Star trek episode where they meet god

Star Trek V: The Final Frontier - Wikipedia

star trek episode where they meet god

According to her, "I felt like I met God every morning. . On the other hand, in the Star Trek: The Original Series episode "The Ultimate Computer", the M5. The Sha Ka Ree Entity impersonating a Human God The Human image portrayed by the "God of Sha Ka Ree" from Star Trek V was portrayed by actor George. All, Titles, TV Episodes, Names, Companies, Keywords, Advanced Search» . Check out IMDb's Streaming Guide to see what's new on Netflix, find out if your favorite William Shatner and Todd Bryant in Star Trek V: The Final Frontier ( ) .. about philosophical matters such as life, friendship, god, racism and others.

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

star trek episode where they meet god

Bluescreen footage of Shatner falling was shot later at Paramount and composited, while stuntman Ken Bates set a record for the highest American descender fall by plummeting off El Capitan —with a wire support rig—for long shots.

The scenes had to be reshot later. 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. 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 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.

With a stretched budget and short timeframe, Winter had to look elsewhere.

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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.

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. 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 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.

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The Motion Pictureto 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.

In New York, the blue screen was replaced by a moving starfield—a single finished shot of a ship moving through space required as many as fifty pieces of film. The Great Barrier effects were created using chemicals, which were dropped into a large water tank to create swirls and other reactions.

star trek episode where they meet god

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.

star trek episode where they meet god

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.

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.

Of the first test audience, only a small portion considered the film "excellent", a rating that most other Star Trek films had enjoyed. Goldsmith had written the Academy Award-nominated score for Star Trek: The Motion Pictureand the new Trek film was an opportunity to craft music with a similar level of ambition while adding action and character—two elements largely missing from The Motion Picture.

He focused on the God planet as his most difficult task. The Next Generation fans, as they were unfamiliar with the music's origins.

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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.

star trek episode where they meet god

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.

The team arrives at what appears to be an ancient Greek temple, where they encounter the humanoid who identifies himself as the god Apollo Michael Forest. He informs the party that he will not allow them to leave, and renders the team's communicators and transporter room nonfunctional.

He indicates that he expects the crew of the Enterprise to worship him as their ancestors had done. Apollo's attention shifts toward Carolyn, angering Mr. Scott, who steps forward to defend her against Apollo's advances. Apollo destroys his weapon and announces he will take Carolyn as his consort. After displaying his power, Apollo appears tired, and then vanishes along with Carolyn. Kirk and McCoy speculate that their captor was one of a group of powerful aliens that visited Earth millennia ago and became objects of worship to the ancient Greeks.

Having noticed Apollo's apparent fatigue, Kirk decides to try to provoke Apollo in order to test the limits of his power, perhaps weakening him enough to allow the landing party to overcome him. Meanwhile, Carolyn learns that Apollo belonged to a group of travelers, god-like in the sense of having the power of life and death, but unable to exist without love and worship. He is the last of their kind, the others having given up hope that humans might one day turn back to them.

At first sight, the plot may seem recycled from previous episodes honestly, are there any sci-fi shows that didn't feature at least one God-like characterbut that feeling vanishes pretty quickly thanks to the script's winning use of exaggerated humor, all conveyed through Campbell's deliberately camp performance: In short, the key to appreciating The Squire of Gothos is this: Was this review helpful?

Sign in to vote. God of war, or naughty little child? Blueghost 3 June What is it that compels two factions to engage in conflict with one another? What propels them to a state of warfare? An exercise whose only product is the destruction of life? How can sane and mature men engage in such a practice? The "Squire of Gothos" examines a possible explanation for this proposition.