Star Trek 1 Inhaltsverzeichnis
Captain James T. Kirk erhält den Auftrag, mit der Enterprise eine Energiewolke zu stoppen, die mit der Erde zu kollidieren droht. Die Crew spürt die Wolke auf und entdeckt in ihrem Inneren eine Maschinenintelligenz namens `V'ger'. Diese befindet. Der Film startete am März in den bundesdeutschen Kinos. Inhaltsverzeichnis. 1 Handlung; 2. Nr. Deutscher Titel, Englischer Originaltitel, Filmjahr, Jahre der. Handlung, Regie, Drehbuch. 1, Star Trek: Der Film, Star Trek. generationbalt.eu - Kaufen Sie Star Trek 1 - Der Film günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. generationbalt.eu - Kaufen Sie Star Trek günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Über Filme auf DVD bei Thalia ✓»Star Trek 1 - Der Film«und weitere DVD Filme jetzt online bestellen! Star Trek - Raumschiff Enterprise - Staffel 2 [7 BRs]. DeForest Kelley George Takei Walter König,; William Shatner,; Leonard Nimoy. (1). Teil 2 / Star Trek.
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Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. When an alien spacecraft of enormous power is spotted approaching Earth, Admiral James T.
Kirk resumes command of the overhauled USS Enterprise in order to intercept it. Director: Robert Wise. Watch on Prime Video included with Prime.
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Nominated for 3 Oscars. Edit Cast Cast overview, first billed only: William Shatner James T. Kirk Leonard Nimoy Spock DeForest Kelley McCoy James Doohan Scotty George Takei Sulu Majel Barrett Chapel Walter Koenig Chekov Nichelle Nichols Uhura Persis Khambatta Star Trek: Lower Decks.
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Star Trek IX: Insurrection. As such, Rubin devised and fabricated about props for the film, 55 of which were used in the San Francisco tram scene alone.
The only prop that remained from the original television series was Uhura's wireless earpiece, which Nichols specifically requested on the first day of shooting and all the production crew save those who had worked on the television show had forgotten about.
The new phaser was entirely self-contained, with its own circuitry, batteries, and four blinking lights. A total of 15 of the devices were made for the film.
The communicators were radically altered, as by the s the micro-miniaturization of electronics convinced Roddenberry that the bulky handheld devices of the television series were no longer believable.
A wrist-based design was decided upon, with the provision that it look far different from the watch Dick Tracy had been using since the s.
Roddenberry firmly believed that throwaway clothes were the future of the industry, and this idea was incorporated into the costumes of The Motion Picture.
William Ware Theiss , the designer who created the original television series costumes, was too busy to work on the film.
Instead Robert Fletcher , considered one of American theater's most successful costume and scenic designers, was selected to design the new uniforms, suits, and robes for the production.
Fletcher eschewed man-made synthetics for natural materials, finding that these fabrics sewed better and lasted longer. Wise deemed the original multicolored uniforms too garish, and Fletcher believed that the brightness of these old designs would work against believability when seen on the wide screen—the designer's first task was to create new, less conspicuous uniforms.
In the original series, divisions in ship assignments were denoted by shirt color; for the movie, these color codes were moved to small patches on each person's uniform.
The Starfleet delta symbol, which previously indicated duty branches—command, science, medical, engineering, and so forth—was replaced with the command symbol for all branches, superimposed over a circle of color indicating area of service.
The blue color of previous uniforms was discarded, for fear they might interfere with the blue screens used for optical effects. The Class A designs were double-stitched in gabardine and featured gold braid designating rank.
It was felt that the traditional four gold sleeve stripes for the captain's rank was too blatantly militaristic. Povill had to send out a memo to Fletcher with the modified stripe rank system, as the designer continued to get the 20th and 23rd centuries confused.
Each costume had the shoes built into the pant leg to further the futuristic look. An Italian shoemaker decorated by the Italian government for making Gucci shoes was tasked with creating the futuristic footwear.
Combining the shoes and trousers was difficult, time-consuming, and expensive, as each shoe had to be sewn by hand after being fitted to each principal actor.
There were difficulties in communication, as the shoemaker spoke limited English and occasionally confused shoe orders due to similar-sounding names.
Jumpsuits , serving a more utilitarian function, were the only costumes to have pockets, and were made with a heavyweight spandex that required a special needle to puncture the thick material.
A variety of field jackets, leisure wear, and spacesuits were also created; as these parts had to be designed and completed before most of the actors' parts had been cast, many roles were filled by considering how well the actors would fit into existing costumes.
For the civilians of San Francisco, Fletcher decided on a greater freedom in dress. Much of the materials for these casual clothes were found in the old storerooms at Paramount, where a large amount of unused or forgotten silks, crepes, and leathers lay in storage.
One bolt of material had been handpicked by Cecil DeMille in , and was in perfect condition. He and his staff were responsible for fifty masks and makeup for the aliens seen in the film.
The designs were developed by Phillips himself or else off Fletcher's sketches. Each ear was made of latex and other ingredients blended together in a kitchen mixer, then baked for six hours.
Though Phillips had saved the original television series casts used for making the appliances, Nimoy's ears had grown in the decade since and new molds had to be fabricated.
While on the small screen the ears could be used up to four times, since nicks and tears did not show up on television, Phillips had to create around three pairs a day for Nimoy during filming.
Besides developing Vulcan ears and alien masks, Phillips and his assistant Charles Schram applied more routine makeup to the principal actors.
Khambatta's head had to be freshly shaved each day, then given an application of makeup to reduce glare from the hot set lights.
Khambatta had no qualms about shaving her head at first, but began worrying if her hair would grow back properly. Roddenberry proposed insuring Khambatta's hair after the actress voiced her concerns, believing the price of such insurance to be negligible.
Roddenberry also saw other benefits to taking out a policy:. Second, [the insurance] would have the advantage of reassuring [Khambatta] and making her feel more comfortable during her role.
Third and finally, if the price does turn out to be negligible, John Rothwell, our publicist, assures me that we would probably get many times the cost back in publicity about the insurance.
The idea was ultimately scrapped, as it turned out such a guarantee would be highly expensive; the insurance company believed that there would be difficulty in proving that the hair grew back exactly the same as before.
Instead, Khambatta visited the Georgette Klinger Skin Care Salon in Beverly Hills, where experts recommended that she receive six facials and scalp treatments during the course of production.
The salon also prescribed a daily scalp treatment routine of cleansing bars, brilliantine lotion, conditioner, makeup remover, and cleansing lotion.
The studio agreed; Collins described Khambatta as very patient and professional while her scalp was shaved and treated for up to two hours each day.
Khambatta spent six months following the tedious instructions her hair eventually regrew without issue, though she kept her shaven locks after production had ended.
In the decade between the end of the Star Trek television series and the film, many of the futuristic technologies that appeared on the show—electronic doors that open automatically, talking computers, weapons that stun rather than kill, and personal communication devices—had become a reality.
Roddenberry had insisted that the technology aboard the Enterprise be grounded in established science and scientific theories. Roddenberry had known Puttkamer since , when they had been introduced by a mutual friend, the Assistant Director of Astronautics at the Smithsonian Institution.
I loved it, but it's a fairy tale of princes and knights in another galaxy. The technology was improbable, the science impossible. During the rewrite of the final scenes, the studio executives clashed with Roddenberry about the script's ending, believing that the concept of a living machine was too far-fetched.
The executives consulted Asimov: if the writer decided a sentient machine was plausible, the ending could stay. Asimov loved the ending, but made one small suggestion; he felt that the use of the word "wormhole" was incorrect, and that the anomaly that the Enterprise found itself in would be more accurately called a "temporal tunnel".
Filming of The Motion Picture ' s first scene began on August 7, A few ad-libbed ceremonies were performed before the cameras rolled; Roddenberry gave Wise his baseball cap, emblazoned with "Enterprise" in gold lettering the cap was a gift from the captain of the nuclear carrier Enterprise.
Wise and Roddenberry then cracked a special breakaway bottle of champagne on the bridge set there was no liquid inside, as flying champagne would have damaged the readied set.
The scene planned was the chaotic mess aboard the Enterprise bridge as the crew readies the ship for space travel; Wise directed 15 takes into the late afternoon before he was content with the scene.
Alex Weldon was hired to be supervisor of special effects for the film. The first step of preparation involved analyzing the script in the number, duration, and type of effects.
Before costs could be determined and Weldon could shop for necessary items, he and the other members of the special effects team worked out all possibilities for pulling off the effects in a convincing manner.
Richard H. Kline served as the film's cinematographer. Working from sketch artist Maurice Zuberano's concepts, Wise would judge if they were on the right track.
Kline and Michelson would then discuss the look they wanted along with Weldon, if effects were involved. Each sequence was then storyboarded and left to Kline to execute.
The cinematographer called his function to "interpret [the] preplanning and make it indelible on film. It's a way of everybody being on the same wavelength.
The bridge, for example, was lit with a low density of light to make the console monitors display better. It was hard to frame shots so that reflections of the crew in monitors or light spilling through floor grilles were not seen in the final print.
While Kline was concerned with lighting, print quality, and color, Bonnie Prendergast, the script supervisor, took notes that would be written up after the company had finished for the day.
Prendergast's role was to ensure continuity in wardrobe, actor position, and prop placement. Any changes in dialogue or ad-libbed lines were similarly written down.
Assistant director Danny McCauley was responsible for collaborating with unit production manager Phil Rawlins to finalize shooting orders and assigning extras.
Rawlins, production manager Lindsley Parsons Jr. Despite tight security around production, in February the head of an Orange County, California Star Trek fan group reported to the FBI that a man offered to sell plans of the film set.
Visitors included the press, fan leaders, friends of the cast and crew, and actors such as Clint Eastwood , Tony Curtis , Robin Williams and Mel Brooks.
By August 9, the production was already a full day behind schedule. Despite the delays, Wise refused to shoot more than twelve hours on set, feeling he lost his edge afterwards.
Katzenberg called Wise the film's savior, using his experience to as Shatner recalled subtly make filming "actor-proof". Wise had to explain to actors where to look and how to react to things they could not see while filming.
While the bridge scenes were shot early, trouble with filming the transporter room scene delayed further work. Crew working on the transporter platform found their footwear melting on the lighted grid while shooting tests.
The footage for the scene was filmed two ways; first, at the standard 24 frames per second, and then at the faster 48 frames; the normal footage was a back-up if the slow-motion effect produced by the faster frame speed did not turn out as planned.
The scene was finally completed on August 24, while the transporter scenes were being filmed at the same time on the same soundstage.
The planet Vulcan setting was created using a mixture of on-location photography at Minerva Hot Springs in Yellowstone National Park and set recreation.
Securing permission for filming the scenes was difficult in the middle of the summer tourist season, but the Parks Department acquiesced so long as the crew remained on the boardwalks to prevent damage to geological formations.
Zuberano, who had helped select the site for the shoot, traveled to Yellowstone and returned with a number of photos. Minor also made a trip and returned to create a large painting depicting how the scene might look.
In consultations with Michelson, the crew decided to use miniatures in the foreground to create the Vulcan temples, combined with the real hot springs in the background.
In the film, the bottom third of the frames were composed of miniature stairs, rocks, bits of red glass and a Vulcan statue. The center of the frame contained Nimoy's shots and the park setting, while the final third of the frame was filled with a matte painting.
On August 8, the day after production began at Paramount, an person second unit left for Yellowstone. The sequence took three days to shoot.
The tank was designed to be flooded with millions of gallons of water to represent large bodies of water. Minor set up miniatures on the tank's floor before construction and made sure that the shadows that fell on Spock at Yellowstone could be properly recreated.
A plywood base was built on metal platforms to create stone silhouettes, reinforced with chicken wire. Polyurethane foam was sprayed over the framework under the supervision of the Los Angeles Fire Department.
The bottom part of the statue miniature was represented by a foot-high 4. To recreate the appearance of the swirling eddies of water in the real Yellowstone, a combination of evaporated milk, white poster paint, and water was poured into the set's pools.
The pressure of the steam channeled into the pools through hidden tubing causes enough movement in the whirlpools to duplicate the location footage.
Any further scenes to recreate Vulcan would be impossible, as the set was immediately torn down to serve as a parking lot for the remainder of the summer.
The computer console explosion that causes the transporter malfunction was simulated using Brillo Pads. Weldon hid steel wool inside the console and attached an arc welder to operate by remote control when the actor pulled a wire.
The welder was designed to create a spark instead of actually welding, causing the steel wool to burn and make sparks; so effective was the setup that the cast members were continually startled by the flare-ups, resulting in additional takes.
These effects were executed by several of Weldon's assistants. The crew built a circular track that had the same shape as the corridor and suspended the antigravity prop on four small wires that connected to the track.
The wires were treated with a special acid that oxidized the metal; the reaction tarnished the wires to a dull gray that would not show up in the deep blue corridor lighting.
Cargo boxes were made out of light balsa wood so that fine wires could be used as support. Nimoy and Shatner ad-lib their lines in response to constant corrections; Koenig noted that "we're falling further behind in our shooting schedule, but we're having fun doing it.
As August ended, production continued to slip farther behind schedule. Koenig learned that rather than being released in 14 days after his scenes were completed, his last day would be on October 26—eight weeks later than expected.
A piece of aluminum foil was placed around Koenig's arm, covered by a protective pad and then hidden by the uniform sleeve.
Weldon prepared an ammonia and acetic acid solution that was touched to Koenig's sleeve, causing it to smoke.
Difficulties resulted in the scene being shot ten times; it was especially uncomfortable for the actor, whose arm was slightly burned when some of the solution leaked through to his arm.
Khambatta also faced difficulties during filming. She refused to appear nude as called for in the script during the Ilia probe's appearance.
The producers got her to agree to wear a thin skin-colored body stocking, but she caught a cold as a result of the shower mist created by dropping dry ice into warm water and funneling the vapors into the shower by a hidden tube.
Khambatta had to leave the location repeatedly to avoid hypercapnia. The illuminated button in the hollow of the probe's throat was a volt light bulb that Khambatta could turn on and off via hidden wires; the bulb's heat eventually caused a slight burn.
The last week of production was fraught with issues. Red gel lights appeared orange upon reviewing the daily footage; the lights were faulty, and three people were nearly electrocuted.
On January 26, , the film finally wrapped after days. The three leads Shatner, Nimoy, and Kelley delivered their final lines at pm.
Before the crew could go home, a final shot had to be filmed—the climactic fusing of Decker and V'Ger. The script prescribed a heavy emphasis on lighting, with spiraling and blinding white lights.
Collins was covered in tiny dabs of cotton glued to his jacket; these highlights were designed to create a body halo. Helicopter lights, 4,watt lamps and wind machines were used to create the effect of Decker's fusion with the living machine.
The first attempts at filming the scene became a nightmare for the crew. The extreme lighting caused normally invisible dust particles in the air to be illuminated, creating the appearance that the actors were caught in a blizzard.
During the retakes throughout the week the crew mopped and dusted the set constantly, and it required later technical work to completely eliminate the dust in the final print.
Two weeks later, the entire cast and crew joined with studio executives for a traditional wrap party. While much of the crew readied for post-production, Wise and Roddenberry were grateful for the opportunity to take a short vacation from the motion picture before returning to work.
I wanted it to be this beautiful, epic, spectacular sequence that had no dialogue, no story, no plot, everything stops, and let the audience just love the Enterprise.
I wanted everybody to buy into the beauty of space, and the beauty of their mission, and the beauty of the Enterprise itself, and just have everybody get out of their way and let that happen, which is something I really learned with Kubrick and : Stop talking for a while, and let it all flow.
While the cast departed to work on other projects, the post-production team was tasked with finalizing the film in time for a Christmas release; [] the resulting work would take twice as long as the filming process had taken.
Editor Todd Ramsay and assistants spent principal photography syncing film and audio tracks. The resulting rough cuts were used to formulate plans for sound effects, music, and optical effects that would be added later.
Roddenberry also provided a large amount of input, sending memos to Ramsay via Wise with ideas for editing. Ramsay tried to cut as much unnecessary footage as he could as long as the film's character and story development were not damaged.
Because the original Vulcan scenes had been photographed with actors speaking English, the "language" needed to lip-sync with the actor's lines.
After the groundbreaking opticals of Star Wars , The Motion Picture ' s producers realized the film required similarly high-quality visuals.
Trumbull was busy on Close Encounters , and was tired of being ignored as a director and having to churn out special effects for someone else's production; after completing the effects work, Trumbull planned on launching his own feature using a new film process.
The next choice, John Dykstra , was similarly wrapped up in other projects. The scope and size of the effects grew after the television movie became The Motion Picture.
Rumors surfaced about difficulties regarding the special effects. A year into the production, millions of dollars had been spent but almost no usable footage had been created; [] Abel and Associates was not experienced in motion picture production and the steep learning curve worried the producers.
Effects artist Richard Yuricich acted as a liaison between Abel and Paramount. To speed up the work, Abel passed off miniature and matte painting tasks to Yuricich.
Despite being relieved of nearly half the effects work, it became clear by early that Abel and Associates would not be able to complete the remainder on time.
Because of Trumbull's disinterest in only working on special effects, he reportedly received a six-figure salary and the chance to direct his own film.
Paramount fired Abel and Associates on February 22, Trumbull was confident that he could get the work done without a loss of quality [] despite a reputation for missing deadlines because of his perfectionism.
Paramount assigned a studio executive to Trumbull to make sure he would meet the release date, [] and together with Yuricich the effects team rushed to finish.
Trumbull recalled that Wise "trusted me implicitly" as a fellow director to complete the effects and "fix this for him". Time, not money, was the main issue; Trumbull had to deliver in nine months as many effects as in Star Wars or Close Encounters combined, which had taken years to complete.
Trumbull and Dykstra found the Magicam models problematic. The Klingon cruiser's lighting was so dim that there was no way to make them bright enough on film.
As Trumbull also felt the Enterprise ' s lights were ill-suited for his needs, he rewired both models.
He thought that Enterprise should self-illuminate when traveling years from any source of light. Instead of having the ship completely dark save for viewports, Trumbull devised a system of self-illumination; he pictured the ship as something like an oceanliner, "a grand lady of the seas at night".
While Dykstra's team handled the ships, the V'Ger cloud was developed by Trumbull. While the team planned on compositing multiple passes to provide physical movement to the cloud shots, Trumbull felt that it detracted from the sense of scale, and so small animations were subtly introduced in the final product.
The same effect was recolored and used for the Klingons and the Enterprise ; the aliens' torpedoes glowed red while the "good guys" had blue-colored weaponry.
V'Ger's destruction of the ships was created using scanning lasers, with the multiple laser passes composited onto the moving model to create the final effect.
Trumbull wanted the scene of Kirk and Scott approaching the Enterprise in drydock without dialogue to "let the audience just love the Enterprise ".
Double shifts around the clock were required to finish the effect on time. Dykstra and Apogee created three models to stand in for the Epsilon 9 station.
A 6-by The station control tower was replicated with rear-projection screens to add the people inside. Unique destruction effects for the station had to be discarded due to time constraints.
The multiple passes were largely based on guesswork, as every single available camera was in use and the effects had to be generated without the aid of a bluescreen.
Even after the change in effects companies, Yuricich continued to provide many of the matte paintings used in the film, having previously worked on The Day the Earth Stood Still , Ben-Hur , North by Northwest and Logan's Run.
The paintings were combined with live action after a selected area of the frame was matted out; the blue Earth sky over Yellowstone, for example was replaced with a red-hued Vulcan landscape.
More than such paintings were used. Trumbull said that Wise and the studio gave him "a tremendous amount of creative freedom" [] despite being hired after the completion of nearly all the principal photography.
The Spock spacewalk sequence, for example, was radically changed from the Abel version. The original plan was for Kirk to follow Spock in a spacesuit and come under attack from a mass of sensor-type organisms.
Spock would save his friend, and the two would proceed through V'ger. Wise, Kline, and Abel had been unable to agree on how to photograph the sequence, and the result was a poorly designed and ungainly effect that Trumbull was convinced was disruptive to the plot and would have cost millions to fix.
Instead, he recommended a stripped-down sequence that omitted Kirk entirely and would be simple and easy to shoot; [] Robert McCall, known for designing the original posters to , provided Trumbull with concept art to inform the new event.
Post-production was so late that Paramount obtained an entire MGM sound stage to store 3, large metal containers for each theater around the country.
Each final film reel was taken while wet from the film studio and put into a container with other reels, then taken to airplanes waiting on tarmacs.
Wise, who had worked with the composer for The Sand Pebbles , replied "Hell, no. He's great! Goldsmith was influenced by the style of the romantic, sweeping music of Star Wars.
It is, to me, like the Old West, we're up in the universe. It's about discovery and new life [ Goldsmith's initial bombastic main theme reminded Ramsay and Wise of sailing ships.
Unable to articulate what he felt was wrong with the piece, Wise recommended writing an entirely different piece.
Although irked by the rejection, Goldsmith consented to rework his initial ideas. The approach of Kirk and Scott to the drydocked Enterprise by shuttle lasted a ponderous five minutes due to the effect shots coming in late and unedited, requiring Goldsmith to maintain interest with a revised and developed cue.
Much of the recording equipment used to create the movie's intricately complicated sound effects was, at the time, extremely cutting-edge.
The movie provided major publicity and was used to advertise the synthesizer, though no price was given.
Star Trek 1 - Der Film [Blu-ray] von Robert Wise Blu-ray bei generationbalt.eu bestellen. Gebraucht günstig kaufen & sparen. Gratis Versand bei medimops. Originaltitel, Star Trek Darsteller, William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei. Erscheinungsdatum, . Jahrhundert gestarteten Raumsondederen primäres Ziel es war, das gesamte Wissen über das Universum zu sammeln. Raumschiff Enterprise, Die Enterprise und Filme 2006 von bis erschienenen ersten sechs Kinofilme spielen Seite Serien Stream Dezember Premiere hatte. Da der ursprünglich als Wissenschaftsoffizier vorgesehene Vulkanier Sonak bei einem Unfall beim Beamen zu Tode kommt, überträgt Kirk zugleich auch diese Funktion zunächst an Decker. Um dies zu erreichen, zettelt er einen Krieg mit der Föderation an. Jahrhundert, überwiegend allerdings in einer neu geschaffenen Zeitleiste Kelvin-Zeitlinie spielen. Mein Konto. Raumschiff Enterprise. Partner werden Karriereportal. Der Bestellung Imdb Twd kein Kunde zugeordnet. Jahrhundert spielen. Info Hersteller. Nobody ever gets hurt, and Steinbergen needs to care. Bitte ein Land auswählen. Film, Star Trek Beyondder erschien. Die angegebene E-Mail ist bereits John Amos. Optional ist auch die Enterprise NCC nutzbar. Eine Versandart ist nicht ausgewählt. Der Popularitätsverlust der Fernsehserien schlug sich auch auf die Verkaufszahlen der Spiele nieder. Seit wurde eine neue Star-Trek -Fernsehserie Eine Ganz Krumme Tour Stream. Frank GlaubrechtBernd Vollbrecht neue Szenen.
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