130-615: (Redirected from Genesis Planet ) Project Genesis may refer to: Project Genesis (Star Trek) , a fictional technology from the Star Trek universe Project Genesis (organization) , an Orthodox Jewish outreach organization that teaches Judaism on the Internet A project by Royal Caribbean International to develop their latest cruise ships—the Oasis -class cruise ship An alternate name for
260-458: A mind meld , telling him to "remember". Spock repairs the warp drive, and Enterprise jumps to warp, escaping the explosion, which forms a new planet. Before dying of radiation poisoning , Spock urges Kirk not to grieve, as his decision to sacrifice himself to save the Enterprise was a logical one. Kirk and the ship's crew host a space burial for Spock, whose photon torpedo casket lands on
390-526: A "No Smoking" sign added to the Enterprise ' s bridge, which he recalled "Everyone had a fit over [...] I said, 'Why, have they stopped smoking in the future? They've been smoking for four hundred years, you think it's going to stop in the next two?'" The sign appeared in the first shot of the film, but was removed for all others appearing in the final cut. To save money on set design, production designer Joseph Jennings used existing elements from The Motion Picture that had been left standing after filming
520-544: A Japanese-American crime boss [1] ), and Bob Hope Presents the Chrysler Theatre . In 1965, he toured in The King and I . "'I think every actor loves the stage,' he said in 1991. 'The pros are that it is the actor's medium; there's no way your scene is going to end up on the cutting-room floor, and it's up to you to get and keep the attention of the audience by the truth of your performance.'" He appeared in
650-684: 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
780-566: A baby in Khan's group, who is killed with the others in the Genesis detonation. Meyer later said: The chief contribution I brought to Star Trek II was a healthy disrespect ... Star Trek was human allegory in a space format. That was both its strength and, ultimately, its weakness. I tried through irreverence to make them more human and a little less wooden. I didn't insist that Captain Kirk go to
910-543: A biosphere on other planets See also [ edit ] Genesis (disambiguation) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Project Genesis . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Project_Genesis&oldid=1257740759 " Category : Disambiguation pages Hidden categories: Short description
1040-715: A bullfighter opposite Esther Williams in Fiesta (1947), shot in Mexico. Montalbán was cast and the movie was very popular; Metro-Goldwyn-Mayer signed him to a long-term contract. The studio re-teamed him with Williams in On an Island with You (1948). He had a dance number in the Frank Sinatra musical The Kissing Bandit (1948), then did a third film with Williams, Neptune's Daughter (1949), in which they dueted on " Baby It's Cold Outside ". Montalbán's first leading role
1170-531: A college friend, to produce the film. Sallin's job would be to produce Star Trek II quickly and cheaply. Bennett hired Michael Minor as art director to shape the direction of the film. Bennett wrote his first film treatment in November 1980. In his version, titled The War of the Generations , Kirk investigates a rebellion on a distant world and discovers that his son is the leader of the rebels. Khan
1300-449: A composer by the time filming began. 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 28-year-old composer named James Horner , feeling that his demo tapes stood out from generic film music. Horner was introduced to Bennett, Meyer and Sallin. Horner said that "[The producers] did not want
1430-403: A counter-attack. Khan is forced to retreat and effect repairs, while Enterprise limps to Regula I . Kirk, McCoy, and Saavik beam to the station and find Terrell and Chekov alive, along with the slaughtered members of Marcus' team. They soon find Carol and David hiding Genesis deep inside the nearby planetoid. Khan, having used Terrell and Chekov as spies, orders them to kill Kirk; Terrell resists
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#17327764867131560-480: A dramatic death scene. Negative test audience reaction to Spock's death led to significant revisions of the ending over Meyer's objections. The production team used various cost-cutting techniques to keep within budget, including using miniature models from past projects and reusing sets, effects footage, and costumes from the first film. The film was the first feature film to contain a sequence created entirely with computer graphics . Star Trek II: The Wrath of Khan
1690-439: A full script. Director Nicholas Meyer completed its final script in twelve days, without accepting a writing credit. Meyer's approach evoked the swashbuckling atmosphere of the original series, referring to the film as " Horatio Hornblower in space", a theme reinforced by James Horner 's musical score. Leonard Nimoy had not intended to have a role in the sequel, but was enticed back on the promise that his character would be given
1820-526: A laborer under the direction of Wellman; it didn't sell well at the box office. Montalbán was one of several names in Sombrero (1953), shot in Mexico. Montalbán was Lana Turner 's leading man in Latin Lovers (1953). Both films lost money and Metro-Goldwyn-Mayer let him go. He later said, "I played caricatures of what a Latin is supposed to be like. In reality, we are family men. I should have had
1950-698: A lifeless planet to test the Genesis Device, a technology designed to reorganize dead matter into habitable worlds . Reliant' s Captain Clark Terrell and first officer Commander Pavel Chekov beam down to evaluate a planet they mistakenly believe to be Ceti Alpha VI. Once there, they are captured by the genetically-engineered tyrant Khan Noonien Singh , who explains that they are on Ceti Alpha V. Fifteen years prior, Kirk exiled Khan and his followers there after they attempted to take over Enterprise ; six months later, Ceti Alpha VI exploded, shifting
2080-421: A line praising the "soft" or "rich Corinthian leather " upholstery of the car's interior, often misquoted as "fine Corinthian leather,” became famous and was much parodied , and Montalbán subsequently became a favorite subject of impersonators. For example, Eugene Levy frequently impersonated him on SCTV , as did Dan Aykroyd on Saturday Night Live . In 1986, he was featured in a magazine advertisement for
2210-422: A lot of gore." Footage of a giant model of Koenig's ear was discarded from the theatrical release due to the visceral reaction it elicited in test audiences. Additional optical effects were provided by Visual Concept Engineering (VCE), a small effects company headed by Peter Kuran; Kuran had previously worked at ILM and left after finishing The Empire Strikes Back . VCE provided effects including phaser beams,
2340-456: A main line freight locomotive, subsequently named PowerHaul Project Genesis, a demo (computer-based audio-visual work of art) by Hungarian demogroup Conspiracy Project Genesis (ESA) , a program of the ESA to increase earth observation satellites accuracy to within 1 mm and a long-term stability of 0.1 mm/year. Genesis Project , conceptual low-cost interstellar mission aiming to establish
2470-498: A mellower section following that is the theme for the Starship Enterprise . Horner also wrote a motif for Spock, to emphasize the character's depth: "By putting a theme over Spock, it warms him and he becomes three-dimensional rather than a collection of schticks." The difference in the short, French horn -based cues for the villain and longer melodies for the heroes helped to differentiate characters and ships during
2600-838: A movie in Mexico about Yugoslavia in World War II, Five Were Chosen (1944). Montalbán had a support role. Foster gave him a second lead role in The Escape (1944) aka La Fuga . Montalban had the star role in Cadetes de la naval , Nosotros , and The Hour of Truth (all 1945), the latter a bullfighting drama also directed by Foster. Montalban was in The House of the Fox (1945), Pepita Jimenez (1946), and Fantasía ranchera (1947). Montalbán's films had been seen by Metro-Goldwyn-Mayer who were looking for someone to play
2730-410: A redesigned phaser and communicator, were vetoed by Paramount executives in favor of existing materials from The Motion Picture . Additional communicator props were built by John Zabrucky of Modern Props. The Enterprise was refurbished for its space shots, with its shiny exterior dulled down and extra detail added to the frame. Compared to the newly built Reliant , the Enterprise was hated by
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#17327764867132860-502: A revival of Don Juan in Hell . He did the TV movies Wonder Woman (1974), The Mark of Zorro (1974), McNaughton's Daughter (1976), and guest-starred on Switch and Columbo . In 1975, he was chosen as the television spokesman for the new Chrysler Cordoba . The car became a successful model, and over the following several years, was heavily advertised; his mellifluous delivery of
2990-409: A role that he had originated in the episode of Star Trek titled " Space Seed " (1967). Early rumors suggested Montalbán wore prosthetic muscles on his chest during filming of Star Trek II to appear more muscular. Director Nicholas Meyer replied that even in his sixties, Montalbán, who had a vigorous training regimen, was "one strong cookie", and that his real chest was seen on film. Khan's costume
3120-432: A security measure, leading Fletcher to think it had been stolen. 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. Fletcher said, "My intention with Khan was to express the fact that they had been marooned on that planet with no technical infrastructure, so they had to cannibalize from
3250-430: A serious challenge in developing the new Star Trek film, partly due to his never having seen the television series. Watching episodes of the show convinced Bennett that what the first picture lacked was a real villain; after seeing the episode " Space Seed ", he decided that the character of Khan Noonien Singh was the perfect enemy for the new film. Bennett selected Robert Sallin, a director of television commercials and
3380-615: A story for himself, Green Shadows , but it appears to have not been made. Montalbán began working in television, guest-starring on shows such as General Electric Theater , The Ford Television Theatre , Celebrity Playhouse , Climax! , The 20th Century-Fox Hour (versions of Broken Arrow and Five Fingers ), Chevron Hall of Stars , Wagon Train , and Schlitz Playhouse . In 1955, he appeared on Broadway in Seventh Heaven with Gloria DeHaven but it ran for only forty-four performances. In Hollywood, he appeared in
3510-536: A supporting role in the big screen film version of Sweet Charity (1969). Montalbán was in The Name of the Game ; Gunsmoke ; Dan August ; Bracken's World ; Marcus Welby, M.D. ; The Virginian ; The Doris Day Show ; Sarge ; and Nichols . He did the TV movies The Aquarians (1970), The Face of Fear (1971), and Fireball Forward (1972) and the features The Deserter (1970), Escape from
3640-548: A teenager, he moved to Los Angeles to live with Carlos. They moved to New York City in 1940, and Montalbán earned a minor role in the play Her Cardboard Lover . In 1941, Montalbán appeared in three-minute musicals produced for the Soundies film jukeboxes. He appeared in many of the New York–produced Soundies as an extra or as a member of a singing chorus (usually billed as Men and Maids of Melody), although he had
3770-595: A version of The Three Musketeers (1942) starring Cantinflas . He can be glimpsed in El verdugo de Sevilla (1942), The Saint That Forged a Country (1942) starring Ramon Navarro , and La razón de la culpa (1943). Montalbán became a star in Mexico in Santa (1943), which was directed by a Hollywood expat, Norman Foster . He followed it with a support role in Cinco fueron escogidos (1943). Some American filmmakers shot
3900-566: A week—nothing." Montalban was one of several soldiers in the William Wellman war film Battleground (1949), a huge success at the box office. He was given another star role in Mystery Street (1950), playing a detective in a film noir directed by John Sturges . It was a box office disappointment. Sturges also directed Right Cross (1950) with Montalbán, Dick Powell and June Allyson . Montalbán and Jane Powell made
4030-494: A younger Kirk. 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 (1961), and was fond of the actor. Meyer made sure to emphasize Kirk's parallel to Sherlock Holmes in that both characters waste away in the absence of their stimuli; new cases, in Holmes' case, and starship adventures in Kirk's. Khan's pursuit of Kirk
Project Genesis - Misplaced Pages Continue
4160-449: Is a sequel to the television episode " Space Seed " (1967). The plot features Admiral James T. Kirk ( William Shatner ) and the crew of the starship USS Enterprise facing off against the genetically engineered tyrant Khan Noonien Singh ( Ricardo Montalbán ). When Khan escapes from a 15-year exile to exact revenge on Kirk, the crew of the Enterprise must stop him from acquiring a powerful terraforming device named Genesis. The film
4290-440: Is also a favorite of director J. J. Abrams , producer Damon Lindelof , and writers Roberto Orci and Alex Kurtzman , the creative team behind the franchise relaunch film Star Trek . Abrams' second entry in the relaunched film series, Star Trek Into Darkness , drew significantly from Wrath of Khan . Paramount released The Wrath of Khan on RCA CED Videodisc in 1982 and on VHS and Betamax in 1983. The studio sold
4420-400: Is attacked by Klingon cruisers and critically damaged. The simulation is a no-win scenario designed to test the character of Starfleet officers. Later, Dr. Leonard McCoy visits Kirk on his birthday; seeing Kirk in low spirits due to his age, the doctor advises Kirk to get a new command instead of growing old behind a desk. Meanwhile, the starship Reliant is on a mission to search for
4550-514: Is being developed by Kirk's former lover, Dr. Carol Marcus , and their son, David . Kirk assumes command of Enterprise after the ship, deployed on a training cruise, receives a distress call from Regula I . En route, Enterprise is ambushed and crippled by Reliant . Khan offers to spare Kirk's crew if they relinquish all material related to Genesis; Kirk instead stalls for time and, taking advantage of Khan's unfamiliarity with starship controls, remotely lowers Reliant ' s shields , enabling
4680-488: Is central to the film's theme of vengeance, and The Wrath of Khan deliberately borrows heavily from Herman Melville 's Moby-Dick . To make the parallels clear to viewers, Meyer added a visible copy of Moby-Dick to Khan's dwelling. Khan liberally paraphrases Ahab, with "I'll chase him round the moons of Nibia and round the Antares maelstrom and round perdition's flames before I give him up!" Khan quotes Ahab's tirade at
4810-461: Is different from Wikidata All article disambiguation pages All disambiguation pages Project Genesis (Star Trek) Star Trek II: The Wrath of Khan is a 1982 American science fiction film directed by Nicholas Meyer and based on the television series Star Trek . It is the second film in the Star Trek film series following Star Trek: The Motion Picture (1979), and
4940-436: Is the beginning of a three-film story arc that continues with the film Star Trek III: The Search for Spock (1984) and concludes with the film Star Trek IV: The Voyage Home (1986). After the lackluster critical response to the first film, series creator Gene Roddenberry was forced out of the sequel's production. Executive producer Harve Bennett wrote the film's original outline, which Jack B. Sowards developed into
5070-470: Is the mastermind behind the plot, and Kirk and son join forces to defeat the tyrant. Bennett then hired Jack B. Sowards , an avid Star Trek fan, to turn his outline into a filmable script. Sowards wrote an initial script before a writer's strike in 1981. Sowards' draft, The Omega Syndrome , involved the theft of the Federation's ultimate weapon, the "Omega system". Sowards was concerned that his weapon
5200-576: The Family Guy episode " McStroke " as a genetically engineered cow, his character made several references to his role as Khan, and similar references were made in his role as Guitierrez on the animated series Freakazoid! . After a cameo in Cannonball Run II (1984), Montalbán had a guest role in Dynasty which led to a regular role in its spin-off The Colbys . Montalbán played
5330-567: The Spy Kids franchise. Montalbán was born on November 25, 1920, in Mexico City, and grew up in Torreón , the son of Spanish immigrants Ricarda Merino Jiménez and Genaro Balbino Montalbán Busano, a store manager, who raised him as a Catholic. He was born with an arteriovenous malformation (AVM) in his spine. Montalbán had a sister, Carmen, and two brothers, Pedro and Carlos . As
Project Genesis - Misplaced Pages Continue
5460-524: The Enterprise reactor, additional sand on Ceti Alpha V, and an updated transporter effect. 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, although much of the matte work VCE created was discarded when the production decided not to have as much action during transports. Computer graphics company Evans & Sutherland used
5590-432: The assassination of John F. Kennedy . This was rejected by Paramount executives, who blamed the tepid reception and costs of the first film on its plodding pace and the constant rewrites Roddenberry demanded. As a consequence, Roddenberry was removed from the production and, according to Shatner, "kicked upstairs" to the ceremonial position of executive consultant. Harve Bennett , a new Paramount television producer,
5720-485: The "Omega system" to the " Genesis Device". By April 1981, Sowards had produced a draft that moved Spock's death to later in the story, because of fan dissatisfaction of the event after the script was leaked. Spock had originally died in the first act, in a shocking demise that Bennett compared to Janet Leigh 's early death in Psycho . This draft had a twelve-page face-to-face confrontation between Kirk and Khan inside
5850-648: The "rich Corinthian leather " used in the Cordoba 's interior. Montalbán played Mr. Roarke on the television series Fantasy Island (1977–1984). He won an Emmy Award for his role in the miniseries How the West Was Won (1978), and a Lifetime Achievement Award from the Screen Actors Guild in 1993. Montalbán was professionally active into his eighties, providing voices for animated films and commercials, and appearing as Grandfather Valentin in
5980-523: The 1990s, and in 2007 Art Asylum crafted a full series of action figures to mark the film's 25th anniversary. In 2009, IDW Publishing released a comic adaptation of the film, and Film Score Monthly released an expanded score. The Wrath of Khan opened on June 4, 1982, in 1,621 theaters in the United States. It made $ 14,347,221 in its opening weekend, at the time the largest opening weekend gross in history. It went on to earn $ 78,912,963 in
6110-536: The Genesis Device, Meyer wanted to call the film The Undiscovered Country , in reference to Prince Hamlet 's description of death in William Shakespeare 's Hamlet , but the title was changed during editing without his knowledge. Meyer disliked Wrath of Khan , but it was chosen because the preferred Vengeance of Khan conflicted with Lucasfilm 's forthcoming Revenge of the Jedi (renamed Return of
6240-477: The Genesis Project video. While most of the film was "locked in" by the time Horner had begun composing music, he had to change musical cue orchestration after the integration of special effects caused changes in scene durations. The Wrath of Khan features several recurring themes, including death, resurrection, and growing old. Upon writing his script, Meyer hit upon a link between Spock's death and
6370-469: The Genesis cave. Sowards' draft introduced a male character named Saavik. As pre-production began, Samuel A. Peeples , writer of the Star Trek episode " Where No Man Has Gone Before ", was invited to offer his own script. Peeples' draft replaced Khan with two new villains named Sojin and Moray; the alien beings are so powerful they almost destroy Earth by mistake. This script was considered inadequate;
6500-455: 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 of a more mature eel leaving Chekov's ear was simulated by threading a microfilament through the floor of the set up to Koenig's ear. The scene was filmed with three variations, which Ralston described as "a dry shot, one with some blood, and the Fangoria shot, with
6630-441: The Jedi late in production). 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 remembers that Shatner was hesitant about portraying a middle-aged version of himself, and believed that with proper makeup he could continue playing
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#17327764867136760-685: The Planet of the Apes (1971), Conquest of the Planet of the Apes , and The Train Robbers (1973) (directed by Kennedy). Montalbán continued to guest-star on shows like O'Hara, U.S. Treasury ; Here's Lucy ; and Griff . In 1972, Montalbán co-founded the Screen Actors Guild Ethnic Minority Committee with actors Carmen Zapata , Henry Darrow and Edith Diaz . In 1973, he returned to Broadway for
6890-497: The Planet of the Apes (1972). As the villain Khan Noonien Singh , a genetically enhanced human, he guest-starred in the original Star Trek television series (1967) and starred in the film Star Trek II: The Wrath of Khan (1982). During the 1970s and 1980s, Montalbán was a spokesman for Chrysler for thirteen years, featured in their automotive commercials and advertisements, notably those in which he extolled
7020-533: The TV movies Alice Through the Looking Glass (1966) (for which his fee was $ 10,000, equivalent to $ 94,000 today. ) and Code Name: Heraclitus (1967), and the features The Longest Hundred Miles (1967), Sol Madrid (1968), and Blue (1968). He also guest-starred on " Space Seed ", an episode of Star Trek . "I'm like a doctor on 24-hour call," he said in a 1967 interview. "I don't turn anything down." Montalbán also starred in radio, such as on
7150-657: The TV remake of Rashomon (1960) directed by Sidney Lumet ; Rage of the Buccaneers (1961), an Italian swashbuckler in which Montalbán had a lead role alongside Vincent Price ; Hemingway's Adventures of a Young Man (1962); The Reluctant Saint (1963) with Maximillian Schell ; and Love is a Ball (1963) with Glenn Ford , playing a French duke. He was the Native American leader Little Wolf in Cheyenne Autumn (1964) directed by John Ford, did
7280-471: The TV series Deepwater Black Toyota Project Genesis , a 1999 plan to attract more youthful buyers Genesis ( Final Fantasy character) , a character in the Compilation of Final Fantasy VII Genesis Device , an LGPL licensed game engine Norton 360 , codenamed Project Genesis or simply Genesis Project Genesis, a collaborative project between Freightliner, UK and General Electric for
7410-1004: The TV version of The Fantasticks (1964), and returned to Mexico to make ¡Buenas noches, año nuevo! (1964). He was mostly seen, though, on television in Alcoa Premiere , The Dick Powell Theatre , Ben Casey , The Greatest Show on Earth , The Lieutenant , The Great Adventure , Slattery's People , The Defenders , The Rogues , Burke's Law , Dr. Kildare , and The Man from U.N.C.L.E. . Montalbán had supporting roles in The Money Trap (1965) with Ford, directed by Burt Kennedy , Madame X (1966) with Turner for producer Ross Hunter , and The Singing Nun (1966) with Debbie Reynolds at MGM. He guest-starred in The Long, Hot Summer , Daniel Boone , The Wild Wild West , Insight , Combat! , Mission: Impossible , I Spy , Hawaii Five-O (playing
7540-480: The US, becoming the sixth highest-grossing film of 1982. It made $ 97,000,000 worldwide. Although the total gross of The Wrath of Khan was less than that of The Motion Picture , it was more profitable due to its much lower production cost. Critical response was positive. Review aggregator Rotten Tomatoes reports that 86% of 73 critics have given the film a positive review, recording an average score of 8.1/10. After
7670-623: The VHS for $ 39.95, $ 40 below contemporary movie cassette prices and it sold a record 120,000 copies. The successful experiment was credited with instigating more competitive VHS pricing, an increase in the adoption of increasingly cheaper VHS players, and an industry-wide move away from rentals to sales as the bulk of videotape revenue. Ricardo Montalb%C3%A1n Ricardo Gonzalo Pedro Montalbán y Merino , KSG ( / ˌ m ɒ n t əl ˈ b ɑː n / MON -təl- BAHN ; Spanish: [montalˈβan] ; November 25, 1920 – January 14, 2009)
7800-489: The acting. The Wrath of Khan is considered by many to be the best film in the Star Trek series, and is often credited with renewing substantial interest in the franchise. In 2285, Admiral James T. Kirk oversees a simulator session of Captain Spock 's trainees. In the simulation, Lieutenant Saavik commands the starship USS Enterprise on a rescue mission to save the crew of the damaged ship Kobayashi Maru , but
7930-431: The age of the characters. "This was going to be a story in which Spock died, so it was going to be a story about death, and it was only a short hop, skip, and a jump to realize that it was going to be about old age and friendship," Meyer said. "I don't think that any of [the other preliminary] scripts were about old age, friendship, and death." In keeping with the theme of death and rebirth symbolized by Spock's sacrifice and
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#17327764867138060-425: The aliens resembled too closely the villains on a typical TOS ( Star Trek: The Original Series ) episode . Deadlines loomed for special effects production to begin (which required detailed storyboards based on a finished script), which did not exist. Karen Moore, a Paramount executive, suggested that Nicholas Meyer , writer of The Seven-Per-Cent Solution and director of Time After Time , could help resolve
8190-401: The bathroom, but did Star Trek have to be so sanctified? Meyer described his script as " 'Hornblower' in outer space", using nautical references and a swashbuckling atmosphere. (Hornblower was an inspiration to Roddenberry and Shatner when making the show, although Meyer was unaware of this.) Sallin was impressed with Meyer's vision for the film: "His ideas brought dimension that broadened
8320-568: The battle sequences. The soundtrack was Horner's first major film score, and was written in four and a half weeks. The resulting 72 minutes of music was then performed by a 91-piece orchestra. Recording sessions for the score began on April 12, 1982, at the Warner Bros. lot, The Burbank Studios and continued until April 15. A pickup session was held on April 30 to record music for the Mutara nebula battle, while another session held on May 3
8450-501: The best aspects of the previous ones. To offset fan expectation that Spock would die, Meyer had the character "killed" in the Kobayashi Maru simulator in the opening scene. The effects company required a completed script in just 12 days. Meyer wrote the screenplay uncredited and for no pay before the deadline, surprising the actors and producers, and rapidly produced subsequent rewrites as necessary. One draft, for example, had
8580-411: The bombastic and elegiac elements of John Williams' Star Wars and Goldsmith's original Star Trek (The Motion Picture) scores," Horner was expressly told to not use any of Goldsmith's score. Instead Horner adapted the opening fanfare of Alexander Courage 's Star Trek television theme. "The fanfare draws you in immediately — you know you're going to get a good movie," Horner said. In comparison to
8710-432: The computer graphics-based Digistar planetarium system to generate the fields of stars, based on a database of real stars . The models of the ships were composited atop the star fields. The Evans & Sutherland team also produced the vector graphics tactical displays seen on the Enterprise and the simulator bridge. The Wrath of Khan was one of the first films to extensively use computer graphics to improve
8840-559: The construction of large and expensive sets. 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 turbolift doors were closed. Background equipment such as computer terminals were rented when possible instead of purchased outright. Some designed props, such as
8970-596: The courage of Dolores Del Rio who returned to Mexico and made her best movies there." Montalbán did a swashbuckler for Sam Katzman , The Saracen Blade (1954), then returned to Mexico to star in Untouched (1954). He travelled to Italy to make The Queen of Babylon (1954) with Rhonda Fleming , then returned to Mexico to make the US-financed A Life in the Balance (1955) with Anne Bancroft . He bought
9100-1035: The cutting-room floor." From 1957 to 1959, Montalbán starred in the Broadway musical Jamaica , singing several light-hearted calypso numbers opposite Lena Horne , which ran for 555 performances. His performance earned him a Tony Award nomination. Montalbán continued to guest-star on shows such as Colgate Theatre and Playhouse 90 . When Jamaica ended, he guest-starred in Riverboat , Adventures in Paradise , Startime , Death Valley Days , Bonanza , Alfred Hitchcock Presents , The Christophers , The Dinah Shore Chevy Show , The Loretta Young Show (several times), Zorro , The Untouchables , Checkmate , Cain's Hundred , and The Lloyd Bridges Show . Montalbán could also be seen in Let No Man Write My Epitaph (1960);
9230-548: The damage without physically harming the models. Rather than move the models on a bluescreen during shooting, the VistaVision camera was panned and tracked to give the illusion of movement. Damage to the Enterprise was cosmetic, and simulated with pieces of aluminum that were colored or peeled off. Phaser damage was created using stop motion . The script called for large-scale damage to the Reliant , so larger versions of
9360-408: 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 (1996). 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
9490-400: The designers was that Reliant should be easily distinguishable from Enterprise . 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
9620-403: The duration of the sequences, was listed. By the end of six weeks, the producers determined the basic look and construction of nearly all the effects; the resulting shots were combined with film footage five months later. Industrial Light & Magic (ILM) produced many of the effects, and created the new models; the Reliant was the first non- Constitution -class Federation starship seen in
9750-745: The eel's influence and kills himself, while Chekov collapses as the eel leaves his body. Khan transports Genesis aboard the Reliant , intending to maroon Kirk on the lifeless planetoid, but is tricked by Kirk and Spock's coded arrangements for a rendezvous. Kirk directs Enterprise into the nearby Mutara Nebula, successfully taunting Khan into following him; conditions inside the nebula render shields useless and compromise targeting systems, making Enterprise and Reliant evenly matched. Spock notes that Khan's tactics indicate inexperience in three-dimensional combat, which Kirk exploits to disable Reliant . Mortally wounded, Khan activates Genesis, quoting Captain Ahab from
9880-435: The effects artists and cameramen; it took eight people to mount the model, and a forklift truck to move it. The Reliant , meanwhile, was lighter and had less complex internal wiring. The spaceship miniatures were photographed against a blue screen, which in post production allowed them to be composited with background scenery which had itself been photographed independently of the foreground miniatures. Any reflection of blue on
10010-516: 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. Unlike the previous film, Wrath of Khan was not promoted with a toy line, although Playmates Toys created Khan and Saavik figures in
10140-548: The film "wonderful dumb fun." Gene Siskel gave the film three and a half stars out of four, calling it "a flat-out winner, full of appealing characters in engaging relationships in a futuristic film that has a delightfully old-fashioned sense of majesty about its characters and the predicaments they get into." 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
10270-470: The film number four on its list of 15 Sequels That Are Way Better Than The Originals . Popular Mechanics would later rate Spock's death the tenth greatest scene in science fiction. Roger Ebert of the Chicago Sun-Times and Derek Adams of Time Out complained about what were seen as tepid battle sequences and perceived melodrama. While Ebert and TV Guide felt that Spock's death
10400-430: 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)." The Wrath of Khan won two Saturn Awards in 1982, for best actor (Shatner) and best direction (Meyer). The film
10530-494: The first film, including footage of Enterprise in spacedock. The original ship miniatures were used where possible, or modified to stand in as new constructions. The orbital office complex from The Motion Picture was inverted and retouched to become the Regula I space station. Elements of the cancelled Star Trek: Phase II television show, such as bulkheads, railings, and sets, were cannibalized and reused. A major concern for
10660-454: 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. The seven-note brass theme was echoplexed to emphasize the character's ruminations about the past while on Ceti Alpha V, but does not play fully until Reliant ' s attack on the Enterprise . Many elements drew from Horner's previous work (a rhythm that accompanies Khan's theme during
10790-636: The graphics team paid 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 , now a subsidiary of Walt Disney Studios , a division of Disney Entertainment , which is owned by The Walt Disney Company , one of Paramount Pictures and Paramount Global 's rivals. The sequence would be reused in two sequels, Star Trek III: The Search for Spock and Star Trek IV: The Voyage Home , as well as in
10920-415: 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
11050-649: The internationally syndicated program Lobo del Mar ( Seawolf ), in which he was cast as the captain of a vessel that became part of some adventure at each port it visited. This 30-minute weekly show aired in many Spanish-speaking countries until the early 1970s. Montalbán guest-starred in The Felony Squad , Ironside , It Takes a Thief , and The High Chaparral . He did the TV movies The Pigeon (1969), The Desperate Mission (1969) (playing Joaquin Murrieta ), and Black Water Gold (1970), and had
11180-540: The kind of score they had gotten before. They did not want a John Williams score, per se . They wanted something different, more modern." When asked about how he landed the assignment, the composer replied that "the producers loved my work for Wolfen , and had heard my music for several other projects, and I think, so far as I've been told, they liked my versatility very much. 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." Horner agreed with
11310-458: The lead role in He's a Latin from Staten Island (1941), in which he (billed simply as "Ricardo") played the title role of a guitar-strumming gigolo, accompanied by an offscreen vocal by Gus Van . Later in 1941, Montalbán returned to Mexico after learning that his mother was dying. There, he acted in a dozen Spanish-language films and became a star in his homeland. He had an uncredited appearance in
11440-432: The lukewarm reaction to the first film, fan response to The Wrath of Khan was highly positive. The film's success was credited with renewing interest in the franchise. Mark Bernardin of Entertainment Weekly went further, calling The Wrath of Khan "the film that, by most accounts, saved Star Trek as we know it"; it is now considered one of the best films in the series. Pauline Kael of The New Yorker called
11570-402: The media reassured fans that "Spock will live" again. Due to time constraints, the casket scene was filmed in an overgrown corner of San Francisco's Golden Gate Park , using smoke machines to add a primal atmosphere. 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
11700-687: The musical Two Weeks with Love (1950), which was a minor hit. Universal borrowed Montalbán and Cyd Charisse for a swashbuckler, The Mark of the Renegade (1951). Back at Metro-Goldwyn-Mayer, he was second billed to Clark Gable in Across the Wide Missouri (1951), directed by Wellman. The film was a big hit, although Montalbán was injured during shooting. The studio teamed him and Shelley Winters in My Man and I (1952) where he played
11830-501: 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 ships were combined with the nebula background plates via bluescreen mattes to complete the shot. The destruction of the Reliant 's engine nacelle was created by superimposing shots of the engine blowing apart and explosions over the model. The scene in which Terrell kills Jedda,
11960-535: The new Chrysler New Yorker . Montalbán is in Won Ton Ton: The Dog Who Saved Hollywood (1976), and Joe Panther (1976) and had a regular role in a short lived series Executive Suite (1976). He guest-starred on Police Story and did the TV movies Mission to Glory: A True Story (1977), Captains Courageous (1977), as well as the miniseries How the West Was Won (1978). Montalbán's best-known television role
12090-483: The new Genesis planet. The Wrath of Khan ' s cast includes all the major characters from the original television series, as well as new actors and characters. After the release of The Motion Picture , executive producer Gene Roddenberry wrote his own sequel. In his plot, the crew of the Enterprise travel back in time to set right a corrupted time line after Klingons use the Guardian of Forever to prevent
12220-400: The novel Moby Dick as he dies. Though Kirk's crew detects the activation and attempts to move out of range, they will not be able to escape the nebula in time without the ship's inoperable warp drive . To restore warp power, Spock goes to the engine room, which is flooded with radiation. When McCoy tries to prevent Spock's entry, Spock incapacitates him with a Vulcan nerve pinch and performs
12350-406: The orbit of Ceti Alpha V and turning it into a desert wasteland. This killed several of Khan's people; many others, including his wife, were killed by the native parasitic Ceti eels. Khan implants Chekov and Terrell with eel larvae, rendering them susceptible to mind control; he uses the pair to capture Reliant . Learning of the Genesis Device, Khan attacks space station Regula I , where the device
12480-401: The outlined areas with soft thread shot via air pressure through a hollow needle. By the time of The Wrath of Khan ' s production, the machines and needles needed to produce trapunto were rare, and Fletcher was only able to find one needle for the wardrobe department. The crew was so worried about losing or breaking the needle that one of the department's workers took it home with him as
12610-438: 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. Due to a loss of resolution and quality resulting from rephotographing an element in an optical printer, live action sequences for effects were shot in 65mm or VistaVision formats to compensate. When the larger prints were reduced through an anamorphic lens on
12740-408: The plot, and Nimoy even received death threats. Test audiences reacted badly to Spock's death and the film's ending's dark tone, so it was made more uplifting by Bennett. 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. Nimoy did not know about the scene until he saw the film, but before it opened,
12870-506: 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 . Each special and optical effect, and
13000-415: The producers' expectations and agreed to begin work in mid-January 1982. 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. As a classical music fan, Meyer was able to describe the effects and sounds he wanted in the music. While Horner's style was described as "echoing both
13130-476: The pure color. "They're not colors you see today, so in a subtle way [they] indicate another time." Meyer did not like the Starfleet uniforms from either the television series or The Motion Picture and wanted them changed, but could not be discarded entirely because of the budget. Dye tests of the fabric showed that the old uniforms took three colors well: blue-gray, gold, and dark red. Fletcher decided to use
13260-454: The scope of the material as we were working on it." Gene Roddenberry disagreed with the script's naval texture and Khan's Captain Ahab undertones, but was mostly ignored by the creative team. Meyer attempted to change the look of Star Trek to match the nautical atmosphere he envisioned while staying within budget. The Enterprise , for example, was given a ship's bell , boatswain's call , and more blinking lights and signage. Meyer had
13390-412: The screenplay issues. Meyer had also never seen an episode of Star Trek . He had the idea of making a list consisting of everything that the creative team had liked from the preceding drafts—"it could be a character, it could be a scene, it could be a plot, it could be a subplot, [...] it could be a line of dialogue"—so that he could use that list as the basis of a new screenplay made from all
13520-404: The sequence's scope be expanded to show the Genesis effect taking over a planet. While Paramount appreciated the more dramatic presentation, they wanted the simulation to be more impressive than traditional animation. Having seen research done by Lucasfilm's computer graphics group, Veilleux offered them the task. Introducing the novel technique of particle systems for the sixty-second sequence,
13650-467: The series. 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, especially during the battle scene in the Mutara Nebula. As the script called for the Reliant and Enterprise to inflict significant damage on each other, ILM developed techniques to illustrate
13780-407: 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 Dykstraflex motion control system was used for filming the miniature photography shots of the Enterprise and other ship exteriors. 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
13910-413: 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. All the footage was shot at two frames per second to give the illusion of faster movement. The vibrant abstract colors of
14040-532: The spaceship whatever they used or wore. 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." Khan's costume was designed with an open chest to show Ricardo Montalbán's physique. 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, 1981, and ended on January 29, 1982. The Wrath of Khan
14170-523: 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
14300-456: The television series. Janet Maslin of The New York Times credited the film with a stronger story than The Motion Picture and stated the sequel was everything the first film should have been. Variety agreed that The Wrath of Khan was closer to the original spirit of Star Trek than its predecessor. Strong character interaction was cited as a strong feature of the film, as was Montalbán's portrayal of Khan. In 2016, Playboy ranked
14430-516: The thriller for Allied Artists, Three for Jamie Dawn (1956). Montalbán returned to Italy for Desert Warrior (1957), then had his first role in an "A" Hollywood film for a number of years in Sayonara (1957), in which he played a Japanese dancer. He later said, "I was and still am very pleased with my performance and very much saddened by this picture. I was hoping for an Academy Award nomination, but unfortunately, most of my scenes ended up on
14560-418: The unrelated LaserDisc -based stand-up video arcade game Astron Belt . Jerry Goldsmith had composed the music for The Motion Picture , but was not an option for The Wrath of Khan given the reduced budget; Meyer's composer for Time After Time , Miklós Rózsa , was likewise prohibitively expensive. Bennett and Meyer wanted the music for the film to go in a different direction, but had not decided on
14690-529: The villain in The Naked Gun: From the Files of Police Squad! (1988) and guest-starred in B.L. Stryker ; Murder, She Wrote ; Hearts Are Wild ; and The Golden Palace . During the filming of the film Across the Wide Missouri (1951), Montalbán was thrown from his horse, knocked unconscious, and trampled by another horse, which aggravated his arteriovenous malformation and resulted in
14820-423: The visual quality and production speed of special effects shots. Among the film's technical achievements was cinema's first entirely computer-generated sequence, ILM's animation for the demonstration of the effects of the Genesis Device on a barren planet. The first concept for the shot took the form of a laboratory demonstration, where a rock would be placed in a chamber and turned into a flower. Veilleux suggested
14950-636: Was "only as good as its villain" and Montalbán's decision to avoid overacting and instead play the character as motivated by "deeply wounded pride" inspired a measure of sympathy in the audience. Montalbán agreed to take the role for a significant pay cut, since by his own admission, he relished reprising the role, and his only regret was that he and William Shatner never interacted – the characters never meet face to face, except through video communication – for their scenes were filmed several months apart in order to accommodate Montalbán's schedule for Fantasy Island . When, much later, Montalbán guest-starred in
15080-451: Was a Mexican and American film and television actor. Montalbán's career spanned seven decades, during which he became widely known for performances in genres from crime and drama to musicals and comedy. Later in his career, Montalbán portrayed Armando in the Planet of the Apes film series from the early 1970s, starring in both Escape from the Planet of the Apes (1971) and Conquest of
15210-463: Was also nominated in the "best dramatic presentation" category for the 1983 Hugo Awards , but lost to Blade Runner . The Wrath of Khan has influenced later movies: Meyer's rejected title for the film, The Undiscovered Country , was finally put to use when Meyer directed the sixth film , which retained the nautical influences. Director Bryan Singer cited the film as an influence on X2 and his abandoned sequel to Superman Returns . The film
15340-430: Was completed. Sixty-five percent of the film was shot on the same set; the bridge of the Reliant and the "bridge simulator" from the opening scene were redresses of the Enterprise ' s bridge. The Klingon bridge from The Motion Picture was redressed as the Regula I transporter room and the Enterprise' s torpedo bay. The filmmakers stretched The Wrath of Khan ' s budget by reusing models and footage from
15470-647: Was dramatic and well-handled, The Washington Post ' s Gary Arnold stated Spock's death "feels like an unnecessary twist, and the filmmakers are obviously well-prepared to fudge in case the public demands another sequel". Negative reviews of the film focused on some of the acting, and Empire singled out the "dodgy coiffures" and " Santa Claus tunics" as elements of the film that had not aged well. Christopher John reviewed Star Trek II: The Wrath of Khan in Ares Magazine No. 13 and commented that "By not taking itself so seriously – that is, realizing
15600-411: Was in the film noir Border Incident (1949) with actor George Murphy , directed by Anthony Mann. It was one of a number of lower budgeted films made at the studio under Dore Schary and earned a small loss. Montalbán was the first Hispanic actor to appear on the front cover of Life magazine on November 21, 1949. "I was king for a week," he said later. "I thought the offers would flood in, but after
15730-414: Was initially filmed without Kelley's prior knowledge of what was going on. Shatner disagreed with having a clear glass separation between Spock and Kirk during the death scene; he instead wanted a translucent divider allowing viewers to see only Spock's silhouette, but his objection was overruled. During Spock's funeral sequence Meyer wanted the camera to track the torpedo that served as Spock's coffin as it
15860-526: Was made producer for the next Star Trek film. According to Bennett, he was called in front of a group including Jeffrey Katzenberg and Michael Eisner and asked if he thought he could make a better film than The Motion Picture , which Bennett confessed he found "really boring". When Bennett replied in the affirmative, Charles Bluhdorn asked, "Can you make it for less than forty-five-fucking-million-dollars?" Bennett replied that "Where I come from, I can make five movies for that." Bennett realized he faced
15990-444: Was more action-oriented than its predecessor, but less costly to make. The project was supervised by Paramount's television unit rather than its theatrical division. Bennett, a respected television veteran, made The Wrath of Khan on a budget of $ 12 million. The budget was initially lower at $ 8.5 million, but it rose when the producers were impressed by the first two weeks of footage. Meyer used camera and set tricks to spare
16120-507: 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. Scott's rendition of " Amazing Grace " on the bagpipes was James Doohan 's idea. Spock's death in the film was widely reported during production. " Trekkies " wrote letters to protest, one paid for trade press advertisements urging Paramount to change
16250-526: Was released in North America on June 4, 1982, by Paramount Pictures . It was a box office success, earning US$ 97 million worldwide and setting a world record for its first-day box office gross. Critical reaction to the film was positive; reviewers highlighted Khan's character, Meyer's direction, improved performances, the film's pacing, and the character interactions as strong elements. Negative reactions focused on weak special effects and some of
16380-411: Was specifically designed to display Montalbán's physique. His performance as Khan was widely praised. Critic Christopher Null called Khan the "greatest role of Montalbán's career". New Yorker critic Pauline Kael said Montalbán's performance as Khan "was the only validation he has ever had of his power to command the big screen". Roger Ebert of The Chicago Sun-Times wrote how this type of film
16510-494: Was that of Mr. Roarke on the television series Fantasy Island , which he played from 1977 until 1984. For a while, the series was one of the most popular on television, and his character as well as that of his sidekick, Tattoo (played by Hervé Villechaize ), became popular icons. Another of his well-known roles was that of Khan Noonien Singh in Star Trek II: The Wrath of Khan (1982), in which he reprised
16640-471: Was too negative, and Bennett wanted something more uplifting "and as fundamental in the 23rd century as recombinant DNA is in our time", Minor recalled. Minor suggested to Bennett that the device be turned into a terraforming tool instead. At the story conference the next day, Bennett hugged Minor and declared that he had saved Star Trek . In recognition of the Biblical power of the weapon, Sowards renamed
16770-534: Was used to cover the recently changed epilogue. Horner used synthesizers for ancillary effects; at the time, science fiction films such as E.T. the Extra-Terrestrial and The Thing were eschewing the synthesizer in favor of more traditional orchestras. Craig Huxley performed his invented instrument—the Blaster Beam —during recording, as well as composing and performing electronic music for
16900-417: 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. Spock's death was to be irrevocable, but Nimoy had such a positive experience during filming that he asked if he could add a way for Spock to return in a later film. The mind meld sequence
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