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Williams-Crosby thought Vixis was Kirk's girlfriend when she arrived for her audition, but recalled afterwards that it was "fun" to play a villain.

The director originally intended George Murdock to play the Klingon diplomat Korrd, but changed his mind on seeing Cooper's performance.

Murdock was recast as the "God" entity. Shatner had previously directed plays and television episodes; [3] when he signed on for The Voyage Home following a pay dispute, Shatner was promised he could direct the next film.

Shatner conceived his idea for the film's story before he was officially given the director's job. His inspiration was televangelists ; "They [the televangelists] were repulsive, strangely horrifying, and yet I became absolutely fascinated," he recalled.

The televangelists formed the basis for the character Zar, later Sybok. Kirk feigns acceptance of Zar's beliefs to travel with him to the God planet, which to Shatner would be a desolate, fiery waste.

Kirk eludes capture but goes back to save his friends from being carried away to Hell. Producer Harve Bennett was exhausted by his work on the previous three Star Trek films and wanted to move on, feeling that he was not part of the Star Trek "family" and that he had been mistreated by Nimoy.

After several hours of discussion Bennett agreed to return. Bennett also told Shatner that the film had the feeling of a tone poem rather than an adventure story.

Shatner and Bennett began reworking the story. Concerned that knowing the renegade Sybok's motivation from the beginning of the story was anticlimactic, the team moved the revelation to later in the story.

Shatner said that Bennett also suggested turning the God entity into an "evil alien pretending to be God for his own gain".

The Wrath of Khan writer and director Nicholas Meyer to pen the script, but he was unavailable. Not everyone was happy with the story.

Star Trek creator Gene Roddenberry objected to the characters' search for God in general, and more particularly, the idea of a God as portrayed by Western religion.

One of Roddenberry's employees suggested some of his employer's animosity towards the story stemmed back to Star Trek: Roddenberry had wanted to approach that film with similar ideas that investigated the nature of God but was rejected by Paramount.

Loughery stopped work on the script when the Writers Guild of America went on strike , and the production was further delayed when Nimoy began working on another project.

When the writers' strike ended Loughery returned to work on the script while Shatner flew to the Himalayas for a job. Though Shatner convinced Bennett and Loughery to revise much of the script, Sha Ka Ree remained; it was changed to a place of ultimate knowledge of which Sybok had received visions.

While Roddenberry, Kelley and Nimoy gave their approval to the revised script, Paramount was concerned that the film would go over-budget as written and ordered cuts.

Shatner's envisioned angels and demons at the film's climax were converted to rock monsters that the false god would animate from the earth.

Shatner wanted six of the creatures, but was forced to accept just one. Nilo Rodis, who had worked on two previous Star Trek features, was appointed the role of art director , and worked with Shatner to establish the film's visual design.

Shatner sought a grittier and more realistic feel to the Star Trek universe, and so the two worked together to visualize the film from start to finish.

Shatner was pleased with the results, especially with Rodis' designs for Shatner's most expansive or dramatic shots.

Rodis's input in developing the early character and costume designs was significant. Shatner praised his costume designs as being futuristic but plausible and in keeping with the continuity established in previous Star Trek films.

Bennett hired Dodie Shepard as the costume supervisor; Shepard's role was to oversee the costume fabrication and keep track of the clothes during filming.

Rodis and Shatner also drew up sketches of what the various aliens seen in the film would look like. Shatner picked Kenny Myers as the special-effects makeup artist.

Myers discussed the sketches with Shatner and made casts of actors' faces using dental alginate. Shatner hired Herman Zimmerman as production designer.

The Next Generation , and he felt that the designer could convey Shatner's futuristic yet grounded aesthetic. At one point, he was building five sets at once.

Zimmerman created a sketch of the town's layout over three days, drawing inspiration from a circular Moroccan fortress. Tim Downs scouted possible areas for location filming.

He looked for a location that could stand in for three different venues without the production having to move or change hotels: Downs was familiar with the Mojave desert and thought that locations near Ridgecrest, California , would serve the production's needs, so he took photos based on sketches Rodis had provided of what the locations might look like.

Downs also shot photos with filters and tried to accomplish dust effects with his car to replicate ideas for how some sequences would be shot.

Principal photography began in October , in and around Los Angeles, California. After one of the production's camera trucks exploded in the studio parking lot, the non-union drivers headed to Yosemite National Park under cover of darkness with a police escort.

The film's Yosemite scenes were all shot on location. The overhead shot gave the impression Kirk was climbing at a great height, while unnatural background features such as swimming pools were camouflaged.

In the scene, Spock watches Kirk's ascent, and saves him when he slips and falls using levitating boots.

The scenes had to be reshot later. After the Yosemite shots, location shooting moved to desert locales.

The town was created as a haphazard collection of spaceship parts and futuristic scrap. Shatner called the resulting half-jogging pace of the dehydrated extras "the Sybok shuffle".

The production spent three more weeks filming the rest of the desert scenes, finishing the last night scene shortly before sunrise and the trip back to Los Angeles.

At Paramount, the crew filmed all the scenes that would take place on soundstages, including the Enterprise and Bird-of-Prey sets, the Paradise City interiors, and the campfire location.

Production was smoother on set, and the crew shot scenes ahead of schedule. The crew fabricated a stand-in set for the God planet location, where additional scenes were filmed to combine with the location footage.

Shatner scheduled the campfire scenes to be the last ones shot, after which the cast and crew had a small celebration before a traditional wrap party later.

Shatner returned to Paramount Studios a few days after principal photography had wrapped to organize the film's post-production schedule. Shatner recalled that the film received praise and left the screening "reveling" in its reception; it turned out to be a "momentary victory" once he saw the special effects.

During the writers' strike, producer Ralph Winter confronted what writer Paul Mandell termed an "unenviable" effects situation.

With a stretched budget and short timeframe, Winter had to look elsewhere. The producers solicited test footage from various effects houses to judge which was best able to create the film's main effects, including the planet Sha Ka Ree and the godlike being which resided there.

Bran Ferren 's effects company Associates and Ferren was picked. Shatner insisted on viewing lots of test footage before he proceeded with each shot, requesting time-consuming changes if he did not like an effect.

The studio called a meeting with executives and began cutting out effects shots. To reduce the optical effects workload, Ferren rejected bluescreen compositing, opting instead for rear projection.

This cheaper process, he reasoned, would save time, and would make sense for elements such as the Enterprise ' s bridge viewer, where compositing would lack the softness of a real transmitted image.

The rock monster climax of the film was ultimately dropped due to difficulties during filming. Effects personnel smoked cigarettes and blew smoke into the suit's tubing, [72] loading it with smoke that it would slowly emit, obscuring some obvious rubber parts.

On the last day of location shooting, the Rockman began suffering mechanical problems; the suit stopped breathing fire, and the desert wind dissipated the smoke.

The result, Shatner wrote, was that "our guy in the silly rubber suit ultimately just looked like Once back at the studio for non-location filming, Shatner and Ferren met to discuss how to replace the Rockman.

The agreed-upon idea was an "amorphous blob of light and energy" that would rise up and chase after Kirk, shape-shifting while in pursuit.

When Shatner saw the effects, however, he was extremely disappointed with the low quality. Bennett and Shatner attempted to get money to reshoot the final scenes of the film, but Paramount turned them down.

The Motion Picture , to Associates and Ferren. While production wrapped, Ferren continued work on the miniatures and other optical effects at his New Jersey studio.

The opticals were completed in Manhattan before being sent west; [74] for example, bluescreen footage of the motion controlled miniatures was filmed in Hoboken, New Jersey.

The Great Barrier effects were created using chemicals, which were dropped into a large water tank to create swirls and other reactions.

The "God column", in which the false god appeared, was created by a rapidly rotating cylinder through which light was shone; the result appeared on film as a column of light.

Ferren used a beam splitter to project actor George Murdock's head into the cylinder, giving the appearance that the false god resided within the column.

Days after filming was completed, Shatner returned to Paramount to supervise the film's edit, soundscape creation and score, and integration of optical effects.

Berger had already assembled rough cuts of various sequences, [76] and with only weeks before the film's scheduled completion, the production team set about the task of salvaging the film's ending through editing.

The false god's screen time was reduced, and Ferren's "god blob" effect was replaced with a closeup of the actor's face, along with shots of lightning and smoke.

At the time, Shatner felt that the edits "pulled a rabbit out of a hat", solving many of the film's problems.

Shatner's cut ran slightly over two hours not including end credits or the opticals , [78] which Paramount thought was too long.

Their target runtime was one hour forty-five minutes, which would guarantee twice-nightly theatrical screenings. Bennett was handed the task of shortening the film's running time, despite Shatner's view that nothing could possibly be removed.

Shatner was horrified by Bennett's edit, and the two haggled over what parts to restore or cut. In early test screenings, the film received negative reviews.

Of the first test audience, only a small portion considered the film "excellent", a rating that most other Star Trek films had enjoyed.

Music critic Jeff Bond wrote that Shatner made "at least two wise decisions" in making The Final Frontier ; beyond choosing Luckinbill as Sybok, he hired Jerry Goldsmith to compose the film's score.

Goldsmith had written the Academy Award-nominated score for Star Trek: He focused on the God planet as his most difficult task. Goldsmith's main theme begins with the traditional opening notes from Alexander Courage 's original television series theme; an ascending string and electronic bridge leads to a rendition of the march from The Motion Picture.

The Next Generation fans, as they were unfamiliar with the music's origins. Here, the theme is treated in what Bond termed a "Prokofiev-like style as opposed to the avant-garde counterpoint" as seen in The Motion Picture.

Goldsmith also added a crying ram's horn. The breadth of The Final Frontier ' s locations led Goldsmith to eschew the two-themed approach of The Motion Picture in favor of leitmotifs , recurring music used for locations and characters.

Sybok is introduced with a synthesized motif in the opening scene of the film, while when Kirk and Spock discuss him en route to Nimbus III it is rendered in a more mysterious fashion.

The motif also appears in the action cue as Kirk and company land on Nimbus III and try to free the hostages. The Sybok theme from then on is used in either a benevolent sense or a more percussive, dark rendition.

Arriving at Sha Ka Ree, the planet's five-note theme bears resemblance to Goldsmith's unicorn theme from Legend ; "the two melodies represent very similar ideas: The music features cellos conveying a pious quality, while the appearance of "God" begins with string glissandos but turns to a dark rendition of Sybok's theme as its true nature is exposed.

When Spock appeals to the Klingons for help, the theme takes on a sensitive character before returning to a powerful sequence as the ship destroys the god-creature.

The original soundtrack for the film was originally released by Epic Records, and included nine score tracks mostly out of film order and the song "The Moon Is a Window to Heaven" by Hiroshima.

On Tuesday November 30, , La-La Land Records reissued the soundtrack in a 2-CD edition featuring the film's complete score on the first disc and the original soundtrack album and some alternate cues on the second disc.

Mangini collaborated with Shatner to work out how the completely new effects would sound. For Sybok's mind melds, Shatner wanted the sounds of beating hearts and breathing.

Mangini was also responsible for the film's foley and dialogue replacement ; foley editors created background audio in sync with actions on screen to enrich the soundscape.

The sound of Klingons walking, for example, was conveyed with chains and leather for a "rough" sound. The Final Frontier appeared amidst several other films that grappled with quests for God and spiritual meaning; [90] author Peter Hansenberg regarded the film as part of an "almost fashionable" trend of s science fiction movies with religious motifs.

Schultes agrees, pointing out that the idea of paradise has been seen many times in the series, but almost always illusory or deadened.

While many Star Trek episodes dealt with false deities, The Final Frontier is one of the few that, in the words of religious scholar Ross Shepard Kraemer, "intentionally confronted and explored theological questions, including the existence of God.

Maybe He's right here, in the human heart. The Final Frontier was expected to be one of the summer's biggest movies and a sure hit, [99] despite its appearing in a market crowded with other sequels and blockbusters such as Indiana Jones and the Last Crusade , Ghostbusters II and Batman.

In its first week, The Final Frontier was number one at the domestic box office. The Final Frontier was the season's tenth-best-grossing film, although it failed to make expected returns.

Critics generally gave The Final Frontier poor reviews. At Metacritic , which assigns a weighted average out of to critics' reviews, The Final Frontier received a score of 43 based on 16 reviews.

Rob Lowing of The Sun Herald called the film "likeable but average". Critics such as Newsweek ' s David Ansen judged the principal characters' performances satisfactory; "these veterans know each other's moves so well they've found a neat comic shorthand that gets more laughs out of the lines than they deserve", Ansen wrote.

Retrieved 20 December Retrieved 2 July Retrieved 13 September Retrieved 1 September Retrieved 17 August Retrieved 25 August The Final Frontier ".

Retrieved 15 September The Final Frontier review". Archived from the original on 4 October Edward 16 August Retrieved 25 September Retrieved 30 July The Final Frontier review track-by-track".

Retrieved 12 July Retrieved 23 August Archived from the original on 22 July Retrieved 16 July Retrieved 11 August Retrieved 19 August Retrieved 15 December Retrieved 13 August Retrieved 20 November Retrieved 9 January Archived from the original on 14 July Retrieved 31 August Retrieved 29 August The New York Times.

Retrieved 8 September Ö3 Austria Top 40 in German. Retrieved 24 August Retrieved 9 November Retrieved 11 November Retrieved 26 October Archived from the original on 2 September Retrieved 5 September Iron Maiden dominates the French market".

Iron Maiden At the Top! Archived from the original on 15 September Retrieved 4 September Association of Hungarian Record Companies.

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Retrieved 26 August Archived from the original on 6 October Archived from the original PDF on 29 October Retrieved 21 August Irish Recorded Music Association.

Archived from the original on 28 August Retrieved 15 April Retrieved 27 June Iron Maiden manage gold in Colombia". Retrieved 7 November Archived from the original on 3 November Federazione Industria Musicale Italiana.

Archived from the original PDF on 4 March Retrieved 15 February Polish Society of the Phonographic Industry. Archived from the original on 14 October Retrieved 17 November Retrieved 16 August The Book of Souls: The Soundhouse Tapes Live!!

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