This isn't the only deleted material from Wrath of Khan, some of which remains officially unavailable. The film exists in three versions: the original cut, the director's cut and the ABC TV movie cut. Star Trek 2: The Wrath Of Khan is a 1982 United States film. Directed by Nicholas Meyer. The film is about It is the 23rd century. Admiral Kirk's midlife crisis is interrupted by the return of an old enemy.
Running time 113 minutes Country United States Language English Budget $11.2 million Box office $97 million Star Trek II: The Wrath of Khan is a 1982 American directed by and based on the 1960s television series created. It is the second film in the and is a to (1979).
The plot features Admiral and the crew of the starship facing off against the genetically engineered tyrant , a character who first appeared in the 1967 Star Trek episode '. 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 device named Genesis. The film is the beginning of a that continues with the film (1984) and concludes with the film (1986). After the lackluster critical and commercial response to the first film, series creator was forced out of the sequel's production. Executive producer wrote the film's original outline, which developed into a full script.
Director completed its final script in 12 days, without accepting a writing credit. Meyer's approach evoked the atmosphere of the original series, and this theme was reinforced by '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 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 techniques to keep within budget, including utilizing miniature models from past projects and reusing sets, effects footage, and costumes from the first film. Among the film's technical achievements is being the first feature film to contain a sequence created entirely with computer-generated graphics. The Wrath of Khan was released in North America on June 4, 1982. It was a box office success, earning $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, the film's pacing, and the character interactions as strong elements. Negative reactions focused on weak special effects and some of the acting. The Wrath of Khan is considered by most to be the best film in the Star Trek series, and is often credited with renewing substantial interest in the franchise.
Was removed from a direct role in the development of The Wrath of Khan due to concerns that he was the main reason behind The Motion Picture 's lukewarm reception. After the release of The Motion Picture, executive producer 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 to prevent the. This was rejected by Paramount executives, who blamed the poor performance and large budget ($46 million) 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., a new Paramount television producer, was made producer for the next Star Trek film. According to Bennett, he was called in front of a group including and 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, 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 a serious challenge in developing the new Star Trek film, partly due to his never having seen the television series. To compensate, Bennett watched all the original episodes. This immersion convinced Bennett that what the first picture lacked was a real villain; after seeing the episode ', he decided that the character of Khan Noonien Singh was the perfect enemy for the new film. Before the script was settled upon, Bennett gathered his production staff. He selected Robert Sallin, a director of television commercials and a college friend, to produce the film. Sallin's job would be to produce Star Trek II quickly and cheaply.
Bennett also hired as art director to shape the direction of the film. Bennett wrote his first in November 1980. In his version, entitled 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 is the mastermind behind the plot, and Kirk and son join forces to defeat the tyrant. Bennett then hired, an avid Star Trek fan, to turn his outline into a film-able 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 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 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 the 'Omega system' to the ' Device'. By April 1981, Sowards had produced a draft that moved Spock's death to later in the story, because of fan dissatisfaction to the event after the script was leaked. Spock had originally died in the first act, in a shocking demise that Bennett compared to 's early death in. This draft had a twelve-page face-to-face confrontation between Kirk and Khan. Sowards' draft also introduced a male character named Saavik. As pre-production began, writer of the Star Trek episode ', 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; the aliens resembled too closely the. Deadlines loomed for special effects production to begin (which required detailed storyboards based on a completed script), and by this point there was no finished script to use. Director Nicholas Meyer (pictured in 2008) had never seen an episode of Star Trek when approached to direct the film and rewrite the script. Karen Moore, a Paramount executive, suggested to Bennett that, writer of and director of, could help resolve 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 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 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 the bathroom, but did Star Trek have to be so sanctified?
Meyer described his script as ' in outer space', utilizing 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 the scope of the material as we were working on it.'
Gene Roddenberry disagreed with the script's naval texture and Khan's undertones, but was mostly ignored by the creative team. 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 's upcoming film. However, as soon as the name change was made, Lucasfilm also changed their Revenge of the Jedi title to, justifying the change by claiming that the did not seek revenge, only the. An even earlier working title for the Trek film was The Undiscovered Country, a title which would eventually be used for the of the franchise.
Design Meyer attempted to change the look of Star Trek to match the nautical atmosphere he envisioned and stay within budget. The Enterprise, for example, was given a, and more blinking lights and signage. 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.
Sixty-five percent of the film was shot on the same set; the of the Reliant and the 'bridge simulator' from the opening scene were of the Enterprise 's bridge. The Klingon bridge from The Motion Picture was redressed as the transporter and torpedo rooms. The filmmakers stretched The Wrath of Khan 's budget by reusing models and footage from the first Star Trek film, including footage of the 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 television show, such as bulkheads, railings, and sets, were cannibalized and reused. A major concern for the designers was that the Reliant should be easily distinguishable from the Enterprise.
The ship's design was flipped after Bennett accidentally opened and approved the preliminary Reliant designs upside-down. The Enterprise (left) maneuvers away from the severely damaged Reliant in the Mutara nebula. The sparks coming off the Reliant 's nacelle were hand animated, frame by frame. 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 the nebula were simulated by lighting the tank using. Additional light effects such as auroras were created by the ILM animation department. Using matte work, the ships were physically stuck on a background plate 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, 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, 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, who had just finished creature design for.
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's 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 shot, with 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. VCE provided effects including phaser beams, 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. The Wrath of Khan was one of the first films to extensively use electronic images and computer graphics to speed production of shots. Computer graphics company produced the displays aboard the Enterprise and the fields of stars used in the opening credits. Among ILM's technical achievements was cinema's first entirely computer-generated sequence: 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 the sequence's scope be expanded to show the Genesis effect taking over a planet. While Paramount appreciated the more dramatic presentation, they also wanted the simulation to be more impressive than traditional animation. Having seen research done by group, Veilleux offered them the task. Introducing the novel technique of 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.
The sequence would be reused in two sequels, and, as well as in the unrelated -based stand-up video. Music 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, was likewise prohibitively expensive. Bennett and Meyer wanted the music for the film to go in a different direction, but had not decided on 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 Salin. Horner said that 'The producers did not want the kind of score they had gotten before. They did not want a 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, 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 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 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 '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 the flowing main theme, Khan's 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 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 the surprise attack borrows from an attack theme from Wolfen, in turn influenced by Goldsmith's score for ). 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.
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, -based cues for the villain and longer melodies for the heroes helped to differentiate characters and ships during 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 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 was used to cover the recently changed epilogue. Horner used synthesizers for ancillary effects; at the time, science fiction films such as and were eschewing the synthesizer in favor of more traditional orchestras.
Performed his invented instrument—the —during recording, as well as composing and performing electronic music for 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.
Themes 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 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 the Genesis Device, Meyer wanted to call the film The Undiscovered Country, in reference to 's description of death in 's, 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 's forthcoming (renamed Return of the Jedi late in production).
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You may think that, 30 years after its release, you know every inch of Star Trek II: The Wrath of Khan. And it's possible that you know this inch, but it's a really rare one that almost never gets brought up, and it's unclear if any of the footage still exists: Khan originally had a child. In the movie the child first appears as Terrell and Chekov come upon the Botany Bay; Chekov sees the kid through a window briefly, and then the child scurries away. It's a moment of added tension as the two examine the wreckage of the ancient ship.
The baby doesn't show up again until the very end, and his return comes at a very sobering time. As the USS Reliant is in ruins, as Khan is all but defeated, he activates the Genesis Device, which still sits on the transporter pad.
Attracted by the bright lights, the baby crawls towards the device. Which then detonates, turning the Mutari Nebula into the Genesis Planet and killing everybody. Those are the only moments featuring the kid; the only photographic evidence I can find of the child is above, from a 1982 issue of StarBlazer. The article is called 'The Man Who Saved Star Trek,' about director Nicholas Meyer. It's a pretty good interview, where Meyer is fairly savage about Star Trek: The Motion Picture (saying he hired crew who worked on that movie because they would know how to NOT do it). Supposedly a shot of the kid in the window of the Botany Bay exists, but I haven't been able to find it.
The son shoudn't be confused with Joachim, Khan's right hand man. Many people often assume that he's Khan's son, but that isn't the case. In fact he's supposed to be a guy named Joaquin, who appeared in the original series episide Space Seed, which introduced Khan. A weird production glitch made it so the two characters have different names, and eventually it became enshrined by fans that they're different guys. Some authorized fiction has Joachim being the son of Joaquin, born on Ceti Alpha V, but growing up fast because of his superior genes (it's established that Wrath of Khan takes place 15 years after Space Seed). Side note: Judson Scott, who plays Joachim, is uncredited in the movie.
That's because his agent was trying to get a bigger credit from Paramount but fucked it all up. The son should also not be confused with this prank played on Ricardo Montalban: This isn't the only deleted material from Wrath of Khan, some of which remains officially unavailable. The film exists in three versions: the original cut, the director's cut and the ABC TV movie cut. The TV cut is strange, mostly filled with alternate takes. For example, the scene between Saavik and Kirk in the turbolift plays out in tight shots, and Kirstie Alley is more seductive.
The director's cut includes more footage with Peter Preston, the young engineer who dies; the theatrical cut never establishes that this is Scotty's nephew, which makes his death more of a pay-off. Then there are scenes that have just disappeared and are not even included as extras in the newest Blu release.
There's a brief exchange between Kirk and Spock just after the Kobayashi Maru test where Spock reveals that Saavik is half Romulan; this information informs the fact that she later cries in the movie. Her half-Romulan heritage has become an accepted point of the expanded universe canon, but has never been mentioned in the official works. Also cut is a moment at the end that indicates Saavik totally boned Kirk's son David. Thanks to for sending over scans of the StarBlaze article!. which means you may know the movie's official title is actually Star Trek: The Wrath of Khan. for spoiler lunatics in the audience: the February 1983 issue of Starlog has, on its cover, a blurb about an interview with 'The Man Who Killed Spock.'
That would have been on stands six months after Wrath of Khan was released - your brains would have exploded back in those days. Related Articles.
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