As the supervillain, in closeup, Cumberbatch really does give it the full Blue Steel.
Kirk and Spock Jump Off a Cliff in 'Star Trek Into Darkness'
It's more like Indigo Steel, or Topaz Steel. As he faces off with Kirk, he does a lot of impassive and charismatic gazing, indicative of infinitesimally amused unconcern. With that expression of his, he is in danger of becoming the Joseph Fiennes of his generation. But I like my Brit baddies to have droll dialogue like Loki in The Avengers , and John Harrison has none; he does all this supercool gazing, even when he is getting punched repeatedly in the face, but he is the tiniest bit dull. And anyway, Kirk already has a hugely evolved, scarily cerebral sparring partner — Spock!
We are heavily invested in Spock and his fascinatingly tense, prickly, and sometimes antagonistic relationship with Kirk. There are now three people in this emotional guy-namic.
The minute it does, we have no right to be doing it any more. Abrams believed the planning of this movie benefited from the fact he and his colleagues had a wide range of different levels of experience with Star Trek , he and Bryan Burk not having known much about the franchise before working on it, whereas the film's writers were more directly aware of what opinions the fans had about this film.
While people were [suggesting] things, none of that really mattered much to me, because I felt like I was coming from the point of the moviegoer who just wants to be entertained, understand, and care about the world and the characters. While devising this film, the writers took notice of apparently relentless fan speculation and questions, both prior to the release of the first film and in the interim between the two movies, over whether the alternate reality version of Khan Noonien Singh would appear.
SciFiNow , issue 84, p. Abrams expressed, " It'll be fun to hear what Alex and Bob are thinking about Khan.
The fun of this timeline is arguing that different stories, with the same characters, could be equally if not more compelling than what's been told before [ Why bring him back? A compromise Roberto Orci and Damon Lindelof reached, in their debate about Khan, was to devise the story in such a way that it didn't rely on Star Trek canon. Consequently, the antagonist's motives were first-and-foremost " based on his [use] by a corrupted system of power that held the things he held dear against him and tried to manipulate him.
That story stands alone with or without Star Trek history. That's how we approached it, and God bless Damon for going down that road, " Orci gratefully said. The writers included multiple adversaries in this film in an attempt to make it essentially action-packed. Though Klingons had been featured in an ultimately deleted scene from the film Star Trek , J.
Abrams and the staff of writers were careful to give them more purpose in this movie.
In September , J. Abrams and Roberto Orci told the Los Angeles Times they had heard that fans would like modern, relevant issues to be explored in the sequel. The writers wanted to explore the concept of the Star Trek universe being presented as a future utopia, which is how it had very often been established before. Now, that's not just as simple as it being a terrorist allegory — it's a flavor of the movie, it's an element, but it's certainly not at the center of its plot.
It does speak to the fact that we wanted to embed in our universe events that are recognizable to an audience today [ The writers were interested, too, in integrating a contemporary political reality into the film. They inspired Orci simply to keep in mind that, if the writers wanted the film and its characters to seem realistic, even the film's villains had to have understandable motives.
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Abrams on the set of the Vengeance 's Bridge. One of the first concepts J. Abrams came up with, regarding the prospect of doing this film, was that there be a ship which was basically a stealth version of the Enterprise. The film's writers then adopted this notion. Alex Kurtzman once stated that — because the alternate reality version of Kirk had, at least in Kurtzman's opinion, never been shown sending men and women to their deaths — this film posed the question of what would happen if he was confronted with the dilemma of having to do so.
When the initial target of December neared, no script had been written for this movie, so the film's release was changed to Kurtzman considered the fact Paramount refrained from this alternative as "a testament to how much the studio want to protect Star Trek as well. So it was quite a luxury to be able to think about a story that we'd talked about through the entire time. We got to wake up morning after morning thinking, 'I do think we have the right story' [ Empire , issue , p.
With the writers having reached the compromise of making the film's principal villain be motivated by revenge against a manipulative and corrupted "system of power," Damon Lindelof was instrumental in influencing the plot's direction. It was only afterwards that the creative group finally tailored the antagonist into Khan.
One reason why the writers chose to have this film feature Khan was so he could be put in conflict with a yet-to-mature, inexperienced James T. Alex Kurtzman explained that this clash resulted in Khan being "so exciting to us, and that's why we ultimately chose Khan, because Khan is the perfect foil for that arc [of Kirk maturing into adulthood].
He also drew a parallel between the possibility of not depicting Khan as being similar to " Batman not doing the Joker. But ultimately, our version of Trek is the same as the original version of Trek. Abrams admitted, " The truth is that no one resonated like Khan. There was such a personal connection between Khan and Kirk. To me, it was the combination of the opportunity of taking something that was extraordinarily rich and mythic, and also update it, not only with a new actor, but to take the character and to use that character in a way that hadn't been used before.
The priority Khan gives to his crew, which he refers to as his "family," was inspired by a monologue Khan voices in Star Trek II: The Wrath of Khan about having lost twenty members of his crew, including his wife. Khan's dedication to his "family" and to their protection, as an understandable motive for the character, " was something we felt we could not change about Khan on any level [ The writing of the film's script was initiated in October Bryan Burk observed, " The script for Into Darkness started with one question: how can we put the Enterprise team into the greatest jeopardy and conflict?
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In February , Roberto Orci and Damon Lindelof announced they were in the process of writing the script for the film and had relocated themselves to a hotel room for five weeks in order to better do it without any distractions. He added the film would build on the previous one, but it still had to attract new fans and stand by itself without relying on its predecessor.
If the writers were going to include Khan in the film, they had to write the movie in such a way that it established his personality and backstory; they needed to write dialogue in which he spoke about himself and his past, for the benefit of both viewers who were massive fans of Star Trek , who the writers hoped would take enjoyment from the canonical references, and newcomers to the franchise. Abrams was of the opinion that he and his creative associates needed to write Khan as a melodramatic, "hyper real" character, who also was very relatable.
In Defense of ‘Star Trek Into Darkness’
Kirk and Pike in a deleted scene from the film. Conveying the bond between Pike and Kirk to the audience was considered very important. The film's pre-production or "prep" began in April , based on a detailed seventy-page outline of the story.
Roberto Orci stated they were awaiting J. Abrams' approval on a completed script, as he was preoccupied with completing the movie Super 8. In June , Damon Lindelof explained that — although he, Alex Kurtzman, and Roberto Orci had been collaborating on the film's script since October — their work on it had been intermittent, as they had taken time for a variety of other projects.
Orci added, " We haven't had a deadline yet, and that is why we keep not finishing it. Give us a deadline and we'll finish it.
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We only closed our deal with Paramount two or three months ago. Orci, Kurtzman, and Lindelof, despite speculating that Abrams could begin filming that September and have the film out the following June as he did on Super 8 , still advocated not rushing the film's schedule. The writers had been working on this film extensively by the time it came to cast the movie, for example having put a lot of effort, before an actor had to be chosen to play the role of Khan, into determining how they wanted that character to be portrayed.
Alex Kurtzman clarified that, by the time that part was cast, "we all felt pretty good about where we were at. Since J. Abrams wanted the script of this movie kept secret as much as possible, the film's screenplay was released to the cast very soon before the film was to enter production, the start date being in January Star Trek Magazine Special , pp. The writing continued even while the movie was being shot. On Monday 30 January , Alex Kurtzman at one point made changes to a "Yellow Revision" of the script on the set of the Enterprise 's bridge, using a laptop running the computer program Final Draft.
Damon Lindelof acknowledged, " We've rewritten this thing fifty different times, trying to find it.
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Originally, J. Abrams noted that if they made a sequel, "it would have a subtitle instead of a number. By , the writers had not settled on a title. On 7 September , it was announced that a title had been chosen for the sequel. Abrams acknowledged the title was "odd," but declared, " It definitely feels like the title's appropriate: this is a story about these characters being challenged and tested and taken to a place that's about sacrifice and life and death. He too has gone through the process, to some degree, that some of our crew have gone through, and clearly for some reason it's failed to bring him over, so I think he represents that part of our heroes.
A shot depicting Scott reacting in surprise to a view of a Nibiran fish was invented "just to reinforce the idea you're underwater," Visual Effects Supervisor Roger Guyett mentioned. The storyline involving the Harewood family evolved from the writers being interested in triggering human emotions in the audience shortly after the movie starts. So, this little girl, who you meet at the beginning, who is unconscious and dying, and these wildly depressed parents, who are so sad, end up really being kind of the setup for our bad guy in the film.