1 thought on “Star Travel 2: Behind the scene of Khan Roar”
Harriet
After the "Star Trek Movie" was released, the execution of the production of Geen Rodenberry wrote his own sequel: the Klingang people passed the eternal guard (a smart device that appeared in the original series of TV series) Back to the past, it prevented the assassination of President Kennedy's actions; therefore, the aggressive crew also returned to the past to repair the modified timeline. Paramount Film's senior management rejected this version. They believed that the performance of the first film was lacking, and the slow modification of the script with Rodenbie on the shooting progress also led to a high $ 46 million of the film budget cost. Therefore, Roddenbely was pulled away from the production layer of the second film. In Xianer's words, he was "dark -rise" to the etiquette position of the executive consultant. Harvey Bened, a new TV drama producer of Paramount, was appointed as a producer of the new "Star Trek" movie. According to Bernett, he was called in front of Jeffrey Cadenberg and Michael Esner, and was asked if he felt that he could make a "Star Trek Movie "A better movie (Belnett has previously publicly stated that he feels that" Star Trek Movie "is" boring "). When Bernett made a positive answer, Charles Blumon asked again: "You can only give you 45 million US dollars, can you make it?" Belinet replied: "In me There, these money is enough for me to make 5 movies like this. " Benne realized that he would face a lot of challenges to make a new" Star Trek "movie. For example, he has never watched" Star Trek "before TV series. As a result, Bente carefully watched every episode in "Star Trek's Original Series". After a deep understanding of the TV series, Bente found that there was no real negative role in the first movie; after watching the episode of "Space Seed", he decided to make Khan a villain in the new movie. Before the script was determined, Bernett convened his production team. He asked his university alumni and commercial television director Robert Salle to be responsible for film production. The task he arranged for Salle was to make "Star Trek 2". Bente also hired Michael Minor as an art director to perform art director for his films. Panet wrote his first film plan in November 1980, entitled "Star Tip II: Star Trek II: The War of the A rebellion found that his son was the leader of the rebels. In fact, Khan was the person who planned a conspiracy behind, so Kirk and his son joined forces to fight the tyrant. Later, Jack B. Sodots, a senior Star Trek enthusiast hired by Bernet, rewritten his outline into a script available for shooting. Swavitz completed the first draft of the script before the screenwriter strike in 1981. The draft of Swavz is called "The Omega Syndrome", which includes the plot of the federal ultimate weapon "ω system". The weapons in the Swavitz draft are considered too negative, so Benite wants to replace it with progressive things. Memories. As a result, Mana suggested that Bennett replaced the device with a "planet glutinous" tool. In the next day's meeting, Bente hugged Mana and announced that he saved "Star Trek". In order to allow the weapon to bring the power of Bible, Sowitz renamed the "ω system" to "creation device". Due to the leakage of the script, many enthusiasts were dissatisfied with the death of Spok, and Swavitz was postponed in the new draft in April 1981. In the initial settings, Stok's died in the first act of the script, Bente compared his sudden death as the early death of Jennite Li in "Stunning". In this draft, Kirk and Khan's face -to -face plot faced 12 pages. The draft of Swavz also introduced a male character named "Savik". After the start of the film, Samuel A. Pippers, the screenwriter of "The Land of the Previous", was invited to write the script. In his draft Characters: Sojin and Moray; these two strange powerful individuals almost destroy the earth. However, this script was not accepted because it was considered unsuitable. At that time, the final period of special effects production (special effect production required a detailed mirror map based on the full script) was getting closer and closer. Paramon's execution high -level Karen Moore recommended to Bernett to Nicholas to Bernett · Meyer, he has served as the screenwriter of "Seven percent of the Solution", and also directed the movie "Tracking 100 Years". Mul believes that he can help solve the script problem. Like Harvey, Meyer has never watched "Star Trek" before joining the production team. He intends to list the parts affirmed by the drama group in the initial draft: "It can be a role, a scene, a main plot, a secondary plot ... or a line of dialogue"; then the list will be As the basis of the new script, it integrates excellent elements in all aspects of the initial draft. In order to eliminate the prediction of Stapock's death, Meyer faked the "death" of the character in the first Act Kobashumaru simulation training. As the special effects company requires that the complete script must be submitted within 12 days, Meyer was written as a script on time without signing the signature, which surprised the actors and producers. Meyer compared his script to "'Hornblor" in space, because he added a lot of naval and gornem style in the script. (Hornbolol was a source of inspiration for the production of "Star Trek" and Chardona that year, but Meyer did not know at the time.) Meyer had a deep impression on the view of the movie: "He considers he considers In all aspects of factors, our work suddenly enlightened. "Gi'en Rodenberry did not agree with the text of the navy in the script and Captain Aha -style Khan, but the drama group almost completely ignored his opinions, but the system The filmmaker still has not finalized the final script. In order to show the naval style he expected in the budget range, Meyer added and changed some elements in "Star Trek". For example, he added details such as clocks, sailors long whistles, and more shiny lights and signs on the aggressive number. In order to save funds in setting design, the artist design Joseph Jennings used many props left after the filming of "Star Tip Movie". 64%of the films are shot in the same set. The signaling bridge and the "bridge simulator" at the beginning of the film are actually just a slightly transformed by the aggressive bridge. The Klingang Warship Bridge in the "Original Series" was transformed into a conveyor room and a torpedo cabin. Due to the repeated use of the model and film left by the first movie, "Khan's Wrath" saves a lot of funds. The original star ship model was also used as much as possible, and it was also transformed to express the new structure. The Earth Rail Office Station that appeared in "Star Trek Movies" was also reversed and applied as a space station for Leigla I star. Many of the elements in the "Star Trek: The Second Phase III", including the shots, railings, and the scenery, were removed and used. One of the main issues that the designer cares about is to allow the signal number to easily distinguish from the aggressive number. Beni deliberately agreed to the preliminary design of the signaling number after the upside down and down as the final design plan of the ship. The designer Robert Fletcher was hired to redesign clothing for the characters, and he proposed a new set of solutions. Fletcher uses "Corrut Colors" to design clothing, using a fabric that is slightly different from solid color. "They are not the colors you often see today, so they mean a different era." Meyer did not like the interstellar fleet uniform in TV series and "Star Trek Movie", hoping to make some changes, but for the budget The reason cannot be completely abandoned. The dyeing test on the fabric shows that the old uniform has three colors in good performance: blue -gray, gold and dark red. Because the dark red can have a strong contrast with the background, Flechet decided to use the dark red. This design has been used in 1996 "Star Trek 8: The first contact". In the first version of the design, the black collar of the uniform looks very rigid. Under the suggestion of Salin, it was changed to high lapels and used the tattooing cushioned convex cloth to be used as a derivative. The method of filling the soft cotton yarn in the contour area causes the clothes to have a relief effect, and the soft cotton yarn is pressed into the air pressure through the hollow needle. During the production of "Khan's Wrath", it is very rare to make the machine with the latitudes of the tistral pads and its supporting facilities. Fletcher only found a needle for the clothing department. Worried that the needle would be lost or damaged, and a worker in the clothing department took it home to keep it properly, but Fleche mistakenly thought that the needle was stolen. For Ke Khan and his associates, Fredcate created a set of clothes that uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniforms in the interstellar fleet. Fletcher mentioned: "I think Ke Khan and his party were exiled on a planet without any basic equipment. They must get supplies and clothing from the spacecraft. Therefore, I tried to let them wear stitching furniture fabrics and wear spacecraft on a spacecraft It is worth mentioning that in order to show Montalvan's muscles, Fredcate designed Khan's clothing as an open -minded. Fredcate was also responsible for designing the work clothes of the Regula I star scientists' work clothes. , And designed practical and comfortable civilian uniforms for Kircock and McCiey. Maye also hung a sign of "No Smoking" on the bridge of the number of numbers. Recalling: "Everyone has a big temper about this [...] I explained 'Why did they not smoke in the future? They have been drawn for four hundred years, do you think they can quit in the next two hundred years? The sign of '"appears in the first shot of the movie, but the rest of the camera was cut off in the final editing of the movie. In order to show the naval style he expected in the budget range, Miye in Star Tour" Increasing and changing some elements. For example, he added detailed elements such as boat clocks, sailors, and brighter lights and signs on the aggressive number. In order to save funds on the design, the artist design Joseph Jennings (Joseph Jennings) uses many props left after the filming of "Infinite Space". 64%of the films are shot in the same set. The aggressive bridge after the transformation. The Klingong warship bridge in "In the First Generation" was transformed into a conveyor room and a torpedo cabin. Due to the reuse of the model and film left by the first movie (including the aggressive number stopped dependency, At the film of the space port), "Khan Roar" saves a lot of funds. The original star ship model has also been used as much as possible, and it is also transformed to express the new structure. The rail office consortium is also reversed and slightly transformed as the space station of the Leigla I star. Many of the elements in "Star Travel: The Second Phase III" are canceled, including the upstairs, railings, and scenery. The shooter was removed and used. One of the main issues that the designer cared about was to allow the signal number to easily distinguish it from the aggressive number. Bena deliberately agreed to the preliminary design of the signal number after the upper and lower upside down as the final design of the ship as the ultimate of the ship's ship. Design solution. The designer Robert Fletcher was hired to redo -design clothing for the characters. He proposed a new set of solutions. Fletcher used "Corrupt Colors) to design Clothing, a slightly different fabric with solid color. "They are not the colors you often see today, so they mean a different era. "Meyer does not like the interstellar fleet uniforms in TV series and" Infinite Space ", hoping to make some changes, but for budget reasons, you cannot completely abandon the previous design. The color performance is good: blue -gray, gold, and dark red. Because the dark red can have a strong contrast with the background, Fletcher decides to adopt dark red. This set of naval -style design has been used in 1996 "Star Tour VIII: First "Class contact". In the first version of the design, the black collar of the uniform looks very rigid. Under the suggestion of Salin, it was changed to high lapels and used the latitude of the littering of the litter to the seam. The method of soft cotton yarn makes the clothes have a relief effect, and the soft cotton yarn uses the air pressure to press in through hollow acupuncture. When the "Khan Roar" is made, the machine and its supporting of the latitudes of the latitudes of the littering of the tattoo and its supporting facilities The dedicated sewing needle is still very rare. Fletcher only found a needle for the clothing department. Because he was worried that the needle would be lost or damaged, a worker in the clothing department brought it home to keep it. I mistakenly thought that the needle was stolen. For Ke Khan and his associates, Fredcate created a set of clothes that uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniform in the interstellar fleet. The materials that can be found can be made. Fletcher mentioned: "I think Khan and his party were exiled on a planet. Without any infrastructure, they had to obtain supplies and clothing from the spacecraft. Therefore, I tried to let them wear stitching furniture fabrics and wear electronic equipment on the spacecraft. It is worth mentioning that in order to show Montelvan's muscles, Flechet designed Khan's clothing as an open -minded. Fletcher is also responsible for designing the work clothes of the Leicula I star scientists, and designed practical and comfortable civilian uniforms for Cock and McCiey. Maye also hung a "No Smoking" sign on the bridge of the number of numbers. Say 'Why did they not smoke in the future? They have been smoking for four hundred years, do you think they can quit in the next two hundred years? "The sign appeared in the first shot of the movie, but the rest of the rest The camera was cut off in the final editing of the movie. The main shooting date of the film starts from November 9, 1981 to January 29, 1982. "Khan's Wrath" has more action scenes than before, but the production costs are less. The shooting process is supervised by Paramount Television, not the theater department. Bened, the highly respected television producer, used only $ 11 million in budget to make "Khan's Wrath", far lower than the $ 46 million of "Star Trek Movie". The film's budget was less than $ 8.5 million at first, because the film of the previous two weeks left a deep impression on the filmmaker. Meye tried to reduce the large and expensive set of scenes through the lens and some clever methods. For example, when shooting a drama that happened at the Star Fleet Academy, the shooters used forced perspectives to make it look bigger by pulling the clothing camera. In order to present the illusion of the movement of the number of the number to move on each deck, when the lifting door is closed, the components of the corridor rotate make people feel like the lifting machine is really moving. Most of the background devices (such as computer terminals) are rented, not bought back. Some design props, such as redesigned phase guns and communications, have rejected Paramount's administrators. They think that they only need to use the props back to the "Star Trek Movie". The model of the number of entry numbers renovated before shooting space -the dark and bright pyramids made the body more detailed. Compared with the newly -built signal number, special effects personnel and photographers do not like to enter the number, because the assembly of the model requires 8 people to complete, and the forklift must be used when moving. In contrast, the signaling number is lighter than the number of in -access, and the internal wires are not so complicated. Both star ships were filmed in front of the blue curtain with special film that did not record colors, so that the staff could add special effects after shooting, or add it to other films. If any part of the hull is blue, the spacecraft displayed on the screen will have holes; therefore, the gap between the hull structure must be repaired frame by frame. The barren desert of the whale α-v star was taken in Paramon's largest 8 field. The setting is 25 feet to the ground, paved with a wooden pad, and poured several tons of sand powder on it. The painted ring -shaped panoramic maps are surrounded by the entire set, and sandstorms are made with multiple large industrial fans. Such shooting makes the actors and the crew team miserable. The spandex environmental protection uniform worn by Kenig and Winfield is dense, and the two actors must be sighed by a microphone when they feel sullen. The shooting equipment needs to be wrapped in plastic to prevent mechanical failure; everyone present should also wear boots, protective masks, and work clothes for protection. The shot of Spok's death was shot for three days, and it was declined to visit outside. Spok's death was unchanged, but the filming of the movie changed Nimoy to the original plan and asked whether Spok could return in the subsequent movie. However, at that time, the convergence of the mind was completed, and in this version, Kelly was not the first person to know about the development. When shooting Spok's death, Chaona did not agree with transparent glass to separate Spok from Kirk. He hoped that the two were separated by a translucent partition, which made people only see Spok’s’s’s’s’s’s. The outline, but his proposal was rejected. When the Spok funeral was underwent, Meyer hoped that the camera could follow the torpedo as a torpedo as a Spoque coffin to show the torpedo to slide into the transmitter through a long track. However, the shooter believes that if this is the case, the entire set must be re -built, so Salle recommends using a mobile photography car in the pipe groove and control the camera with a arm frame. The idea of "Amazing Grace" by Shi Kao was proposed by James Duhan. During the screening, the audience was very dissatisfied with Spok's death. As a result, Bente made the end more exciting. At the end, the Spok coffin was added to the shot of the new planet, and the ending monologue of Nimoy was added; Meyer opposed the approach, but in the end he failed to stop it. Due to the limited time, the Spoque coffin scene was in the scene. The shooting scene was selected in a corner of the Golden Gate Park in San Francisco, and used a fellow to make the effect when shooting. The shooting work has been carried out from noon until the night, until the staff realizes that there is no time to shoot again. During the shooting process, the producer also considered special effects synthesis in the later period. The TV screen of the alternative computer display has been specially calibrated, so that the refresh frequency does not cause horizontal stripes in the movie. Because the use of optical camera repellent scrolls will lose part of the resolution and picture quality, make up for this, the continuous screen of the real -life shooting uses a 65mm or format film. Then use the transformed lens to reduce the larger film to the smaller film, and finally get the format movie screen. Because there are only a short time left to complete the special effect script, Jim Veilleux, the special effect director, and Meye, Jenning, Salle, and Maya work together to transform the abstract text in the script into a split mirror. Image on the picture. At the same time, in order to avoid the old path of "Star Trek Movie", the special effect script of "Khan's Wrath" has strictly restricting the special effects lens, strictly preventing its loss of control and leading to the budget overrun. The special effects, light effects and durations required in the movie have been listed in a list in detail. By the sixth week of the weekend, the producers have determined the basic appearance and structure of most special effects; 5 weeks later, the special effects lens produced has been incorporated into the film film. The Industrial Light Demon (ILM) is responsible for the production of most special effects and produced some new models; the signal number is the first non -constitutional federal star ship appeared in the entire series. Because the script needs to be severely damaged by both the signaling number and the aggressive number, the Industrial Light Devil developed a series of technologies that draw damage on the model without causing physical damage. Before the model was sent to the blue curtain, the wide -screen camera fixed on the gimbal was set according to the virtual object movement. The damage suffered by the aggressive number is achieved by makeup of the model, with a multi -piece of aluminum sheet with color or peeling on the surface of the model. The damage caused by phase guns to the star ship is achieved through stopping technology. In addition, the script also requires a complete damage to the reputation. Therefore, the Industrial Light Mo also produced a large model to shoot its explosive lens. Because of the assistance of computer models, the battle of Mutala Nebula is a major difficulty in special effects. The vortexy nebula is actually made into a cloud and ammonia mixture filled with a cloud box filled with salt water. In order to show the rapid movement of Nebula, the film was shot at a speed of 2 frames per second. The changing color in the nebula is actually the various color lights in the cloud box through the color filter. The animation department of the Industrial Light Demon is responsible for making some light effects such as Aurora. The picture of the star ship was taken under the solid color background and synthesized into the image through cracking technology. The images of the damaged engine compartment of the Powers are painted on the lens of the model separation and the explosion. Trerer was killed and evaporated by a scientist with a phase, which was synthesized with the image taken in two separate shooting. First of all, Winfield performed with other relevant actors in this scene; this film will be used as the background part of the later synthesis. Then, covering the background with a blue curtain, actor John Vargas began to perform his reaction after being shot by phase. In the later synthesis, a phase gun beam was added to the background image. As Walgas was hit, his body quickly disintegrated and disappeared into the air. Each frame of the image fits the position of Walgas. "Khan's Wrath" is one of the first movies that use electronic images and computer drawing to speed up the production progress. The computer graphics company "Evan and Evan and Evan and" produced the vector map displayed on the input number screen and the stars background for the subtitles at the beginning of the film. Industrial Light Demon has achieved a major technical achievement in this film: the images of the creation of the creation device for transformation of the creation of the world are the first section of the film history to generate graphic technology to generate graphic technology. The initial imagination of the lens was just an experimental animation that turned the stones in the sealing cabin into flowers. However, Verya suggested expanding this image into a creation effect on a planet. Paramount praised this more striking way of expressing and hoped that its expression would be different from traditional animation. After reading a research report submitted by the computer drawing department of Lucas Film Company, Viey handed the task to them. The drawing team has made a lot of effort in the details of the animation; a artist also deliberately ensured the authenticity of the stars in the space -the background of the space background in the image is almost exactly the background of a star that is several years old. Follow. The animators want this animation to win business opportunities for their studios. Jerry Golsmis has composed of the first film "Star Trek Movie" and has achieved excellent results. But Bernett and Meye want to use another style of music in "Khan's Angry". Joel Sill, the vice president of Paramount, was the vice president of music, Joel Sill, and then introduced James Horner to Bernett, Meyer Salin, thinking that Honer could be competent for this job. Honer said: "[Producer] does not want to follow the previous soundtrack, and does not want to use John Williams (" Star Wars "style, John Williams is the soundtrack of the Star Wars). They hope that the soundtrack has changed to a certain amount of modernity. When asked how he got this job, Honer replied: "Producers love me for the soundtrack in" Sirius ", and have heard of The music I wrote for some other projects, I think, as far as I know, they are very interested in my broadness. I hope to get this job, so I met them, and we all talked about it. My music left a deep impression on them. This happened like this. "Honer met the requirements of the producers and agreed to start his work in mid -January 1982. In order to be consistent with the naval style of the movie, Meye hopes that music can show the atmosphere of sailor and the robber." Washington The Post said that this style "Echo John Williams's Star Wars and the exaggeration and lament of the original sound music of Jerry God Smith's" Star Trek ". "Compared with the theme song that runs through the film, Khan's main theme has a strong sense of impact, so that under the accompaniment of other music, it can show the role of the character. The death of this character: "Spok's theme song makes him no longer a collection of collectibles for people, but has become an individual with flesh and blood and spirituality. " " Khan's Wrath "is the first time Honer's film is the chief soundtrack. He spent 4 and a half weeks to compose the movie. He wrote 72 minutes for the movie Paragraph 94 orchestral music. Honer also used electronic synthesizers to increase the effect of music: at the time, many science fiction movies including "E.T. Alien" and "mutations monsters" were preferred to use traditional orchestral music to synthetic music. It is to stay away. When making a soundtrack for the movie, Meyer provided many suggestions for Horner: as a classical music fan, Meyer can accurately describe the effects and sounds he wants to show in the movie. Due to the special effects of the movie special effects fragmentation, The film duration has changed. Honer must also modify some sections in the soundtrack to adapt to the changes in the duration of the movie scene. Later, Honer cooperated with James Kameron to serve as "Titanic" and "Avatar" and "Avatar" "The soundtrack, wrote many popular works," My Heart Eternal "is an example. His unique understanding of science fiction is also reflected in" Avatar ". Death, rebirth and aging are repeated Several themes appeared. When writing the script, Meyer accidentally discovered the connection between Spok's age and his death: "This will be a story of Sipk's death, so this will be a story about death. ，再经过思维上的短暂的跳跃，你会意识到这还是一出关于年老和友情的故事，”梅耶说到，“我不觉得任何[其他的初稿]剧本在讲述年老、友情与die. "Spok's sacrifice symbolizes death, while the creation of the world symbolizes the rebirth. In order to be consistent with the significance of these two symbols, Meye hopes to name the film" The Country ", and it depends on Shakespeare in" Hamlett Hamlett " "The description of the death of Prince Hamlet, however, when the film was edited, this title was modified without knowing it. That is, adventurers must go through a symbolic or literal death to achieve their rebirth. Stapock is the shadow of Kirk, and they represent the two sides of humans, which symbolize a differentiated hero. Spok It represents the absolutely ideal individual that is fully logical, consistently correct; Kirk represents real human beings full of emotions. It is easy to make mistakes and often get in a helpless situation. Spok's sacrifice at the end of the movie, Make Kircock make Kirkkkcock In order to achieve the spiritual rebirth of the concept of the reincarnation of the traditional life and death. In the first half of the movie, Kirk once thought he was old and felt that he was more and more difficult; . The Kobu Maru test forced its participants to face the scene without chances, but Kirkck admitted that he won the cheating by modifying the procedure; therefore, Sava said that Kircock has never faced death. As far as Polk is concerned, his solution to this must -have scene is to sacrifice himself. This allows Kirk to face death after constant cheating, so that this role has grown. The theme of death and aging is expressed vividly, and at the same time it indicates that the birth of birth; Spok is the first protagonist in the entire movie. His voice echoed at the end of the film. At the end of the film, he的棺材也循着同样的轨迹飞往创世之星。rn为了进一步表现出角色们的渐渐老去，梅耶在电影中添加了不少细节。在麦科伊送给柯克一After the old flower mirror as a birthday gift, Kirk's discomfort to his birthday was further strengthened. In the script, Kirk period was 49 years old, but Xianer did not hold on to whether he could play this age. Confidence. Bened remembered that Xianer hesitated to play Kirk, who played the same year as herself, but felt that he could still be the young Cock after making makeup. Bentes persuaded Chaona to make him make him. I believe that he can show this age like Spencer Qu Sai; at that time, the producer did not know that Chardon had worked with Qu Sai in the "Nuremberg Judgment" (1961), and liked this very much, and liked this very much like this A famous actor. Meye hopes to show Kirk as a Holmes -like character. They will become thinner when they lack the corresponding stimuli; It's interstellar adventure.
After the "Star Trek Movie" was released, the execution of the production of Geen Rodenberry wrote his own sequel: the Klingang people passed the eternal guard (a smart device that appeared in the original series of TV series) Back to the past, it prevented the assassination of President Kennedy's actions; therefore, the aggressive crew also returned to the past to repair the modified timeline. Paramount Film's senior management rejected this version. They believed that the performance of the first film was lacking, and the slow modification of the script with Rodenbie on the shooting progress also led to a high $ 46 million of the film budget cost. Therefore, Roddenbely was pulled away from the production layer of the second film. In Xianer's words, he was "dark -rise" to the etiquette position of the executive consultant. Harvey Bened, a new TV drama producer of Paramount, was appointed as a producer of the new "Star Trek" movie. According to Bernett, he was called in front of Jeffrey Cadenberg and Michael Esner, and was asked if he felt that he could make a "Star Trek Movie "A better movie (Belnett has previously publicly stated that he feels that" Star Trek Movie "is" boring "). When Bernett made a positive answer, Charles Blumon asked again: "You can only give you 45 million US dollars, can you make it?" Belinet replied: "In me There, these money is enough for me to make 5 movies like this. "
Benne realized that he would face a lot of challenges to make a new" Star Trek "movie. For example, he has never watched" Star Trek "before TV series. As a result, Bente carefully watched every episode in "Star Trek's Original Series". After a deep understanding of the TV series, Bente found that there was no real negative role in the first movie; after watching the episode of "Space Seed", he decided to make Khan a villain in the new movie. Before the script was determined, Bernett convened his production team. He asked his university alumni and commercial television director Robert Salle to be responsible for film production. The task he arranged for Salle was to make "Star Trek 2". Bente also hired Michael Minor as an art director to perform art director for his films.
Panet wrote his first film plan in November 1980, entitled "Star Tip II: Star Trek II: The War of the A rebellion found that his son was the leader of the rebels. In fact, Khan was the person who planned a conspiracy behind, so Kirk and his son joined forces to fight the tyrant. Later, Jack B. Sodots, a senior Star Trek enthusiast hired by Bernet, rewritten his outline into a script available for shooting. Swavitz completed the first draft of the script before the screenwriter strike in 1981. The draft of Swavz is called "The Omega Syndrome", which includes the plot of the federal ultimate weapon "ω system". The weapons in the Swavitz draft are considered too negative, so Benite wants to replace it with progressive things. Memories. As a result, Mana suggested that Bennett replaced the device with a "planet glutinous" tool. In the next day's meeting, Bente hugged Mana and announced that he saved "Star Trek". In order to allow the weapon to bring the power of Bible, Sowitz renamed the "ω system" to "creation device".
Due to the leakage of the script, many enthusiasts were dissatisfied with the death of Spok, and Swavitz was postponed in the new draft in April 1981. In the initial settings, Stok's died in the first act of the script, Bente compared his sudden death as the early death of Jennite Li in "Stunning". In this draft, Kirk and Khan's face -to -face plot faced 12 pages. The draft of Swavz also introduced a male character named "Savik". After the start of the film, Samuel A. Pippers, the screenwriter of "The Land of the Previous", was invited to write the script. In his draft Characters: Sojin and Moray; these two strange powerful individuals almost destroy the earth. However, this script was not accepted because it was considered unsuitable. At that time, the final period of special effects production (special effect production required a detailed mirror map based on the full script) was getting closer and closer. Paramon's execution high -level Karen Moore recommended to Bernett to Nicholas to Bernett · Meyer, he has served as the screenwriter of "Seven percent of the Solution", and also directed the movie "Tracking 100 Years". Mul believes that he can help solve the script problem. Like Harvey, Meyer has never watched "Star Trek" before joining the production team. He intends to list the parts affirmed by the drama group in the initial draft: "It can be a role, a scene, a main plot, a secondary plot ... or a line of dialogue"; then the list will be As the basis of the new script, it integrates excellent elements in all aspects of the initial draft. In order to eliminate the prediction of Stapock's death, Meyer faked the "death" of the character in the first Act Kobashumaru simulation training. As the special effects company requires that the complete script must be submitted within 12 days, Meyer was written as a script on time without signing the signature, which surprised the actors and producers. Meyer compared his script to "'Hornblor" in space, because he added a lot of naval and gornem style in the script. (Hornbolol was a source of inspiration for the production of "Star Trek" and Chardona that year, but Meyer did not know at the time.) Meyer had a deep impression on the view of the movie: "He considers he considers In all aspects of factors, our work suddenly enlightened. "Gi'en Rodenberry did not agree with the text of the navy in the script and Captain Aha -style Khan, but the drama group almost completely ignored his opinions, but the system The filmmaker still has not finalized the final script.
In order to show the naval style he expected in the budget range, Meyer added and changed some elements in "Star Trek". For example, he added details such as clocks, sailors long whistles, and more shiny lights and signs on the aggressive number. In order to save funds in setting design, the artist design Joseph Jennings used many props left after the filming of "Star Tip Movie". 64%of the films are shot in the same set. The signaling bridge and the "bridge simulator" at the beginning of the film are actually just a slightly transformed by the aggressive bridge. The Klingang Warship Bridge in the "Original Series" was transformed into a conveyor room and a torpedo cabin. Due to the repeated use of the model and film left by the first movie, "Khan's Wrath" saves a lot of funds. The original star ship model was also used as much as possible, and it was also transformed to express the new structure. The Earth Rail Office Station that appeared in "Star Trek Movies" was also reversed and applied as a space station for Leigla I star. Many of the elements in the "Star Trek: The Second Phase III", including the shots, railings, and the scenery, were removed and used. One of the main issues that the designer cares about is to allow the signal number to easily distinguish from the aggressive number. Beni deliberately agreed to the preliminary design of the signaling number after the upside down and down as the final design plan of the ship.
The designer Robert Fletcher was hired to redesign clothing for the characters, and he proposed a new set of solutions. Fletcher uses "Corrut Colors" to design clothing, using a fabric that is slightly different from solid color. "They are not the colors you often see today, so they mean a different era." Meyer did not like the interstellar fleet uniform in TV series and "Star Trek Movie", hoping to make some changes, but for the budget The reason cannot be completely abandoned. The dyeing test on the fabric shows that the old uniform has three colors in good performance: blue -gray, gold and dark red. Because the dark red can have a strong contrast with the background, Flechet decided to use the dark red. This design has been used in 1996 "Star Trek 8: The first contact". In the first version of the design, the black collar of the uniform looks very rigid. Under the suggestion of Salin, it was changed to high lapels and used the tattooing cushioned convex cloth to be used as a derivative. The method of filling the soft cotton yarn in the contour area causes the clothes to have a relief effect, and the soft cotton yarn is pressed into the air pressure through the hollow needle. During the production of "Khan's Wrath", it is very rare to make the machine with the latitudes of the tistral pads and its supporting facilities. Fletcher only found a needle for the clothing department. Worried that the needle would be lost or damaged, and a worker in the clothing department took it home to keep it properly, but Fleche mistakenly thought that the needle was stolen.
For Ke Khan and his associates, Fredcate created a set of clothes that uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniforms in the interstellar fleet. Fletcher mentioned: "I think Ke Khan and his party were exiled on a planet without any basic equipment. They must get supplies and clothing from the spacecraft. Therefore, I tried to let them wear stitching furniture fabrics and wear spacecraft on a spacecraft It is worth mentioning that in order to show Montalvan's muscles, Fredcate designed Khan's clothing as an open -minded. Fredcate was also responsible for designing the work clothes of the Regula I star scientists' work clothes. , And designed practical and comfortable civilian uniforms for Kircock and McCiey.
Maye also hung a sign of "No Smoking" on the bridge of the number of numbers. Recalling: "Everyone has a big temper about this [...] I explained 'Why did they not smoke in the future? They have been drawn for four hundred years, do you think they can quit in the next two hundred years? The sign of '"appears in the first shot of the movie, but the rest of the camera was cut off in the final editing of the movie. In order to show the naval style he expected in the budget range, Miye in Star Tour" Increasing and changing some elements. For example, he added detailed elements such as boat clocks, sailors, and brighter lights and signs on the aggressive number. In order to save funds on the design, the artist design Joseph Jennings (Joseph Jennings) uses many props left after the filming of "Infinite Space". 64%of the films are shot in the same set. The aggressive bridge after the transformation. The Klingong warship bridge in "In the First Generation" was transformed into a conveyor room and a torpedo cabin. Due to the reuse of the model and film left by the first movie (including the aggressive number stopped dependency, At the film of the space port), "Khan Roar" saves a lot of funds. The original star ship model has also been used as much as possible, and it is also transformed to express the new structure. The rail office consortium is also reversed and slightly transformed as the space station of the Leigla I star. Many of the elements in "Star Travel: The Second Phase III" are canceled, including the upstairs, railings, and scenery. The shooter was removed and used. One of the main issues that the designer cared about was to allow the signal number to easily distinguish it from the aggressive number. Bena deliberately agreed to the preliminary design of the signal number after the upper and lower upside down as the final design of the ship as the ultimate of the ship's ship. Design solution.
The designer Robert Fletcher was hired to redo -design clothing for the characters. He proposed a new set of solutions. Fletcher used "Corrupt Colors) to design Clothing, a slightly different fabric with solid color. "They are not the colors you often see today, so they mean a different era. "Meyer does not like the interstellar fleet uniforms in TV series and" Infinite Space ", hoping to make some changes, but for budget reasons, you cannot completely abandon the previous design. The color performance is good: blue -gray, gold, and dark red. Because the dark red can have a strong contrast with the background, Fletcher decides to adopt dark red. This set of naval -style design has been used in 1996 "Star Tour VIII: First "Class contact". In the first version of the design, the black collar of the uniform looks very rigid. Under the suggestion of Salin, it was changed to high lapels and used the latitude of the littering of the litter to the seam. The method of soft cotton yarn makes the clothes have a relief effect, and the soft cotton yarn uses the air pressure to press in through hollow acupuncture. When the "Khan Roar" is made, the machine and its supporting of the latitudes of the latitudes of the littering of the tattoo and its supporting facilities The dedicated sewing needle is still very rare. Fletcher only found a needle for the clothing department. Because he was worried that the needle would be lost or damaged, a worker in the clothing department brought it home to keep it. I mistakenly thought that the needle was stolen.
For Ke Khan and his associates, Fredcate created a set of clothes that uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniformly uniform in the interstellar fleet. The materials that can be found can be made. Fletcher mentioned: "I think Khan and his party were exiled on a planet. Without any infrastructure, they had to obtain supplies and clothing from the spacecraft. Therefore, I tried to let them wear stitching furniture fabrics and wear electronic equipment on the spacecraft. It is worth mentioning that in order to show Montelvan's muscles, Flechet designed Khan's clothing as an open -minded. Fletcher is also responsible for designing the work clothes of the Leicula I star scientists, and designed practical and comfortable civilian uniforms for Cock and McCiey.
Maye also hung a "No Smoking" sign on the bridge of the number of numbers. Say 'Why did they not smoke in the future? They have been smoking for four hundred years, do you think they can quit in the next two hundred years? "The sign appeared in the first shot of the movie, but the rest of the rest The camera was cut off in the final editing of the movie. The main shooting date of the film starts from November 9, 1981 to January 29, 1982. "Khan's Wrath" has more action scenes than before, but the production costs are less. The shooting process is supervised by Paramount Television, not the theater department. Bened, the highly respected television producer, used only $ 11 million in budget to make "Khan's Wrath", far lower than the $ 46 million of "Star Trek Movie". The film's budget was less than $ 8.5 million at first, because the film of the previous two weeks left a deep impression on the filmmaker. Meye tried to reduce the large and expensive set of scenes through the lens and some clever methods. For example, when shooting a drama that happened at the Star Fleet Academy, the shooters used forced perspectives to make it look bigger by pulling the clothing camera. In order to present the illusion of the movement of the number of the number to move on each deck, when the lifting door is closed, the components of the corridor rotate make people feel like the lifting machine is really moving. Most of the background devices (such as computer terminals) are rented, not bought back. Some design props, such as redesigned phase guns and communications, have rejected Paramount's administrators. They think that they only need to use the props back to the "Star Trek Movie".
The model of the number of entry numbers renovated before shooting space -the dark and bright pyramids made the body more detailed. Compared with the newly -built signal number, special effects personnel and photographers do not like to enter the number, because the assembly of the model requires 8 people to complete, and the forklift must be used when moving. In contrast, the signaling number is lighter than the number of in -access, and the internal wires are not so complicated. Both star ships were filmed in front of the blue curtain with special film that did not record colors, so that the staff could add special effects after shooting, or add it to other films. If any part of the hull is blue, the spacecraft displayed on the screen will have holes; therefore, the gap between the hull structure must be repaired frame by frame.
The barren desert of the whale α-v star was taken in Paramon's largest 8 field. The setting is 25 feet to the ground, paved with a wooden pad, and poured several tons of sand powder on it. The painted ring -shaped panoramic maps are surrounded by the entire set, and sandstorms are made with multiple large industrial fans. Such shooting makes the actors and the crew team miserable. The spandex environmental protection uniform worn by Kenig and Winfield is dense, and the two actors must be sighed by a microphone when they feel sullen. The shooting equipment needs to be wrapped in plastic to prevent mechanical failure; everyone present should also wear boots, protective masks, and work clothes for protection.
The shot of Spok's death was shot for three days, and it was declined to visit outside. Spok's death was unchanged, but the filming of the movie changed Nimoy to the original plan and asked whether Spok could return in the subsequent movie. However, at that time, the convergence of the mind was completed, and in this version, Kelly was not the first person to know about the development. When shooting Spok's death, Chaona did not agree with transparent glass to separate Spok from Kirk. He hoped that the two were separated by a translucent partition, which made people only see Spok’s’s’s’s’s’s. The outline, but his proposal was rejected. When the Spok funeral was underwent, Meyer hoped that the camera could follow the torpedo as a torpedo as a Spoque coffin to show the torpedo to slide into the transmitter through a long track. However, the shooter believes that if this is the case, the entire set must be re -built, so Salle recommends using a mobile photography car in the pipe groove and control the camera with a arm frame. The idea of "Amazing Grace" by Shi Kao was proposed by James Duhan.
During the screening, the audience was very dissatisfied with Spok's death. As a result, Bente made the end more exciting. At the end, the Spok coffin was added to the shot of the new planet, and the ending monologue of Nimoy was added; Meyer opposed the approach, but in the end he failed to stop it. Due to the limited time, the Spoque coffin scene was in the scene. The shooting scene was selected in a corner of the Golden Gate Park in San Francisco, and used a fellow to make the effect when shooting. The shooting work has been carried out from noon until the night, until the staff realizes that there is no time to shoot again.
During the shooting process, the producer also considered special effects synthesis in the later period. The TV screen of the alternative computer display has been specially calibrated, so that the refresh frequency does not cause horizontal stripes in the movie. Because the use of optical camera repellent scrolls will lose part of the resolution and picture quality, make up for this, the continuous screen of the real -life shooting uses a 65mm or format film. Then use the transformed lens to reduce the larger film to the smaller film, and finally get the format movie screen. Because there are only a short time left to complete the special effect script, Jim Veilleux, the special effect director, and Meye, Jenning, Salle, and Maya work together to transform the abstract text in the script into a split mirror. Image on the picture. At the same time, in order to avoid the old path of "Star Trek Movie", the special effect script of "Khan's Wrath" has strictly restricting the special effects lens, strictly preventing its loss of control and leading to the budget overrun. The special effects, light effects and durations required in the movie have been listed in a list in detail. By the sixth week of the weekend, the producers have determined the basic appearance and structure of most special effects; 5 weeks later, the special effects lens produced has been incorporated into the film film. The Industrial Light Demon (ILM) is responsible for the production of most special effects and produced some new models; the signal number is the first non -constitutional federal star ship appeared in the entire series. Because the script needs to be severely damaged by both the signaling number and the aggressive number, the Industrial Light Devil developed a series of technologies that draw damage on the model without causing physical damage. Before the model was sent to the blue curtain, the wide -screen camera fixed on the gimbal was set according to the virtual object movement. The damage suffered by the aggressive number is achieved by makeup of the model, with a multi -piece of aluminum sheet with color or peeling on the surface of the model. The damage caused by phase guns to the star ship is achieved through stopping technology. In addition, the script also requires a complete damage to the reputation. Therefore, the Industrial Light Mo also produced a large model to shoot its explosive lens.
Because of the assistance of computer models, the battle of Mutala Nebula is a major difficulty in special effects. The vortexy nebula is actually made into a cloud and ammonia mixture filled with a cloud box filled with salt water. In order to show the rapid movement of Nebula, the film was shot at a speed of 2 frames per second. The changing color in the nebula is actually the various color lights in the cloud box through the color filter. The animation department of the Industrial Light Demon is responsible for making some light effects such as Aurora. The picture of the star ship was taken under the solid color background and synthesized into the image through cracking technology. The images of the damaged engine compartment of the Powers are painted on the lens of the model separation and the explosion.
Trerer was killed and evaporated by a scientist with a phase, which was synthesized with the image taken in two separate shooting. First of all, Winfield performed with other relevant actors in this scene; this film will be used as the background part of the later synthesis. Then, covering the background with a blue curtain, actor John Vargas began to perform his reaction after being shot by phase. In the later synthesis, a phase gun beam was added to the background image. As Walgas was hit, his body quickly disintegrated and disappeared into the air. Each frame of the image fits the position of Walgas.
"Khan's Wrath" is one of the first movies that use electronic images and computer drawing to speed up the production progress. The computer graphics company "Evan and Evan and Evan and" produced the vector map displayed on the input number screen and the stars background for the subtitles at the beginning of the film. Industrial Light Demon has achieved a major technical achievement in this film: the images of the creation of the creation device for transformation of the creation of the world are the first section of the film history to generate graphic technology to generate graphic technology. The initial imagination of the lens was just an experimental animation that turned the stones in the sealing cabin into flowers. However, Verya suggested expanding this image into a creation effect on a planet. Paramount praised this more striking way of expressing and hoped that its expression would be different from traditional animation. After reading a research report submitted by the computer drawing department of Lucas Film Company, Viey handed the task to them. The drawing team has made a lot of effort in the details of the animation; a artist also deliberately ensured the authenticity of the stars in the space -the background of the space background in the image is almost exactly the background of a star that is several years old. Follow. The animators want this animation to win business opportunities for their studios. Jerry Golsmis has composed of the first film "Star Trek Movie" and has achieved excellent results. But Bernett and Meye want to use another style of music in "Khan's Angry". Joel Sill, the vice president of Paramount, was the vice president of music, Joel Sill, and then introduced James Horner to Bernett, Meyer Salin, thinking that Honer could be competent for this job. Honer said: "[Producer] does not want to follow the previous soundtrack, and does not want to use John Williams (" Star Wars "style, John Williams is the soundtrack of the Star Wars). They hope that the soundtrack has changed to a certain amount of modernity. When asked how he got this job, Honer replied: "Producers love me for the soundtrack in" Sirius ", and have heard of The music I wrote for some other projects, I think, as far as I know, they are very interested in my broadness. I hope to get this job, so I met them, and we all talked about it. My music left a deep impression on them. This happened like this. "Honer met the requirements of the producers and agreed to start his work in mid -January 1982.
In order to be consistent with the naval style of the movie, Meye hopes that music can show the atmosphere of sailor and the robber." Washington The Post said that this style "Echo John Williams's Star Wars and the exaggeration and lament of the original sound music of Jerry God Smith's" Star Trek ". "Compared with the theme song that runs through the film, Khan's main theme has a strong sense of impact, so that under the accompaniment of other music, it can show the role of the character. The death of this character: "Spok's theme song makes him no longer a collection of collectibles for people, but has become an individual with flesh and blood and spirituality. "
" Khan's Wrath "is the first time Honer's film is the chief soundtrack. He spent 4 and a half weeks to compose the movie. He wrote 72 minutes for the movie Paragraph 94 orchestral music. Honer also used electronic synthesizers to increase the effect of music: at the time, many science fiction movies including "E.T. Alien" and "mutations monsters" were preferred to use traditional orchestral music to synthetic music. It is to stay away. When making a soundtrack for the movie, Meyer provided many suggestions for Horner: as a classical music fan, Meyer can accurately describe the effects and sounds he wants to show in the movie. Due to the special effects of the movie special effects fragmentation, The film duration has changed. Honer must also modify some sections in the soundtrack to adapt to the changes in the duration of the movie scene. Later, Honer cooperated with James Kameron to serve as "Titanic" and "Avatar" and "Avatar" "The soundtrack, wrote many popular works," My Heart Eternal "is an example. His unique understanding of science fiction is also reflected in" Avatar ". Death, rebirth and aging are repeated Several themes appeared. When writing the script, Meyer accidentally discovered the connection between Spok's age and his death: "This will be a story of Sipk's death, so this will be a story about death. ，再经过思维上的短暂的跳跃，你会意识到这还是一出关于年老和友情的故事，”梅耶说到，“我不觉得任何[其他的初稿]剧本在讲述年老、友情与die. "Spok's sacrifice symbolizes death, while the creation of the world symbolizes the rebirth. In order to be consistent with the significance of these two symbols, Meye hopes to name the film" The Country ", and it depends on Shakespeare in" Hamlett Hamlett " "The description of the death of Prince Hamlet, however, when the film was edited, this title was modified without knowing it.
That is, adventurers must go through a symbolic or literal death to achieve their rebirth. Stapock is the shadow of Kirk, and they represent the two sides of humans, which symbolize a differentiated hero. Spok It represents the absolutely ideal individual that is fully logical, consistently correct; Kirk represents real human beings full of emotions. It is easy to make mistakes and often get in a helpless situation. Spok's sacrifice at the end of the movie, Make Kircock make Kirkkkcock In order to achieve the spiritual rebirth of the concept of the reincarnation of the traditional life and death. In the first half of the movie, Kirk once thought he was old and felt that he was more and more difficult; . The Kobu Maru test forced its participants to face the scene without chances, but Kirkck admitted that he won the cheating by modifying the procedure; therefore, Sava said that Kircock has never faced death. As far as Polk is concerned, his solution to this must -have scene is to sacrifice himself. This allows Kirk to face death after constant cheating, so that this role has grown. The theme of death and aging is expressed vividly, and at the same time it indicates that the birth of birth; Spok is the first protagonist in the entire movie. His voice echoed at the end of the film. At the end of the film, he的棺材也循着同样的轨迹飞往创世之星。rn为了进一步表现出角色们的渐渐老去，梅耶在电影中添加了不少细节。在麦科伊送给柯克一After the old flower mirror as a birthday gift, Kirk's discomfort to his birthday was further strengthened. In the script, Kirk period was 49 years old, but Xianer did not hold on to whether he could play this age. Confidence. Bened remembered that Xianer hesitated to play Kirk, who played the same year as herself, but felt that he could still be the young Cock after making makeup. Bentes persuaded Chaona to make him make him. I believe that he can show this age like Spencer Qu Sai; at that time, the producer did not know that Chardon had worked with Qu Sai in the "Nuremberg Judgment" (1961), and liked this very much, and liked this very much like this A famous actor. Meye hopes to show Kirk as a Holmes -like character. They will become thinner when they lack the corresponding stimuli; It's interstellar adventure.