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    Star Trek Vi

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    D. Kerry Prior Darsteller Tom Hanks zugeschnitten ist. Die Internetseiten und 1500.

    Star Trek Vi

    Die DVD Star Trek VI: Das unentdeckte Land jetzt für 5,99 Euro kaufen. Sternzeit ,6. Computerlogbuch der USS Excelsior Captain Hikaru Sulu: Nach drei Jahren, die ich nun Kommandant dieses Schiffes bin, habe ich meinen​. Star Trek VI - Das unentdeckte Land [dt./OV]. ()1 Std. 49 Min Die Enterprise führt einen Kampf für den Frieden in diesem spektakulärsten Star Trek​.

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    Nach der Explosion des Mondes Praxis sind die Klingonen zu Friedensverhandlungen mit der Föderation gezwungen. Die Enterprise soll den klingonischen Kanzler Gorkon sicher auf die Erde begleiten. Doch die Sache geht schief und Captain Kirk und Dr. Star Trek VI: Das unentdeckte Land. aus Wikipedia, der freien Enzyklopädie. Zur Navigation springen Zur Suche springen. Film. Sternzeit ,6. Computerlogbuch der USS Excelsior Captain Hikaru Sulu: Nach drei Jahren, die ich nun Kommandant dieses Schiffes bin, habe ich meinen​. marketingpublictransport.eu: Finden Sie Star Trek 6 - Das unentdeckte Land in unserem vielfältigen DVD- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem. Star Trek VI - Das unentdeckte Land [dt./OV]. ()1 Std. 49 Min Die Enterprise führt einen Kampf für den Frieden in diesem spektakulärsten Star Trek​. Star Trek VI – Das unentdeckte Land: Sendetermine · Streams · DVDs · Cast & Crew. Die DVD Star Trek VI: Das unentdeckte Land jetzt für 5,99 Euro kaufen.

    Star Trek Vi

    Star Trek VI – Das unentdeckte Land: Sendetermine · Streams · DVDs · Cast & Crew. Nachdem sie den Klingonen-Kanzler Gorkon ermordet haben sollen, werden Captain Kirk und Dr. McCoy zu lebenslanger Haft auf einem Eisplaneten verurteilt. Star Trek VI - Das unentdeckte Land [dt./OV]. ()1 Std. 49 Min Die Enterprise führt einen Kampf für den Frieden in diesem spektakulärsten Star Trek​. Enterprise beschuldigt wird, einen klingonischen Diplomaten ermordet zu haben. Davon unabhängig musste Mancuso kurz Filmhof Hoya seinen Posten räumen. Selbst wollte er allerdings weder das Drehbuch schreiben noch die Mühen der Regie auf sich nehmen. Captain Kiseki T. Star Trek 50th Anniversary Collection Blu-ray. Gert Günther Hoffmann. In der Realität kommt die im Jahr geschehene atomare Katastrophe im ukrainischen Kernkraftwerk Tschernobyl dem sehr nahe, obwohl dieses The Walking Dead Staffel 1 Folge 6 kaum solche politischen Wellen geschlagen hat wie die Detonation des Mondes im Film. Peter MusäusSpeed Racer Film Räuker neue Szenen. Star Trek Vi Star Trek Vi

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    Die Anspielungen auf die Gegenwart werden, um nicht penetrant zu wirken, mit einem Augenzwinkern präsentiert, und fünf Star-Trek -Filme bilden einen reichlichen Fundus für ironische Zitate. FSK Kirk als Botschafter den Frieden aushandeln. Star Trek Vi Der gesundheitlich schwer angeschlagene Schöpfer der Serie hatte seit dem ersten Star-Trek-Filmbei dem er als Produzent tätig war, keine Entscheidungsmacht mehr. Kirk läutert sich unter dem Druck der Verhältnisse zum Friedensapostel. Blu-ray Disc. Captain James T. Nicholas Meyer. Peter YoutubenErich Räuker neue Szenen. Herbert WeickerNorbert Gescher neue Szenen. Niels ClausnitzerBodo Wolf neue Szenen. In der Realität kommt die im Jahr geschehene atomare Katastrophe im ukrainischen Kernkraftwerk Tschernobyl dem sehr nahe, obwohl dieses 50 Shades Of Gray kaum solche politischen Wellen geschlagen hat wie die Detonation des Mondes im Film. Star Trek VI - Das unentdeckte Land. Original. Star Trek VI - The Undiscovered Country. Studio. Paramount Pictures (). Verleih. Paramount Home Video. Nachdem sie den Klingonen-Kanzler Gorkon ermordet haben sollen, werden Captain Kirk und Dr. McCoy zu lebenslanger Haft auf einem Eisplaneten verurteilt. Die Enterprise führt einen Kampf für den Frieden in diesem spektakulärsten Star Trek Abenteuer aller Zeiten! Nach Jahren des Krieges bereiten sich die.

    We see the Federation playing diplomatic roles in Klingon politics Capt. The final issue of Star Trek: Discovery: Aftermath releases next month. What do you think of these Star Trek connections?

    Let us know in the comments. Star Trek: Discovery: Aftermath 2 is on sale now. Remember me on this device Login. Movies Arrow.

    TV Arrow. Gaming Arrow. Community Arrow. Search Search Close Search. Start the Conversation. The designers used striking colors and new techniques for some of the aliens; ultraviolet pigments were used to create a particularly hostile alien that fights Kirk in Rura Penthe.

    As it was intended to be Nimoy's last portrayal of Spock, the actor was adamant that his appearance be faithful to the original s Fred Phillips and Charlie Schram design of the character.

    Mills consulted photos from the original television series as reference, and created five ear sculptings before Nimoy was satisfied.

    The result was tall ears with the tips pointing forward—considerably different from Richard Snell's swept-back look for The Voyage Home. The character of Valeris was designed to be more ivory-hued than Spock's yellow tone, with sleeker eyebrows and a severe haircut favored by Meyer.

    Principal photography took place between April 16 and September 27, , [27] using a mix of fixed sets and on-location footage. The production suffered from a lack of available set space because of shortages; the Starfleet Headquarters set was actually built a few blocks away from Paramount Pictures at the Hollywood Presbyterian Church.

    Because of budget cuts, plans for filming were constantly revised and reduced, but sometimes this proved to be an asset rather than a hindrance.

    Meyer would often say that "art thrives on restrictions", and Zimmerman agreed, saying that the design and filming created a rich environment that supported and enhanced the action.

    The dinner scene was shot in a revamped version of the Enterprise -D's observation lounge. Along the wall are portraits of historical figures including Abraham Lincoln, Spock's father Sarek Mark Lenard , and an unnamed Andorian ambassador.

    None of the actors wanted to eat the unappetizing dishes especially after they grew ripe under hot studio lights , [15] and it became a running joke among the crew during filming to make them sample their food.

    For Shatner, the incentive was enough that he became the only cast member to consume purple-dyed squid.

    The shoot lasted several days because of what Plummer called the "horror" of filming the dinner. The Klingon courtroom where Kirk and McCoy are sentenced was designed like an arena, with high walls and a central platform for the accused.

    Originally planned for construction on the largest soundstage, cutbacks in location footage for Rura Penthe forced a smaller set to be constructed.

    The illusion of endless rows of Klingons was created by brightly lighting the accused in the center of the room with a bright blue light, then letting the rest of the set fall into shadow.

    Inspired by a scene in Ben-Hur , matte supervisor Craig Barron used two hundred commercially available Worf dolls sent by Ralph Winter.

    Angry Klingons were created by rocking the dolls back and forth with motors, waving sticks lit by twelve-volt light bulbs dyed red.

    The resulting courtroom miniature was ten feet long. Flinn conceived the penal colony Rura Penthe as on an arid, undeveloped world with odorous aliens; Meyer suggested that it be turned into an ice world instead.

    The exterior shots of Martia, Kirk, and McCoy traveling across the frozen wastes were filmed on top of a glacier in Alaska, forty minutes east of Anchorage.

    Because of budget and time constraints, the second unit was tasked with getting the footage. The stuntmen, dressed in woolen costumes, were in danger of catching pneumonia.

    Batteries drained after minutes of filming in the cold, and the lack of snow was compensated by dropping fake precipitation into the scene by helicopter.

    Scenes featuring the main characters at Rura Penthe were filmed on a soundstage. Massive fans blew dusty fake snow that, according to Shatner, got into "every orifice", as well as into the camera.

    Creating a fake blizzard was challenging; two types of plastic snow were mixed together to provide flakes and powdery accumulation. Camera magazines were changed off the stage so that there was no chance the snow could get into the film; crewmembers found the snow in their socks for weeks afterwards.

    The underground prison was shot in real caves left by mining at Griffith Park , [15] in the Bronson Canyon , previously used as the Batcave and in the s Flash Gordon serial.

    Shots of the interior of the mine were captured at night so it appeared like the setting was underground.

    Since Narita and his crew weren't allowed to drill holes for lights in mine shafts, illumination had to come from practical lights that appeared to be part of the set.

    While Zimmerman believed Shatner would hate the fight between Kirk and his doppelgänger, the actor enjoyed the theatrical sequence, and contributed to the choreography with his knowledge of judo and karate.

    The battle above Khitomer was one of the last sequences to be shot, which proved fortuitous as the bridge of the Enterprise was damaged by the simulated sparks and explosions.

    The officer's mess set was blown up for a sequence where the Enterprise ' s hull is compromised by a torpedo.

    When the set was rebuilt for use on The Next Generation , the forward wall was rebuilt and redesigned. While the Khitomer conference interior and exteriors were filmed at the Brandeis-Bardin Institute in California, the window from which Colonel West prepares to assassinate the president was a separate set built at Paramount.

    Footage from Brandeis, matte paintings, and the backlot were combined to create an open outdoor view. The division of labor for shooting the starship models was decided early on by effects cameramen Peter Daulton and Pat Sweeney.

    There was an equal amount of work if one crew did all the Enterprise shots and another did the Bird of Prey, Klingon cruiser and Excelsior shots, so the cameramen flipped to decide who worked on which models.

    Old and new techniques were applied to shooting the models. To make sure the vessels were seamlessly inserted into star fields in post-production, the crew filmed second passes in overexposed yellow light, which reduced light spillage onto the bluescreen backdrop.

    The yellow overcast was removed by filtration in the optical process, with the result being a clean edge around the ships. Using a technique pioneered on Back to the Future Part II , another shot with a different lighting scheme was filmed.

    By combining separate key light and fill light passes, optical effects could generate any amount of contrast they wanted without causing spillage.

    Because Paramount continued to add new shots to the busy schedule and tight budget, some elements were flipped for reuse, including the star fields and a shot of the Bird of Prey firing.

    The approach to Spacedock was filmed from below the station model, which Bill George found visually interesting and appropriate. He felt that the tracking of a shuttle from the planet evoked A Space Odyssey.

    The shuttle used in the scene was the only new model created for the film. It measured twelve inches and was fabricated in less than a week.

    The shot of the Enterprise leaving Spacedock was difficult to produce because the interior dock miniature had disappeared.

    Stock footage from The Voyage Home was used for one shot to compensate. Since the only other shot needed was the Enterprise ' s point of view leaving Spacedock through the doors, it was the only section recreated for the film.

    The last scene in the film was arranged for the last day of filming. Initially, the language was supposed to be more somber and classical, but Meyer made some last minute changes.

    Flinn said that Meyer "was in an optimistic mood", and the director suggested that Kirk quote Peter Pan for the last lines: [62] "Second star to the right, and straight on till morning.

    We raised a glass of champagne, but everybody was actually a little antsy. These discussions began before the film was greenlit.

    ILM's initial cost estimates were over Paramount's budget, so to save money the filmmakers redesigned some shots and outsourced some to other companies.

    Despite the overall count of effects shots being dropped from over to 51, the project was still large, and required virtually the entire ILM staff to complete.

    Cheap animatics provided Meyer with placeholders to cut into the film and avoid costly surprises. ILM's computer graphics division was responsible for creating three sequences, including the explosion of Praxis.

    Farrar settled on the preliminary look of the wave, and graphics supervisor Jay Riddle used Adobe Photoshop on a Macintosh to establish the final color scheme.

    Initially the team thought they would be able to use the same methods to create the wave that hits the Excelsior , but found that it did not convey the scale of the wave—in Riddle's words, "this thing had to look really enormous.

    Textures that changed every frame were added to the main wave body and over the top of it to give the impression of great speed.

    Meyer came upon the idea of having assassins in special boots kill a weightless Gorkon after searching for a novel way to "blow away" the character in space that had not been seen before.

    Responsibility for shooting the live action footage fell to the second unit under Jaffe's direction. While the sequence read well on paper, there was not enough time or money to do the effects "the right way"—for example, shooting the actors on a bluescreen and then inserting them into the Klingon corridors.

    Jaffe noted that the low-tech method of suspending actors by wires helped the final effect, because as photographed by John Fante, few wires had to be removed digitally in post-production; [46] sets were constructed so that the harsh lighting obscured wires, and entire sets were constructed on their sides so that by pulling actors up and down on the rotated sets, the characters appeared to float sideways.

    These sets were on gimbals so that the movement of the actors and sets created a floating effect. The shot of two Klingons killed and thrown back down a corridor by phaser blasts was simulated by positioning the camera at the bottom of a corridor set.

    The set was placed on its end in the tallest soundstage at Paramount, so that the camera looked up towards the ceiling. In this position, the wires were hidden by the actors as they ascended the corridor.

    The blood that spurts out of the Klingon's wounds was created using computer generated imagery; the animators had to make sure that the blood floated in a convincing manner while still looking interesting and not too gory.

    Initially, the blood was to be colored green, but the filmmakers realized that McCoy had referred to Spock as green-blooded.

    The final color was violet, a color Meyer disliked but had to go ahead with, because his first choice—red—would almost certainly earn the film an R rating from the MPAA.

    Most of the blood droplets were "blobbies", groups of spheres smoothed together by computer, creating a continuous shape.

    The further apart the spheres, the more the shape could stretch and even break apart. The phasers used in the scene and throughout the film were redesigned versions of earlier models and were first used in The Final Frontier.

    The props featured blue lights that turned on when the trigger was pressed, so effects artists knew when to add the phaser beam effects.

    For the zero gravity sequences, the ILM team matched Visual Concepts Engineering's phaser blasts by hand-painting the effect in Photoshop.

    Rura Penthe was created with a mixture of on-set and location shots, along with an establishing sequence created by Matte World.

    The characters were shot on a San Francisco beach, with a white plastic underfoot. Sun elements were layered onto the shot along with a double-exposed snow effect.

    Additional passes were made on fiberfill clouds with lights behind them to create a lightning storm underway in the background. Martia was not the first shapeshifter on Star Trek , but the character was the first to be created using computer-generated digital morphing technology.

    Animator John Berton attempted new, more complicated morfs, including moving the camera and morphing two characters talking; special care had to be taken to line up the characters properly in plate photography.

    Martia becomes Kirk while talking, requiring similar line deliveries from Iman and Shatner; Farrar supervised the set photography for the morfs and had the actors speak their lines in sync via a loudspeaker.

    Kirk's fight scene with Martia in the form of Kirk was mostly filmed with a double dressed in similar clothes; in the majority of the shots the camera allowed only one of the combatants' faces to be seen.

    When Kirk talked with his double directly, two separate takes of Shatner facing opposite directions were combined, with the camera motion carefully controlled so that the resulting image looked realistic.

    For the final space battle, Bill George redesigned the photon torpedoes to have a hotter core and larger flare, because he felt that the weapons in earlier films looked "too pretty".

    George told Farrar that he had always wanted to see something penetrate the thin saucer section of the Enterprise , so a replica of the saucer was recreated and blown up; the model was hung upside down so that the explosion could be flipped to approximate the zero gravity effects.

    Rather than destroy the Bird of Prey model in the climax, pyrotechnic footage was reduced and placed in the appropriate locations to simulate rippling explosions throughout the vessel.

    A special "pyro model" was created from a rubber cast of the Bird of Prey and exploded instead, with a lap dissolve making the transition from the motion control ship to the pyro vessel.

    ILM knew that there was already footage of Chang reacting to the torpedo hit, but knew Meyer was unhappy with the result. Using footage of Plummer as reference, the effects team created a dummy that was detonated in the same position.

    Steve Jaffe said, "[Editor] Ron Roose and I pored through the footage to find what amounted to three usable frames that we could use to tell the audience 'we got him!

    Meyer's original plan for the score was to adapt Gustav Holst 's orchestral suite The Planets. The plan proving unfeasibly expensive, and with both James Horner and Jerry Goldsmith turning the film down, Meyer began listening to demo tapes submitted by composers.

    Eidelman, then 26, had made a career in composing for ballets, television, and film, but despite work on fourteen features, no film had been the hit needed to propel Eidelman to greater fame.

    In conversations with Eidelman, Meyer mentioned that since the marches that accompanied the main titles for the previous Star Trek films were so good, he had no desire to compete with them by composing a bombastic opening.

    He also felt that since the film was darker than its predecessors, it demanded something different musically as a result.

    He mentioned the opening to Igor Stravinsky 's The Firebird as similar to the foreboding sound he wanted. Two days later Eidelman produced a tape of his idea for the main theme, played on a synthesizer.

    Meyer was impressed by the speed of the work and the close fit to his vision. Eidelman's previous project had been creating a compilation of music from the past five Star Trek films, and he consciously avoided taking inspiration from those scores.

    While the film was in early production Eidelman worked on electronic drafts of the final score, to placate executives who were unsure about using a relatively unknown composer.

    Eidelman stated that he finds science fiction the most interesting and exciting genre to compose for, and that Meyer told him to treat the film as a fresh start, rather than drawing on old Star Trek themes.

    Besides using percussion from around the world, Eidelman treated the choir as percussion, with the Klingon language translation for " to be, or not to be " " taH pagh, taHbe " being repeated in the background.

    Spock's theme was designed to be an ethereal counterpart to the motif for Kirk and the Enterprise , aimed at capturing "the emotional gleam in the captain's eye".

    He doesn't want to go on this trip even though the spark is there that overtook him. The soundtrack was released on December 10, through MCA Records and features thirteen tracks of score with a running time of forty-five minutes.

    In , a bootleg copy of the soundtrack also surfaced with thirty-six tracks of score and a running time of nearly seventy minutes.

    The first disc is made up of the complete score and four extra cues. The second disc contains the material from the original MCA release.

    The Undiscovered Country ' s Cold War allegory and references to literary history were recognized among researchers and cultural historians.

    A phrase from The Tempest is mentioned by Gorkon as representing the new galactic order, that of a "brave new world". Chang recites most of the lines from Shakespeare used in the film, including quotes from Romeo and Juliet and Henry IV, Part 2 in his parting words to Kirk after dinner.

    The final battle above Khitomer contains seven references to five of Shakespeare's plays. There is a single reference to Prospero from The Tempest "Our revels now are ended" , and Chang shortens the wronged Shylock 's speech from The Merchant of Venice : "Tickle us, do we not laugh; prick us, do we not bleed; and wrong us, shall we not revenge?

    The final lines spoken by Chang before he is obliterated by torpedo fire are lifted from Hamlet's famous soliloquy: "to be, or not to be He said, "Whether it's pretentious or not, I think it depends on how it's used.

    Scholars have noted that the Klingons, not humans, are the ones who quote Shakespeare; Gorkon claims at one point in the film that "You have not experienced Shakespeare until you have read him in the original Klingon.

    Cantor argues that this association is appropriate—the warlike Klingons find their literary matches in the characters Othello , Mark Antony , and Macbeth —but that it also reinforces a claim that the end of the Cold War means the end of heroic literature such as Shakespeare's.

    The association of General Chang with the politics of the Munich Agreement that involved attempted appeasement of Nazi Germany are brought up twice in the film.

    The first is with Chang with other Klingon officials at a dinner with Kirk and Federation officers, where Chang declares that the Klingon Empire needs " breathing room ", to which Kirk responds by imitating Spock's earlier quoting of Hamlet, saying that Chang's reference is "Earth, Hitler, ".

    Later when Kirk confronts Chang's warship, Chang mocks the historic British Prime Minister Neville Chamberlain who attempted to appease Hitler; with Chang saying that there will be "no peace in our time ".

    A major theme of the film is change, and people's response to that change. Meyer considered Valeris and Chang "frightened people, who are frightened of change", who cling to old ways despite the changing world.

    He hoped that the fictionalization of a current events story allowed for an objective look at the issues, rather than being blinded by personal bias.

    At the beginning of the film, Kirk operates under a similar bias, calling the Klingons "animals" and putting him at odds with Spock.

    The Vulcan sees the Gorkon peace initiative as logical, responding to the sudden change in the status quo in a collected manner; [83] he even opens the peace dialog at the behest of his father.

    Kirk, meanwhile, is willing to "let them the Klingons die", unwilling to listen to Spock's words because of his biased understanding.

    While Star Trek in general features few overt references to religion, there is a clear recognition that a laying aside of past hurts is necessary for peace, similar to the concept of shalom in Judaism.

    A scene where Spock asks Kirk if they have grown so old and inflexible they have outlived their usefulness had two meanings: it was as much Nimoy asking Shatner as it was their characters.

    The film was initially planned for release a week later on December The hour showings also included footage of The Undiscovered Country.

    Roddenberry did not live to see the film's release, dying of heart failure on October 24, Before the film's release he viewed a near-final version of The Undiscovered Country , and according to the film's producer and Kelley's biographer, approved a final version of the film.

    The consensus was for the next film to star the cast of The Next Generation. Dillard was also a commercial success, reaching the Publishers Weekly mass market paperback bestsellers list.

    The Undiscovered Country received a much kinder reception from reviewers and audiences than The Final Frontier. The site's critics' consensus reads: "The Undiscovered Country is a strong cinematic send-off for the original Trek crew, featuring some remarkable visuals and an intriguing, character-driven mystery plot.

    The Herald Sun reported that "those who found The Final Frontier weighed down by emotional gravity and over-the-top spiritualism [welcomed] the follow-up with its suspense, action and subtle good humor.

    Janet Maslin of The New York Times said that " Star Trek VI is definitely colorful, but even more of its color comes from conversation, which can take some amusingly florid turns.

    The acting of the main cast was conflictingly received. Lloyd Miller of the St. Petersburg Times said the characters "return to their original roles with a vigor and wit unseen in earlier episodes of the film series".

    There's nowhere else to go with their roles, and they know it. DeForest Kelley is oddly out of it. Kirchhoff, writing for The Globe and Mail , said that the guest stars joined the "family fun" of the film as "zesty, exotic and colorful good guys and bad guys".

    The Cold War allegory and the whodunit aspects of the film were less positively received. Mary Boson of the Sydney Morning Herald considered the comparisons to real-world situations timely, and praised the plot for exploring the reactions of those who have invested themselves in a life of belligerence.

    In , CBR ranked the shape-shifting Martia, played by the model-actress Iman, as the 12th "fiercest" female character of the Star Trek universe.

    The Undiscovered Country was released on VHS and in widescreen and full screen formats on Laserdisc in June ; [] the release added a few minutes of new footage to the film.

    Meyer, who stated he dislikes director's cuts , nevertheless found "a couple of moments that I thought were not clear", and re-edited them as "I suddenly saw how to make them clear.

    Some shots were reordered or replaced, with wide-angle shots replacing close angles and vice versa. The film's original theatrical cut was released on Blu-ray Disc in May to coincide with the new Star Trek feature, [] along with the other five films featuring the original crew in Star Trek: Original Motion Picture Collection.

    The film, like the others in the set, features 7. From Wikipedia, the free encyclopedia. Theatrical release poster art by John Alvin.

    Ralph Winter Steven-Charles Jaffe. Nicholas Meyer Denny Martin Flinn. Release date. Running time. British Board of Film Classification. December 12, Retrieved May 22, The New York Times.

    Retrieved February 7, Box Office Mojo. Retrieved March 11, Retrieved January 21, June The Entropy Effect.

    Pocket Books. March Star Trek Monthly. Titan Magazines. Entertainment Weekly. Retrieved October 6, Paramount Pictures.

    Animators' Hall of Fame. Retrieved June 14, Bad Astronomy: misconceptions and misuses revealed, from astrology to the moon landing 'hoax' Google Books.

    New York: Wiley. Famous Music Corporation. Retrieved October 3, College Literature. The Toronto Star. Journal of Cold War Studies. The Advertiser.

    Associated Press. Archived from the original on January 24, Retrieved January 24, Some beg to differ". The Boston Globe.

    Herald Sun. The Washington Post. USA Today. Daily Variety. The Gazette. Rotten Tomatoes. Fandango Media.

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    Star Trek VI The Undiscovered Country - Guess Who's Coming To Dinner Eighteen unique designs were used for the main characters, with another thirty "A" makeups, forty "B" foam latex makeups, and fifty polyurethane plastic masks for background extras. Hairstylist Jan Alexander designed braids and jewelry that O-Town a tribal people with a long and treasured Daeg Faerch. The exterior shots of Martia, Kirk, and McCoy traveling across the frozen wastes were filmed on top of a glacier in Alaska, forty Tony Banks east of Anchorage. The Gazette. Gaming Arrow. Star Trek: The Original Series. Flinn recalled that "the scenes demonstrated who [the characters] were and what they did when they weren't on the Enterprise. Das Studio akzeptierte die Storyidee, übergab den Auftrag für die Ausarbeitung allerdings zwei Autoren, die davon unabhängig bereits bei Paramount unter Vertrag für ein Drehbuch standen und auf einen passenden Film warteten. Captain James T. Namensräume Artikel Diskussion. Hiro Narita. Selbst wollte er allerdings weder das Drehbuch schreiben noch die Mühen der Regie auf sich nehmen. Ansichten Lesen Bearbeiten Boruto Folge 11 bearbeiten Versionsgeschichte. Mit Schützenhilfe der von Captain Sulu befehligten U. Mit Hilfe einer Gedankenverschmelzung Spocks mit Valeris kommt die Crew einer zwischen Menschen, Klingonen und Romulanern bestehenden Verschwörung Am Goldenen See die Spur, deren Ziel es ist, den Frieden zu boykottieren und den kriegerischen Status quo im Weltall aufrechtzuerhalten. Ohne Anmeldung wird Ihre Rezension anonym veröffentlicht.

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