In der Tat steht die Kinofilmreihe nach erstmals wieder an einer Geht es nun doch mit “Star Trek 4” und dem Cast um Chris Pine (Mitte). Schlechte Neuigkeiten für Star Trek-Fans: Einer der Hauptdarsteller der Enterprise-Filme erklärt sachlich und logisch, warum ein neuer Film. Während Star Trek in der Serien-Welt gut vorankommt, sieht es für einen neuen Kinofilm etwas komplizierter aus. Man plant zwar einen vierten.
Star Trek 4 Film News und Stories
Der Film handelt von einer Zeitreise ins Jahr , also in die Gegenwart der Filmentstehung. Er gehört zu den komödiantischsten Filmen dieser Reihe mit. Star Trek 4 ein Film von Noah Hawley mit Chris Pine, Zachary Quinto. Inhaltsangabe: Geplantes, viertes neues Abenteuer der Enterprise-Crew um Captain Kirk. josz.eu: Wie geht es mit „Star Trek“ im Kino weiter? Mit Noah Hawley ist nun zwar ein Regisseur für den nächsten Film an Bord, doch. In dem „Star Trek“-Franchise sind mehrere Filme in Arbeit. Über „Star Trek 4“ ist seit Längerem bekannt, dass der Regisseur einen neuen. Schlechte Neuigkeiten für Star Trek-Fans: Einer der Hauptdarsteller der Enterprise-Filme erklärt sachlich und logisch, warum ein neuer Film. Während Star Trek in der Serien-Welt gut vorankommt, sieht es für einen neuen Kinofilm etwas komplizierter aus. Man plant zwar einen vierten. In der Tat steht die Kinofilmreihe nach erstmals wieder an einer Geht es nun doch mit “Star Trek 4” und dem Cast um Chris Pine (Mitte).
Star Trek 4 ein Film von Noah Hawley mit Chris Pine, Zachary Quinto. Inhaltsangabe: Geplantes, viertes neues Abenteuer der Enterprise-Crew um Captain Kirk. In dem „Star Trek“-Franchise sind mehrere Filme in Arbeit. Über „Star Trek 4“ ist seit Längerem bekannt, dass der Regisseur einen neuen. Während Star Trek in der Serien-Welt gut vorankommt, sieht es für einen neuen Kinofilm etwas komplizierter aus. Man plant zwar einen vierten.
Star Trek 4 Film Česko-Slovenská filmová databáze VideoStar Trek 4 Movie (2021), Simon Pegg Criticizes Paramount For Mishandling Movie Franchise
Star Trek 4 Film Inhaltsangabe & Details VideoStar Trek - Horizon: Full Film Seit geraumer John Wick Stream German gilt es sogar nahezu als gescheitert, da sich Paramount Pictures weder mit Chris Hemsworth noch mit Chris Pine finanziell einigen konnte. Abrams auch nicht neu besetzt werden soll. These cookies will be stored in your browser only with your 1003. Taylor können Chekov von dort zurück auf die Bounty holen. Achtung, Spoiler! Die wurden ja in der letzten Folge der zweiten Staffel in das Jahr geschossen. Seither ist es still geworden Tenshi Drop Ger Sub die bereits gestartete Kinofilmreihe. Verzichte 7 Tage auf dieses Lebensmittel und du Welche Serien Streamt Netflix unglaublich ab. Zunächst rechnet die Crew damit, nun einen Frachter führen zu müssen, doch sie erhält das Kommando über das neue Raumschiff U. He would write a few pages, show it to Nimoy and Bennett for consultation, and return to his office Filmbühne Bad Salzuflen write some more. Breyer, Wolfgang Diagnose: Mord Besetzung ILM's stage, optical, and matte departments collaborated to complete other shots for the dream sequence. It was the biggest tie-in novel published by Pocket Books and spent eight weeks on The New York Times bestseller list,  peaking at 3. Bond, Jeff
The Earth Spacedock interiors and control booth sets were reused from The Search for Spock , although the computer monitors in these scenes featured new graphics—the old reels had deteriorated in storage.
Stock footage of the destruction of the Enterprise and the Bird-of-Prey's movement through space were reused.
While the Bird-of-Prey bridge was a completely new design, other parts of the craft's interior were also redresses; the computer room was a modification of the reactor room where Spock died in The Wrath of Khan.
After all other Bird-of-Prey bridge scenes were completed, the entire set was painted white for one shot that transitioned into a dream sequence during the time travel.
The production wanted to film scenes that were readily identifiable as the city. Other scenes were filmed in the city but used sets rather than real locations, such as an Italian restaurant where Taylor and Kirk eat.
In the film, the Bird-of-Prey lands cloaked in Golden Gate Park , surprising trashmen who flee the scene in their truck. The production had planned to film in the real park, where they had filmed scenes for The Wrath of Khan , but heavy rains before the day of shooting prevented it—the garbage truck would have become bogged down in the mud.
Will Rogers Park in western Los Angeles was used instead. When Kirk and Spock are traveling on a public bus, they encounter a punk rocker blaring his music on a boom box, to the discomfort of everyone around him.
Spock takes matters into his own hands and performs a Vulcan nerve pinch. Part of the inspiration for the scene came from Nimoy's personal experiences with a similar character on the streets of New York; "[I was struck] by the arrogance of it, the aggressiveness of it, and I thought if I was Spock I'd pinch his brains out!
Credited as "punk on bus", Thatcher along with sound designer Mark Mangini also wrote and recorded "I Hate You", the song in the scene, and it was his idea to have the punk—rendered unconscious by the pinch—hit the stereo and turn it off with his face.
A holding tank for the whales was added via special effects to the Aquarium's exterior. One scene takes place by a large glass through which observers view the whales—and Spock's initiation of a mind meld —underwater.
Footage of the actors shot in front of them as they reacted to a brick wall in the Aquarium was combined with shots taken from their rear as they stood in front of a large blue screen at ILM to produce this scene.
The footage of Spock's melding with the whales was shot weeks later in a large water tank used to train astronauts for weightlessness.
The real Enterprise , out at sea at the time, was unavailable for filming, so the non-nuclear-powered carrier USS Ranger CV was used.
Scenes in the San Francisco Bay were shot at a tank on Paramount's backlot. The scene in which Uhura and Chekov question passersby about the location of nuclear vessels was filmed with a hidden camera.
However, the people with whom Koenig and Nichols speak were extras hired off the street for that day's shooting and, despite legends to the contrary, knew they were being filmed.
In an interview with StarTrek. I think it's across the bay, in Alameda ," stated that after her car was impounded because she missed the warnings to move it for the filming, she approached the assistant director about appearing with the other extras, hoping to be paid enough to get her car out of impoundment.
She had been told to act naturally, and so she answered them and the filmmakers kept her response in the film, though she had to be inducted into the Screen Actors Guild in order for her lines to be kept.
Vulcan and the Bird-of-Prey exterior was created with a combination of matte paintings and a soundstage. Nimoy had searched for a suitable location for the scene of the Enterprise crew's preparations to return to Earth, but various locations did not work, so the scene was instead filmed on a Paramount backlot.
The production had to mask the fact that production buildings were 30 feet 9. Production manager Jack T. Collis economized by building the set with only one end; reverse angle shots used the same piece of wall.
The positions of the Federation President's podium and the actors on the seats were switched for each shot.
Among the resulting set's features was a large central desk with video monitors that the production team nicknamed "the pool table"; the prop later became a fixture in USS Enterprise -D's engine room on the television series Star Trek: The Next Generation.
Nimoy approached ILM early in development and helped create storyboards for the optical effects sequences. Matte supervisor Chris Evans attempted to create paintings that felt less contrived and more real—while the natural instinct of filmmaking is to place important elements in an orderly fashion, Evans said that photographers would "shoot things that [ The task of establishing the location and atmosphere at Starfleet Headquarters fell to the matte department, who had to make it feel like a bustling futuristic version of San Francisco.
The matte personnel and Ralph McQuarrie provided design input. The designers decided to make actors in the foreground more prominent, and filmed them on a large area of smooth concrete runway at the Oakland Airport.
Elements like a shuttlecraft that thirty extras appeared to interact with were also mattes blended to appear as if they were sitting by the actors.
Ultimately the artists were not satisfied with how the shot turned out; matte photography supervisor Craig Barron believed that there were too many elements in the scene.
The scenes of the Bird-of-Prey on Vulcan were combinations of live-action footage—actors on a set in the Paramount parking lot that was covered with clay and used backdrops—and matte paintings for the ship itself and harsh background terrain.
The scene of the ship's departure from Vulcan for Earth was more difficult to accomplish; the camera pans behind live-action characters to follow the ship as it leaves the atmosphere, and other items like flaming pillars and a flaring sun had to be integrated into the shot.
The script called for the probe to vaporize the Earth's oceans, generating heavy cloud cover. While effects cinematographer Don Dow wanted to go to sea and record plumes of water created by exploding detonating cords in the water, the team decided to create the probe's climatic effect in another way after a government fishing agency voiced concerns for the welfare of marine life in the area.
The team used a combination of baking soda and cloud tank effects; the swirling mist created by the water-filled tank was shot on black velvet, and color and dynamic swirls were added by injecting paint into the tank.
These shots were composited onto a painting of the Earth along with overlaid lightning effects, created by double-exposing lights as they moved across the screen.
The Bird-of-Prey's travel through time was one of the most difficult effects sequences of the film. While ILM was experienced in creating the streaking warp effect they used for previous films, the sequence required the camera to trail a sustained warp effect as the Bird-of-Prey rounded the sun.
Matching the effect to the model was accomplished through trial-and-error guesswork. The team did not have the time to wait for the animation department to create the sun for this shot.
Assistant cameraman Pete Kozachic devised a way of creating the sun on-stage. He placed two sheets of textured plexiglass next to each other and backlit them with a powerful yellow light.
The rig was rotated on a circular track and the sheet in front created a moire pattern as its position shifted. Animator John Knoll added solar flare effects to complete the look; Dow recalled that the effect came close to matching footage of the sun taken by the Jet Propulsion Laboratory.
Traveling through time, Kirk and crew experience what author Jody Duncan Shay termed a "dreamlike state". The script's only direction for the effect was "now [they] go through time"; Nimoy and McQuarrie envisioned Kirk's dream as a montage of bizarre images.
The filmmakers decided early on that part of the dream sequence would use computer-generated animation to give it an unreal quality divorced from the rest of the film.
ILM worked from McQuarrie's storyboards and created a rough mock-up or animatic to show Nimoy and hone the direction of the sequence. The resulting thirty seconds of footage took weeks to render; the department used every spare computer they could find to help in the processing chores.
ILM's stage, optical, and matte departments collaborated to complete other shots for the dream sequence. The shot of a man's fall to Earth was created by filming a small puppet on bluescreen.
Shots of liquid nitrogen composited behind the puppet gave the impression of smoke. The background plate of the planet was a large matte that allowed the camera to zoom in very close.
The final shot of marshy terrain was practical and required no effects. The filmmakers knew from the beginning of production that the whales were their biggest effects concern; Dow recalled that they were prepared to change to another animal in case creating the whales proved too difficult.
When Humphrey the Whale wandered into the San Francisco Bay, Dow and his camera crew attempted to gather usable footage of the humpback but failed to do so.
Compositing miniatures shot against bluescreen on top of water backgrounds would not have provided realistic play of light. Creating full-size mechanical whales on tracks would severely limit the types of angles and shots.
To solve the whale problem, Rodis hired robotics expert Walt Conti. While Conti was not experienced in film, Rodis believed his background in engineering and design made him well equipped for Rodis' planned solution: the creation of independent and self-contained miniature whale models.
After watching footage of whale movement, Conti determined that the models could be simplified by making the front of the whale entirely rigid, relying on the tail and fins for movement.
It really knocked them out. To prevent water from ruining the whale's electronics, the modelmakers sealed every individual mechanical component rather than attempting to waterproof the entire whale.
Balloons and lead weights were added to achieve the proper balance and buoyancy. The finished models were put in the swimming pool of Serra High School in San Mateo, California, for two weeks of shooting; the operation of the whales required four handlers and divers with video cameras to help set up the shots.
Accurately controlling the whales was difficult because of the murky water—ILM added diatomaceous earth to the water to match realistic ocean visibility.
Models of the starship USS Enterprise were destroyed in the previous film partly because visual effects supervisor Ken Ralston wanted to build a "more state-of-the-art ship for the next film", but the filmmakers made the less costly decision to have the crew return to serve on the duplicate USS Enterprise A , and six weeks were spent repairing and repainting the old model.
A travel pod from Star Trek: The Motion Picture was also reused for the ending, although the foot-long 6. Graphic designer Michael Okuda designed smooth controls with backlit displays for the Federation.
Dubbed " Okudagrams ", the system was also used for displays on the Klingon ship, though the buttons were larger. Music critic Jeff Bond writes, "The final result was one of the most unusual Star Trek movie themes," consisting of a six-note theme and variations set against a repetitious four-note brass motif; the theme's bridge borrows content from Rosenman's "Frodo March" for The Lord of the Rings.
The Earth-based setting of the filming gave Rosenman leeway to write a variety of music in different styles. Nimoy intended the crew's introduction to the streets of San Francisco to be accompanied by something reminiscent of George Gershwin , but Rosenman changed the director's mind,  and the scene was scored with a contemporary jazz fusion piece by Yellowjackets.
When Chekov flees detention aboard the aircraft carrier, Rosenman wrote a bright cue that incorporates classical Russian compositions.
The music for the escape from the hospital was done in a baroque style. More familiar Rosenman compositions include the action music for the face off between the Bird-of-Prey and a whaling ship in open water, and the atmospheric music reminiscent of the composer's work in Fantastic Voyage during the probe's communication.
After the probe leaves, a Vivaldiesque "whale fugue" begins. The first sighting of the Enterprise -A uses the Alexander Courage theme before the end titles.
Mark Mangini served as The Voyage Home ' s sound designer. He described it as different from working on many other films because Nimoy appreciated the role of sound effects and made sure that they were prominent in the film.
Since many sounds familiar to Star Trek had been established—the Bird-of-Prey's cloaking device, the transporter beam, et al. The most important sounds were those of the whales and the probe.
Mangini's brother lived near biologist Roger Payne , who had recordings of whale song. Mangini went through the tapes and chose sounds that could be mixed to suggest conversation and language.
The probe's screeching calls were the whale song in distorted form. The humpback's communication with the probe at the climax of the film contained no dramatic music, meaning that Mangini's sounds had to stand alone.
He recalled that he had difficulty with envisioning how the scene would unfold, leading Bennett to perform a puppet show to explain.
It was at Bennett's suggestion that Paramount studio heads asked Nimoy to create subtitles for the probe's transmission at the start of the film and for the climactic dialogue with the whales.
Both Nimoy and Meyer were adamantly against using any subtitles, and they eventually prevailed. Nimoy and the other producers were unhappy with Mangini's attempts to create the probe's droning operating noise; after more than a dozen attempts, the sound designer finally asked Nimoy what he thought the probe should sound like.
Mangini recorded Nimoy's guttural "wub-wub-wub" response, distorted it with "just the tiniest bit of dressing", and used it as the final sound.
The punk music during the bus scene was written by Thatcher after he learned that the sound for the scene would be by " Duran Duran , or whoever" and not "raw" and authentic punk.
They decided that punk distilled down to the sentiment of "I hate you", and wrote a song centered on the theme. Recording in the sound studio as originally planned produced too clean a sound, so they moved to the outside hallway and recorded the song in one take using cheap microphones to create a distorted sound.
Winter recalled that the marketing did not seem to make a difference. Attending the screening with Nimoy, Bennett was amazed the film proved as entertaining to the Russians as it did with American audiences; he said "the single most rewarding moment of my Star Trek life" was when the Moscow audience applauded at McCoy's line, "The bureaucratic mentality is the only constant in the universe.
We'll get a freighter. Vonda N. McIntyre wrote a novelization that was released at the same time as the film. It was the biggest tie-in novel published by Pocket Books ,  and spent eight weeks on The New York Times bestseller list,  peaking at 3.
The Voyage Home received mostly positive reviews  —Nimoy called it the most well received of all Star Trek films made at that point—and it appealed to general audiences in addition to franchise fans.
The critics' consensus reads, " Star Trek IV: The Voyage Home is perhaps the lightest and most purely enjoyable entry of the long-running series, emphasizing the eccentricities of the Enterprise's crew.
The movie was a "loose, jovial, immensely pleasurable Christmas entertainment"  for The Washington Post ' s Paul Attanasio , and a retrospective BBC review called the film "one of the series' strongest episodes and proof that the franchise could weather the absence of space-bound action and the iconic USS Enterprise , and still be highly enjoyable".
The film's "fish out of water" comedy   and acting were mostly lauded. The Courier Mail wrote that the film was funnier than its predecessors, and while not "flippant", a sense of humor was revealed through the efforts of the cast, writers and director.
The special effects were generally well received;  critics for The Sydney Morning Herald and Courier Mail noted that the effects played a lesser role in the film compared to the characters and dialogue.
The Voyage Home garnered 11 nominations at the 14th annual Saturn Awards , tying Aliens for number of nominations.
Nimoy and Shatner were nominated for best actor for their roles,  and Catherine Hicks was nominated for best supporting actress. In , Popular Mechanics ranked the scene where Chekov talks about 'nuclear wessels', the 50th-greatest moment in science fiction.
Paramount re-released the film on March 12, , with Fatal Attraction as part of a "Director's Series"; these editions had additional commentary and were presented in a widescreen letterbox format to preserve the film's original cinematography.
Nimoy was interviewed on the Paramount lots and discussed his acting career as well as his favorable opinion of the widescreen format. A "bare bones" DVD of the film was released on November 9, Aside from the film, the contents include the original theatrical trailer and the introduction from the "Director's Series" VHS release.
Three-and-a-half years later, a two-disc "Collector's Edition" was released with supplemental material and the same video transfer as the original DVD release.
Among other special features, it contains a text commentary by Michael Okuda and an audio commentary from director Leonard Nimoy and star William Shatner.
The film was released on Blu-ray Disc in May to coincide with the new Star Trek feature, along with the other five films that feature the original crew in Star Trek: Original Motion Picture Collection.
Each film in the set has an additional soundtrack, enhanced to 7. From Wikipedia, the free encyclopedia. Theatrical release poster art by Bob Peak.
Release date. Running time. British Board of Film Classification. March 10, Retrieved May 22, Retrieved July 1, Los Angeles Times.
Retrieved May 21, The Hollywood Reporter. Retrieved December 23, Indian Express. Press Trust of India. May 30, Retrieved February 15, Miami Herald.
The New York Times. Retrieved January 5, Retrieved December 8, October 27, Archived from the original on May 19, It was only after a great deal of insistence that I convinced Paramount not to use the subtitles, and to let the mystery of the probe remain precisely that.
The Globe and Mail. The Washington Post. Retrieved April 17, What Hawley will bring to the table in his Trek film is likely going to be a breath of fresh air.
Given the late-sixties origins of The Original Series, seeing latter-day Kirk, Spock and the gang explore the more abstract side of Trek seems like a pretty enticing prospect.
Get ready. Star Trek 4 is officially coming. Tres Dean. No release date for the fourth Star Trek film has been announced. Related Tags Movies.Sarek ergreift Partei zugunsten Kirks, der von den Klingonen angegriffen wurde und in Notwehr gehandelt habe. Ich sehe hier nur keinen Rayman Raving Rabbids von JL Neo Magazin Royale Youtube den Filmen. Tatsächlich denkt man darüber nach, einen vierten Finsterworld Stream zu produzieren. Dann hinterlasse uns einen Kommentar auf dieser Seite und Mc Giver mit uns über aktuelle Kinostarts, deine Lieblingsserien und Filme, auf die du sehnlichst wartest. Die als Ärzte verkleideten Kirk, Dr. Paramount Pictures muss die richtige Wahl treffen. August um Option 2: Bitte nicht Option 1 und 3: mal gucken Option 4: Endlich wieder ein Film im Weltraum, eine Entdeckungsmission oder die Tücken eines ersten Kya Kool Hain Hum 3, der fast schief geht — oder so was in der Art. Peter E. Solange die gleichen Pfeifen involviert sind, die in den letzten 11 Jahren das Franchise demontiert haben, brauche ich kein Star Trek. Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. Star Trek 4“-Regisseur Noah Hawley verkündet, dass sein neuer Film aus dem „Star Trek“-Universum auch einen neuen Cast bekommen.