Erfahre alles über das Album von Iron Maiden ✅ Hintergrundinfos, Fan Facts und vieles mehr zu The Final Frontier ✅ Jetzt im EMP Wiki. The Final Frontier das erschienene dritte Studioalbum der US-amerikanischen Metal-Band Keel. Inhaltsverzeichnis. 1 Hintergrund; 2 Rezeption; 3 Titelliste. Many translated example sentences containing "final frontier" – German-English dictionary and search engine for German translations.
The Final Frontier (Keel-Album)Übersetzung im Kontext von „the final frontier“ in Englisch-Deutsch von Reverso Context: It is really, you know, the final frontier. Final Frontier. Die frühe Science Fiction war voller Entdeckerlust – kritischer könnte man sagen, voller Eroberungslust. Von einer Erde aus, die zwischen den. The Final Frontier ist das Studioalbum der britischen Heavy-Metal-Band Iron Maiden. Es erschien am August in Europa und am August in Nordamerika. Produzent des Albums war erneut Kevin Shirley, Co-Produzent war Steve Harris.
The Final Frontier Навігаційне меню VideoIron Maiden - Intro (Satellite 15) + The Final Frontier (En Vivo!) [HD] For other uses, see Final Frontier. Technical Specs. 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. In a 1 July interview with Billboardguitarist Dave Murray commented that the album mixes "straight-ahead, uptempo rock songs Poker Bücher good grooves with some other tracks that are kind of longer and more complex", referring particularly to "When the Wild Wind Blows", the band's Lottoland Gibraltar longest song after " Empire of the Clouds ", " Rime of the Ancient Mariner ", " The Red and the Black " and " Sign of the Cross ":  Interviewed for the Pittsburgh Post-Gazette on Lotto Ergebnisse Eurojackpot July, guitarist Janick Gers discussed the album's overall sound: "We're taking it to extremes Paramount Pictures.
Weshalb wir den Boni The Final Frontier eine Top Note The Final Frontier. - Interessante Artikel:Das alles ohne den üblichen Nuklearantrieb — Juno hat ihn einfach nicht gebraucht.
Jones poses for a portrait with his family. Steven Pierre Jones, 43rd Intelligence Squadron operations training and mission readiness flight commander here, is slated to become the first intelligence officer to transfer to the U.
Space Force on Feb. With an Air Force career that spans over a decade of service and multiple deployments, Jones will bring expansive knowledge and experience to the ranks of the Space Force.
I commissioned in September , and went to Goodfellow Air Force Base shortly after to start intelligence officer training. After his graduation he came to Cannon, where he has spent the past few years.
Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Captain Kirk and his crew must deal with Mr.
Spock's long-lost half-brother who hijacks the Enterprise for an obsessive search for God at the center of the galaxy.
Director: William Shatner. Watch on Prime Video included with Prime. Added to Watchlist. From metacritic. The Evolution of Keanu Reeves.
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Edit Cast Cast overview, first billed only: William Shatner Kirk Leonard Nimoy Spock DeForest Kelley McCoy James Doohan Scotty Walter Koenig 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' 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.
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: the film's opening scene; the God planet's establishing shots; and the Nimbus III Paradise City.
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, levitates up behind him as a pest giving suggestions with the outcome that Kirk slips and Spock has to saves him using levitating boots.
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. 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. Associates and Ferren had three months to complete the effects work—around half the usual industry timeframe.
Shatner insisted on viewing much 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,  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.
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;  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.
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.
Editor Peter E. Berger had already assembled rough cuts of various sequences,  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 ,  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: The Motion Picture , and 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. 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.
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.
January Retrieved 15 December Revolver Retrieved 13 August Retrieved 20 November Official Charts Company. Retrieved 9 January Music Week. Archived from the original on 14 July Retrieved 31 August Retrieved 29 August The New York Times.
Retrieved 8 September Hung Medien. Retrieved 29 June Retrieved 9 November Top Foreign Albums. Hrvatska diskografska udruga.
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GfK Entertainment Charts. IFPI Greece. Archived from the original on 15 September Retrieved 4 September Irish Recorded Music Association. Archived from the original on 28 August Retrieved 26 October Polish Society of the Phonographic Industry.
Archived from the original on 6 October Retrieved 11 September GfK Entertainment in German. Retrieved 14 November Music Canada. Retrieved 26 September Bundesverband Musikindustrie.
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