trek II: Der Zorn des Khan im Fernsehen - TV Programm: Kirks Erzfeind hat noch eine Rechnung offen. Admiral Kirk fühlt sich in die Jahre gekommen und spielt mit dem Gedanken, in den Ruhestand zu gehen. Seine Pläne werden jedoch durchkreuzt, als sein alter Kontrahent Khan in ein Raumlabor eindringt, in dem an einem streng geheimen Gerät arbeitet. ST II - Der Zorn des Khan. Star Trek: The Wrath of Khan. von Matthias Weber. Inhalt. Sternzeit: ,3 (Jahr ). Der Kobayashi Maru Test. Admiral Kirk. The barren desert surface of Ceti Alpha Click was simulated on stage 8, the largest sound stage at Paramount's see more. Principal photography began on November 9,and ended on January 29, Edit Storyline Source is the 23rd century. Therefore, I tried to make it look as if they had dressed themselves out of pieces please click for source upholstery and electrical equipment that composed the ship. Sign In. Retrieved Read article 13, Action Adventure Drama. Designer Robert Fletcher was brought in to redesign existing costumes and create new ones.

Star Trek 2 Video

Star Trek II Wrath of Khan - Reliant Vs Enterprise; First Clash 1080p Dieser kann berichten, dass die Enterprise für mehrere Just click for source keine Hauptenergie haben wird und damit Verheiratet Sarah Latton hilflos ist. Sein besonderes Augenmerk sollte dabei eigentlich der Effizienz und dem Ausbildungsstand der Kadetten gelten, welche auf dem Schiff ihre spätere Routine praktisch erlernen. Nachdem er dies beendet hat, blickt Colin Hanks noch einmal in die Runde und kommt natürlich learn more here um den durchaus zufriedenen Gesichtsausdruck Scottys nicht herum. November Im selben Moment meldet sich zu aller Überraschung auch Spock und übermittelt Kirk den neuesten Statusbericht. Bei Amazon anzeigen. Der Test zwingt die Teilnehmer, sich einer ausweglosen Situation zu article source. Carol Marcus einen Hilferuf sendet, übernimmt Kirk das Kommando.

Ils ont des motivations rationnelles. Abrams , revient pour la musique du film. Pierre Eisenreich de la revue Positif met en avant le travail de J.

Vincent Avenel du site Critikat. Pour les articles homonymes, voir Star Trek homonymie. Star Trek Into Darkness. Chris Pine.

Zachary Quinto. Karl Urban. Zoe Saldana. Simon Pegg. Anton Yelchin. Benedict Cumberbatch. Spock Drops, Kirk Jumps 3. Sub Prime Directive 4.

London Calling 5. Meld-Merized 6. Meyer described his script as " 'Hornblower' in outer space", utilizing nautical references and a swashbuckling atmosphere.

As a gesture of good faith, Paramount changed the film's title from its original working title, The Vengeance of Khan, as it was too close to the working title for Lucasfilm 's upcoming Star Wars film.

However, as soon as the name change was made, Lucasfilm also changed their Revenge of the Jedi title to Return of the Jedi. An even earlier working title for the Trek film was The Undiscovered Country , a title which would eventually be used for the sixth film of the franchise.

Meyer attempted to change the look of Star Trek to match the nautical atmosphere he envisioned while staying within budget.

They've been smoking for four hundred years, you think it's going to stop in the next two? To save money on set design, production designer Joseph Jennings used existing elements from The Motion Picture that had been left standing after filming was completed.

The orbital office complex from The Motion Picture was inverted and retouched to become the Regula I space station. The ship's design was flipped after Bennett accidentally opened and approved the preliminary Reliant designs upside-down.

Designer Robert Fletcher was brought in to redesign existing costumes and create new ones. Fletcher decided on a scheme of "corrupt colors", using materials with colors slightly off from the pure color.

Dye tests of the fabric showed that the old uniforms took three colors well: blue-gray, gold, and dark red.

Fletcher decided to use the dark red due to the strong contrast it provided with the background. The resulting naval-inspired designs would be used in Star Trek films until First Contact The first versions of the uniforms had stiff black collars, but Sallin suggested changing it to a turtleneck, using a form of vertical quilting called trapunto.

The method creates a bas-relief effect to the material by stuffing the outlined areas with soft thread shot via air pressure through a hollow needle.

For Khan and his followers, Fletcher created a strong contrast with the highly organized Starfleet uniforms; his idea was that the exiles' costumes were made out of whatever they could find.

Therefore, I tried to make it look as if they had dressed themselves out of pieces of upholstery and electrical equipment that composed the ship.

Fletcher also designed smocks for the Regula I scientists, and civilian clothes for Kirk and McCoy that were designed to look practical and comfortable.

Principal photography began on November 9, , and ended on January 29, The project was supervised by Paramount's television unit rather than its theatrical division.

For a scene taking place at Starfleet Academy , a forced perspective was created by placing scenery close to the camera to give the sense the set was larger than it really was.

To present the illusion that the Enterprise ' s elevators moved between decks, corridor pieces were wheeled out of sight to change the hall configuration while the lift doors were closed.

Some designed props, such as a redesigned phaser and communicator, were vetoed by Paramount executives in favor of existing materials from The Motion Picture.

The Enterprise was refurbished for its space shots, with its shiny exterior dulled down and extra detail added to the frame.

The ships were filmed on a blue screen with special film that does not register the color blue; the resulting shots could be added to effects shots or other footage.

Any reflection of blue on the ship's hull would appear as a hole on the film; the gaps had to be patched frame by frame for the final film.

The same camera used to film Star Wars , the Dykstraflex , was used for shots of the Enterprise and other ships. The barren desert surface of Ceti Alpha V was simulated on stage 8, the largest sound stage at Paramount's studio.

The set was elevated 25 feet off the ground and covered in wooden mats, over which tons of colored sand and powder were dumped.

A cyclorama was painted and wrapped around the set, while massive industrial fans created a sandstorm.

The filming was uncomfortable for actors and crew alike. The spandex environmental suits Koenig and Winfield wore were unventilated, and the actors had to signal by microphone when they needed air.

Filming equipment was wrapped in plastic to prevent mechanical troubles and everyone on set wore boots, masks, and coveralls as protection from flying sand.

Spock's death was shot over three days, during which no visitors were allowed on set. The mind meld sequence was initially filmed without Kelley's prior knowledge of what was going on.

During Spock's funeral sequence Meyer wanted the camera to track the torpedo that served as Spock's coffin as it was placed in a long trough and slid into the launcher.

The camera crew thought the entire set would have to be rebuilt to accommodate the shot, but Sallin suggested putting a dolly into the trough and controlling it from above with an offset arm.

Spock's death in the film was widely reported during production. The scene of Spock's casket on the planet and Nimoy's closing monologue were added; Meyer objected, but did not stand in the way of the modifications.

The shoot lasted from midday to evening, as the team was well aware there would be no time for reshoots. Special consideration was given during filming to allow for integration of the planned special effects.

Television monitors standing in for computer displays were specially calibrated so that their refresh rate did not result in banding on film.

When the larger prints were reduced through an anamorphic lens on the printer, the result was a Panavision composite.

With a short timeframe to complete The Wrath of Khan ' s special effects sequences, effects supervisor Jim Veilleux, Meyer, Jennings, Sallin and Minor worked to transform the written ideas for the script into concrete storyboards and visuals.

The detailed sequences were essential to keep the film's effects from spiraling out of control and driving up costs, as had occurred with The Motion Picture.

Originally, the Reliant was conceived as a Constitution -class starship identical to the Enterprise , but it was felt audiences would have difficulty distinguishing between two alike ships.

Phaser damage was created using stop motion. The script called for large-scale damage to the Reliant , so larger versions of the ship's model were created to be blown up.

The battle in the nebula was a difficult sequence to accomplish without the aid of computer-generated models. The swirling nebula was created by injecting a latex rubber and ammonia mixture into a cloud tank filled with fresh and salt water.

The vibrant abstract colors of the nebula were simulated by lighting the tank using colored gels.

Additional light effects such as auroras were created by the ILM animation department. The scene in which Terrell kills Jedda, a Regula scientist, by vaporizing him with a phaser was filmed in two takes.

Winfield and the related actors first played out the scene; this footage became the background plate. A blue screen was wheeled onto the set and actor John Vargas , the recipient of the phaser blast, acted out his response to being hit with the energy weapon.

A phaser beam element was placed on top of the background plate, and Vargas' shots were optically dissolved into an airbrushed disintegration effect which matched Vargas' position in every frame.

The Ceti eel shots used several models, overseen by visual effects supervisor Ken Ralston , who had just finished creature design for Return of the Jedi.

He tied a string to the eels to inch the models across the actors' faces before they entered the ear canal.

The scene was filmed with three variations, which Ralston described as "a dry shot, one with some blood, and the Fangoria shot, with a lot of gore.

Meyer and the production staff were adamant about not using freeze frames for the transporter, as had been done in the original television series.

Scenes were shot so that conversations would continue while characters were in mid-transport, [13] although much of the matte work VCE created was discarded when the production decided not to have as much action during transports.

The Wrath of Khan was one of the first films to extensively use computer graphics to speed production of special effects shots.

Among the film's technical achievements was cinema's first entirely computer-generated sequences, both the star fly-through prior to the opening credits, and ILM's animation for the demonstration of the effects of the Genesis Device on a barren planet.

While Paramount appreciated the more dramatic presentation, they also wanted the simulation to be more impressive than traditional animation.

Introducing the novel technique of particle systems [41] for the sixty-second sequence, the graphics team also paid great attention to detail such as ensuring that the stars visible in the background matched those visible from a real star light-years from Earth.

The animators hoped it would serve as a "commercial" for the studio's talents. The studio would later branch off from Lucasfilm to form Pixar.

Meyer initially hoped to hire an associate named John Morgan, but Morgan lacked film experience, which would have troubled the studio.

Paramount's vice-president of music Joel Sill took a liking to a year-old composer named James Horner, feeling that his demo tapes stood out from generic film music.

They did not want a John Williams score, per se. They wanted something different, more modern. I wanted the assignment, and I met with them, we all got along well, they were impressed with my music, and that's how it happened.

In keeping with the nautical tone, Meyer wanted music evocative of seafaring and swashbuckling, and the director and composer worked together closely, becoming friends in the process.

In comparison to the flowing main theme, Khan's leitmotif was designed as a percussive texture that could be overlaid with other music and emphasized the character's insanity.

Many elements drew from Horner's previous work a rhythm that accompanies Khan's theme during the surprise attack borrows from an attack theme from Wolfen , in turn influenced by Goldsmith's score for Alien.

Musical moments from the original television series are also heard during investigation of the Regula space station and elsewhere.

To Horner, the "stuff underneath" the main story was what needed to be addressed by the score; in The Wrath of Khan , this was the relationship between Kirk and Spock.

The main theme serves as Kirk's theme, with a mellower section following that is the theme for the Starship Enterprise. The soundtrack was Horner's first major film score, [47] and was written in four and a half weeks.

The resulting 72 minutes of music was then performed by a piece orchestra. The Wrath of Khan features several recurring themes, including death, resurrection, and growing old.

Meyer added elements to reinforce the aging of the characters. Kirk's unhappiness about his birthday is compounded by McCoy's gift of reading glasses.

The script stated that Kirk was 49, but Shatner was unsure about being specific about Kirk's age. Bennett convinced Shatner that he could age gracefully like Spencer Tracy ; the producer did not know that Shatner had worked with Tracy on Judgment at Nuremberg , and was fond of the actor.

Khan's pursuit of Kirk is central to the film's theme of vengeance, and The Wrath of Khan deliberately borrows heavily from Herman Melville 's Moby-Dick.

Khan also quotes Ahab's tirade at the end of the novel verbatim with his final lines: "To the last I grapple with thee; from Hell's heart I stab at thee; for hate's sake, I spit my last breath at thee.

The film's novelization, written by Vonda N. McIntyre , stayed on the New York Times paperback bestsellers list for more than three weeks.

Critical response was positive. The film's success was credited with renewing interest in the franchise. The film's pacing was praised by reviewers in The New York Times and The Washington Post as being much swifter than its predecessor and closer to that of the television series.

Roger Ebert of the Chicago Sun-Times and Derek Adams of Time Out complained about what were seen as tepid battle sequences [73] and perceived melodrama.

Christopher John reviewed Star Trek II: The Wrath of Khan in Ares Magazine 13 and commented that "By not taking itself so seriously — that is, realizing the film should be an action adventure with elements of pathos and philosophy gently added — The Wrath of Khan succeeded brilliantly.

For those who loved the series, it was a dream come true to such an extent that many refuse to acknowledge the existence of the first film as part of the Star Trek epos.

Meyer stated that he didn't believe directors' cuts of films were necessarily better than the original but that the re-release gave him a chance to add elements that had been removed from the theatrical release by Paramount.

The film's original theatrical cut was released on Blu-ray Disc in May to coincide with the new Star Trek feature, along with the other five films featuring the original crew in Star Trek: Original Motion Picture Collection.

Nicholas Meyer stated that the Wrath of Khan negative "was in terrible shape," which is why it needed extensive restoration.

All six films in the set have new 7. From Wikipedia, the free encyclopedia. Trailers and Videos. Crazy Credits. Alternate Versions.

Rate This. With the assistance of the Enterprise crew, Admiral Kirk must stop an old nemesis, Khan Noonien Singh, from using the life-generating Genesis Device as the ultimate weapon.

Director: Nicholas Meyer. Watch on Prime Video included with Prime. Added to Watchlist. From metacritic. Everything New on Hulu in June.

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User Polls Which disembodied AI would you use as a personal assistant? Edit Cast Cast overview, first billed only: William Shatner Kirk Leonard Nimoy Spock DeForest Kelley McCoy James Doohan Scotty Walter Koenig Chekov George Takei Sulu Nichelle Nichols Uhura Bibi Besch Carol Merritt Butrick David Paul Winfield Terrell Kirstie Alley Saavik Ricardo Montalban Khan Ike Eisenmann Preston John Vargas Jedda John Winston Learn more More Like This.

Action Adventure Sci-Fi. Adventure Comedy Sci-Fi. Star Trek: The Motion Picture Adventure Mystery Sci-Fi. Action Adventure Fantasy.

Star Trek: Generations Action Adventure Mystery. Star Trek: First Contact Action Adventure Drama. Star Trek: Insurrection Star Trek: Nemesis Star Trek: The Original Series — Star Trek Into Darkness Star Trek Edit Storyline It is the 23rd century.

Taglines: Beyond the darkness

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