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      Except, of course, happy birthday. Surely…the best of times. Why Bones, you know this is illegal. What is it, Klingon aphrodisiacs? More antiques for your collection. Get back your command. Get it back before you turn into part of this collection. Before you really do grow old. We are dealing with something that… could be perverted into a dreadful weapon. Remember that overgrown Boy Scout you used to hang around with?

      That's exactly the kind of man… " " Listen, kiddo, Jim Kirk was many things, but he was never a Boy Scout! I never thought to see your face again. A product of late 20th century genetic engineering. On Ceti Alpha V, there was life! Ceti Alpha VI exploded six months after we were left here. The shock shifted the orbit of this planet and everything was laid waste. Admiral Kirk never bothered to check on our progress! It was only the fact of my genetically engineered intellect that allowed us to survive.

      On Earth… two hundred years ago…I was a prince…with power over millions. You repaid his hospitality by trying to steal his ship and murder him! I have absolutely no intention of allowing Reliant or any other unauthorized personnel access to our work or materials! Admiral Kirk's orders are confirmed.

      Please prepare to deliver Genesis to us upon our arrival. Reliant out. I cannot, and will not, subscribe to your interpretations of this event! I am a Vulcan. I have no ego to bruise. Commanding a starship is your first, best destiny.

      Anything else is a waste of material. You are also my friend. I have been and always shall be yours. He tasks me and I shall have him. I'll chase him round the moons of Nibia and round the Antares maelstrom and round perdition's flames before I give him up! Prepare to alter course. According to myth, the Earth was created in six days.

      Now, watch out. Here comes Genesis! We'll do it for you in six minutes! My God, the man's talking about logic! We're talking about universal armageddon! You green-blooded, inhuman — ". Do you know the Klingon proverb that tells us revenge is a dish that is best served cold?

      It is very cold…in space. He wishes to discuss terms of our surrender. Saavik, you go right on quoting regulations! In the meantime, let's find out how badly we've been hurt. And he doesn't care who stands between him and his vengeance.

      Where are we going? David, you're just making this harder. Please… don't move. You have the coordinates to beam up Genesis. Kill Admiral Kirk. You're gonna have to do your own dirty work now! Do you hear me? DO YOU?! Kirk, you're still alive, my old friend. You've managed to kill just about everyone else, but like a poor marksman, you keep missing the target! I've hurt you.

      And I wish to go on… hurting you. I shall leave you as you left me… as you left her. Marooned for all eternity in the center of a dead planet… buried alive. Buried alive. And I wanted him in mine… not chasing through the universe with his father.

      More than a match for poor Enterprise. Remind me to explain to you the concept of the Human ego. You have Genesis! You can have whatever you—! Damn you! His pattern indicates two-dimensional thinking. No Human can tolerate the radiation that's in there! What is Mr. Scott's condition? Mind melds with McCoy Remember.

      From hell's heart, I stab at thee. You'll flood the whole compartment! He's dead already. Live long… and prosper. And yet it should be noted that in the midst of our sorrow, this death takes place in the shadow of a new life, the sunrise of a new world, a world that our beloved comrade gave his life to protect and nourish.

      He did not feel this sacrifice a vain or empty one. And we will not debate his profound wisdom at these proceedings. Of my friend, I can only say this: of all the souls I have encountered in my travels… his was the most… Human. That's where ideas begin. Maybe you should listen to them. I was wrong about you… and I'm sorry. And also that I'm — proud… very proud… to be your son.

      Something Spock was trying to tell me on my birthday. The screenplay for Star Trek II was written by director Nicholas Meyer, compiled from a number of drafts which all contained one or several dominant themes. One element was clearly going to be central to the audience's emotional response. Meyer explained: " Once you decide that you're going to have the death of Spock, then how does that affect the other people?

      Why is it there? I got a lot of stick from a lot of people from the very beginning about the idea of killing Spock. Somebody said, 'You can't kill him. In other words, Meyer was determined that his film would be about something and would do more than tell an adventure story.

      You sort of looked at that and said, 'Well, what unifying ideas are running through here? This is going to be a movie about…' ". Meyer decided to embrace the idea that the characters had aged, and he gave Kirk some very Human flaws, including less than perfect eyesight. I don't think that any of those other scripts were about old age, friendship, and death. The decision that the film was going to be about old age and friendship prompted Meyer to include a scene in which McCoy visits Kirk in his apartment and tells him that he should get his command back.

      With every alteration, the themes were woven tighter and tighter into the script. Ultimately, the film presented an aged Kirk in mid-life crisis. Uncertain of his place, of himself, Kirk must make the greatest sacrifice to find out where he truly belongs. In one of the early drafts for the film, the Kobayashi Maru test was suggested as a no-win scenario — one Nicholas Meyer decided Kirk had solved by cheating.

      Initially, producer Harve Bennett was resistant to the idea that Kirk could do anything 'bad', yet Meyer won him over; in fact, he believed the story needed Kirk to have flaws. If a man jumps into a raging torrent to save a drowning child, he performs an heroic act. If the same man jumps into the same torrent to save the same child, but does so with a ball and chain attached to his leg, he's not less heroic; he's more heroic. It's something that they have to overcome; their flaws are something that they have to act in spite of.

      The challenge is not to defy your fate, but to endure it. That is heroic. Kirk is very much like a classical hero who must confront his own weaknesses. He played God when he marooned Khan to a desert world; he chose not to be involved in his son David's life; he allowed the Enterprise to be damaged because he would not listen when Saavik told him to raise shields.

      When Spock dies, Kirk must endure, and Nicholas Meyer was absolutely conscious of this when he was writing the script. And it's no accident that in at least two of my movies there comes a point where the hero says, 'I know nothing'. It's when you begin to realize that you know nothing that you're ready to learn something. When you've had the shit kicked out of you, you're ready to start over, and with a little humility. As I was writing it, I was certainly getting to that 'I know nothing' point.

      To Meyer's mind, Khan was related to Satan, who fell from grace with God. Of course, thematically, this linked him with Genesis — another of the film's Biblical allusions. As he worked on his character, he imagined how enraged a man would be after being exiled on a desert world and losing his wife.

      Inevitably, Khan became obsessed with Kirk, who he saw as his nemesis. I think when Khan makes his appearance in the story, Kirk is flabbergasted. He did not lie awake thinking about Khan; Khan lay awake thinking about Kirk. Meyer decided that while Khan had been waiting for a chance to avenge himself upon Kirk, he would have been reading. I thought, 'He's probably been obsessively reading these books again and again until every word out of his mouth has been written by Shakespeare or Milton'.

      Actually, Melville was the one who finally took over; he just becomes completely Ahab. Meyer intended for Spock's death to mean something, both for Kirk and for the audience. Inevitably, there was concern that the script might seem too downbeat, particularly because in Meyer's version there was nothing to suggest that Spock might be reborn on the Genesis Planet. He later recognized that that might have been a mistake, yet he never felt that Spock's death was depressing.

      Romeo and Juliet die, but nobody comes out of that play depressed. We didn't want Spock's death to be meaningless. And I don't think that it is. Aristotle had the notion of catharsis — that the audience is purged through pity and terror. You don't come out of these things saying, 'I'm going to stick my head in the oven'.

      Kirk chooses to go on living; sadder but wiser, understanding a little more the way the world works, and that is not, per se, depressing. It may be sad, but it's not depressing. The film alone does not clearly identify the year it is set on other than that it is somewhere in the early to mid s.

      Based on some of the film's dialogue, the film was set fifteen years after " Space Seed ". Khan: " …marooned here fifteen years ago by Captain James T. Kirk: " He wants to kill me for passing sentence on him fourteen years ago. This suggests The Wrath of Khan would be set in or though it cannot be fully confirmed given the six month gap could mean it's either early or very late Nick Meyer's commentary on the special edition DVD, explains that the intention was that the film depicted Kirk's 49th birthday.

      Kirk was born in , so this would support the year Other accounts within and after the film suggest the events of the film took place later in the s. The label on the bottle of Romulan ale that McCoy gives to Kirk as a birthday gift reads In Star Trek Generations , in the Nexus , Kirk imagines himself eleven and nine years into the past, to the years , when he met Antonia , and , to the day he told her he was returning to Starfleet.

      All those accounts suggest the events of this film occurred afterward, as Kirk was at the beginning of the film supervising command-track cadets at Starfleet Academy as an active Starfleet admiral. According to StarTrek. Despite its weaknesses, Star Trek: The Motion Picture had been a box-office success, so it came as no surprise that Paramount Pictures decided to develop a sequel.

      Gene Roddenberry 's first proposed storyline saw the Enterprise crew going back in time to make sure the Klingons did not stop the John F. Kennedy assassination. This idea was rejected and Roddenberry was forced to step into the background as "executive consultant" at the request of Paramount executives who blamed him for the relative failure of the first film due to the constant re-writes he demanded and Star Trek was handed over to newly-commissioned Paramount Television executive producer Harve Bennett.

      One of his biggest problems was finding the right approach to the material. The Motion Picture had adopted a very serious and epic style, which many felt was inappropriate. Somehow, the sequel would have to capture the essential heart of the show and give the audiences what they had been waiting for.

      Bennett watched all the original Star Trek episodes in preparation for his task. His trawl through the episodes provided him with what he had been looking for. He was determined that his movie would have something the first one lacked — a real villain.

      When he saw " Space Seed ", Bennett was struck by Ricardo Montalban 's performance as Khan, and decided that he would make the perfect villain for the film. In this story, Kirk is called to investigate a rebellion on a Federation world. En route he saves a woman he was once in love with and learns that their son — whom he never knew had been born — is one of the leaders of the rebellion. Upon arrival at the planet, Kirk is captured and sentenced to death by his own son before we learn that Khan is truly the mastermind behind the uprising.

      Kirk joins forces with his son to fight Khan, and the film ends with Kirk's son joining the crew of the Enterprise. Bennett had already decided at the beginning that one of the film's major themes would be the aging of the characters.

      In the drafts that followed, Kirk was consistently confronted with a son he knew little about, Spock was often preoccupied with death, and, in the later versions, McCoy had to struggle with his feelings for a much younger woman, who had made it clear that she was interested in him.

      Bennett still had to turn his outline into a workable script that could be shot, so he hired Jack B. Sowards , who had written several admired movies of the week and was a self-confessed Star Trek fan. Sowards instantly had a major impact. Where Bennett's original treatment made no mention of Spock, since Leonard Nimoy had made it clear that he was not keen to make a second Star Trek film, Sowards thought he had a way of persuading Nimoy to return: he suggested that Bennett tell Nimoy that in this film Spock would die a little more than a third into the story.

      The opportunity to play his death scene was too good for Nimoy to pass up, and he agreed to come aboard. From this point on, all the scripts featured Spock's death, although its position in the film would inevitably be pushed toward the dramatic conclusion. Sowards had only a few months to write a full script before a writers's strike was called in April First, he expanded Bennett's outline into a nineteen-page treatment in which Kirk's former lover was named Diana, who was rescued from a refugee ship from Omega Minori IV where a revolution was underway, and who never told Kirk he had a son but Kirk discovers this later on.

      The treatment also introduced Mr. Wicks, the Enterprise 's male Vulcan science officer and Spock's replacement. Then, by February 20, Sowards had written a first draft that significantly expanded his treatment and added several vital elements.

      This script, titled Star Trek: The Omega System , introduced the idea that the Federation was preparing to test a terrible weapon known as the Omega System. The film opened with Captain Terrell and his first officer, Pavel Chekov, beaming down to Ceti Alpha V, which had been selected as a test site, to make certain that the planet was as dead as sensor readings suggested.

      Starfleet knew that Kirk had left Khan and his people stranded on this planet, but was amazed to discover that he and a handful of his followers, including Marla McGivers , had survived. Terrell claimed that Kirk had ordered the Omega System to be loaded onto the USS Reliant , which was a Constitution -class starship like the Enterprise , and made it clear that it was going to be used to fight the Klingons in the Neutral Zone. As Enterprise approached the planet, its engines were badly damaged, and Spock sacrificed his life to get them back online in time for Kirk to fight the Reliant off.

      Later, Khan and Kirk would fight a psychic battle in a variety of exotic locations, using quarterstaffs, whips, and swords. Khan, who had acquired impressive mental powers during his isolation, eventually won, but Kirk survived because he understood that the weapons were only illusory. The film ended with a pitched space battle in orbit around the planet, in which Kirk defeated his enemy with his superior tactics.

      At this point, art director Michael Minor made an invaluable contribution. Bennett was concerned that the Omega System was simply a weapon and that there was nothing uplifting about it, so Minor suggested turning it into a device for terraformation , the reconstruction of a lifeless planet to give it the capability of supporting known life forms, especially intelligent ones like Humans. Because it would work by reordering matter on a planet's surface, it could still be a terrible weapon in the wrong hands, but the Federation's goal was to create a paradise, not to kill millions of millions.

      Bennett was delighted at this, and, in recognition of its Biblical power, the Omega System became the Genesis Device. By April 10, Sowards had written a second draft of the script that incorporated the change and was now titled Star Trek: The Genesis Project. In this version, Janet Wallace had become Carol Baxter and Spock's death had been pushed a little later in the story. During the final battle, Khan fired the Genesis Device at the Enterprise but hit a planet, which was reborn as the two vessels continued their titanic struggle.

      This draft also included the first version of the simulator sequence in which Dr. Savik formerly Mr. Wicks, now Captain Spock's first officer aboard the Enterprise ; taken from a separate six-page proposal failed to rescue the Kobayashi Maru. When Dr. Savik questioned him about his failure, Kirk suggested that the test might be a "no-win scenario.

      By now, pre-production had begun in earnest, and line producer Robert Sallin and Mike Minor drew up storyboards for the effects sequences. But though this draft contained many, if not most, of the elements of the final script, Bennett and Sallin were not satisfied. To their minds, the script did not have the epic sweep needed for a major film, so they called upon Samuel A. Peeples submitted a story outline entitled Worlds That Never Were, which he transformed into the August 24th The New Star Trek script draft, entirely omitting the character of Khan and replaced him with two powerful aliens called Sojin and Moray, who had been exiled from another dimension and possessed almost godlike abilities.

      Also, Hikaru Sulu was the captain of the Reliant on which he served with Chekov. Finally, drawing from Theodore Sturgeon 's July 18 outline, Dr. Savik was now a half-Romulan, half-Vulcan woman. While Peeples was working on the script, Bennett and Sallin found a director they liked in the form of Nicholas Meyer. A week or so before the last draft was due to be delivered, they met with him and promised they would be back in touch as soon as they had the new script in their hands.

      By the time the Peeples script arrived, Bennett and Sallin knew they could not film it. As Sallin explained: " We were off in some weird directions and I was really very concerned. It did not feel like a motion picture to me. Some of these ideas were too derivative and were too small in their scope. There wasn't anything underlying it. It was more about people shooting fire and things like that, as opposed to a real story.

      Three weeks after their last meeting, Meyer called Bennett and asked where the script was. Although reluctant to share the script, which Bennett found almost embarrassing to share, Meyer persuaded him to send him the draft. Not impressed with what he had received, he called Bennett and told him and Sallin to come up to his house with all the different drafts of the script.

      The three of them made a list of all the things from all the different drafts that they wanted to end up in the final film, and then Meyer set out to compile a screenplay that incorporated all those things. Meyer concentrated on crafting a strong narrative by getting all the scenes in the right order and putting the story into his own words.

      I never looked at the scripts again, so there were no words that were appropriated. It all had to be in my own language and in a way that I could understand it. Meyer had some very clear opinions about what made drama, and he was determined that, despite the futuristic setting, his film would make sense to a 20th century audience. Asked to quantify the character of his approach, Meyer produced two examples. The first was that he brought a sense of humor to the project, which is not to say that he did not treat it with proper respect.

      I finally latched on to the idea originated by no less than Gene Roddenberry himself that Captain Kirk and friends were really an outer-space series of novels that I had loved as a kid, by C. Forrester, called 'Captain Horatio Hornblower'. When I wrote the script in 12 days it was very, very, very Navy, or, as my late wife used to say, 'Nautical but nice.

      Because Ricardo Montalban had originated his role in " Space Seed " on the original program, director Nicholas Meyer was not involved with casting him, though he certainly had no complaints. Most of Kirk's crew were in place, but Meyer was intimately involved with casting several new roles. He explained that what he was looking for was actors where he could see what the characters were feeling, even when they were not talking. She's no longer alive and I bitterly regret it; she was a lovely Human being, and a lovely actor.

      There was no real reason for him to be the captain of the Reliant , other than my great desire to direct him in scenes! I knew he could do it, without any question. The biggest casting coup was giving a young Kirstie Alley the role of Saavik. There just wasn't a contest. I don't recall seeing another actor for that part who was as persuasive.

      Meyer explained: " The thing about her is that she's beautiful, but she also had a slightly other-worldly quality. What I didn't know was that that flatness, like Leonard's, frequently comes out of a kind of a deadpan. I realized that when I watched her doing it.

      Then, at the other end of it, there she was at Spock's funeral, weeping. I remember somebody came running up to me and said, 'Are you going to let her do that? When production designer Joseph R. After director Robert Wise had finished filming the first feature, he had simply closed the stage doors and moved on. In the intervening months, the interiors of the giant starship had been sitting patiently, waiting to go back into action.

      Most of the action in the film takes place on the bridge of the Enterprise. Although the set may appear quite different from the bridge on The Motion Picture , Jennings only made cosmetic changes to the design. The layout remained the same, but in order to make the second film warmer than its predecessor, the set was repainted in darker colors. Director Nicholas Meyer very much disliked the design of the Enterprise bridge set, because in his view there were many things that did not make sense: " […] to take a silly example, if they are in terrible circumstances and everything gets all shook up, why don't they have seatbelts?

      And the answer is, because if they had seatbelts, it wouldn't be very interesting. Most of the movie actually takes place on that damn bridge, which is a very tedious set to photograph, and it was also, in a reconfigured form, the bridge of the Reliant , so I spent a lot of time there. The bridge was, very rightly, built in pie sections, so you could yank out sections and put the camera in. But, occasionally, you might want to be in the middle and sweep the camera around at what is going on.

      The sections are curved at the top, so when they are all in, how do you get light in there? It's a sort of a nightmare scenario. Gayne Rescher director of photography invented a lot of very peculiar apparatus that dropped in from the top with light coming off, like a big chandelier on a chain.

      The Wrath of Khan did not have the budget to allow for significant alterations to be made to the bridge set, but Meyer did ask Jennings to find ways of making it appear more detailed and specific. I remember I had Joe Jennings build me a wall of blinking lights. It was on wheels, and we would shove this thing around behind people, to try anything to break up this expanse of gray panel.

      Director Nicholas Meyer insisted on a certain amount of 'business,' so the art department built gratings into the floor of the photon torpedo room that had to be lifted before firing. Although several other sets were also still in place, the Enterprise still gave Jennings plenty of work to do.

      As he recalled: " A new script will call for different things; somebody walks down a corridor and goes into another room and, bang, you don't have that room, so you add it. And it grows […] until the stage sort of bulges out. The most obvious new addition was the torpedo room. Few people would realize it, but this set was actually a redressed version of the Klingon bridge from the first film. The torpedo room set featured a long channel where the torpedoes were loaded.

      Meyer wanted to have as much movement as possible in the action sequences, so he had Jennings put grates down over the channel that had to be lifted when the Enterprise went into battle. We gave it a change of color and orientation, and we got rid of the big screen in front. As I recall, we changed some of the seating arrangements and the elevators a little bit, and, of course, we added the ceiling piece to it, because the beam had to come down and pin Ricardo to the floor. The whole ceiling piece was something that had never been featured in the bridge of the Enterprise.

      That gave it a different look. This "Starfleet Headquarters" set used a perspective trick to appear much bigger than it really was. One of the non-starship sets Jennings worked on was an interior section of Starfleet Headquarters, where a brief scene shows Kirk walking out of the simulator and heading for an elevator. In reality, this set was much smaller than it appeared. Jennings explained: " Mike [Minor] had a bright idea; he went out to several hardware stores and came back with a birdbath, a planter, and a bunch of junk.

      He went off and fiddled with it for about two days, and he came up with a miniature. We put that in the foreground as what is called a 'cutting piece', and the real set was in the background. They tied together visually and created a perspective trick that made the set look much bigger. Kirk's apartment in San Francisco was filled with collectibles that demonstrated his interest in the past, including many nautical objects for which Nicholas Meyer asked.

      The next time we saw Kirk, he was in his apartment. Jennings had fond memories of this set and said that the challenge was to make it clear that it was in San Francisco, but also show that it was a 23rd century building. The setting was established by using a backdrop showing the Golden Gate Bridge that had been made for The Towering Inferno.

      The next task, Jennings explained, was to make the room appear futuristic. Like all architecture, it has to look as though it's possible to live in it; you look for materials, for instance, that are unfamiliar, or that are being used in an unfamiliar fashion, to make your design look different from what the public is seeing today.

      Despite the need to make the apartment look futuristic, Meyer also impressed on the production crew that he doubted things would undergo a complete change in the future, so the apartment still had to look like a home. However, Meyer was unhappy with the Genesis cave set, combining live footage with a matte painting. He thought that the scene looked false and too constructed, and would have used a real location instead, but neither time nor budget would allow it.

      When Robert Sallin came on board as producer for Star Trek II , one of the first things he did was change the wardrobe of the Starfleet officers. Sallin wanted the uniforms redesigned, yet, entirely due to budgetary reasons, he did not want to discard the old jumpsuits from the first Star Trek movie.

      The series of dye tests showed that the old uniforms would take three different colors well: a blue-gray "lead" , a gold which proved to photograph almost "bronze" , and a dark red, or maroon "blood". The plan was to use the modified uniforms for the junior cadets and enlisted crew while enough money could be found to design an entirely new wardrobe for the senior officers.

      The section colors were preserved on the undershirts and on the rank insignia on the shoulder, although wardrobe designer Robert Fletcher assigned new colors to each section of Starfleet. Director Nicholas Meyer had some very specific ideas about how the uniforms should look. Fletcher was careful not to reproduce any specific naval uniforms and used the dark red that had been discovered during the dye tests. Meyer was keen on this approach, since it made the costumes dramatic and created a strong contrast with the background.

      The first versions of the uniform had a stiff black collar like the costumes in The Prisoner of Zenda. Producer Robert Sallin suggested changing this into a turtleneck and after he made the alterations, Fletcher decided to use trapunto, which is a form of vertical quilting.

      By , the machines and specialized needles used to produce trapunto had become exceedingly rare, and Fletcher was able to secure only one needle for the entire wardrobe department. By Deactivating the Hungama Play Subscription, you will lose access to unlimited entertainment. This action cannot be undone. Are you sure you want to unsubscribe? This website uses cookies to ensure you get the best experience on our website. Night Mode OFF. Hi Guest Login Register.

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