title: Basilisk

text: The basilisk is mentioned in "The Inscription on the Kosovo Marble Column", a poem/epitaph written by Stefan Lazarević, the Despot of Serbia, chronicling the Battle of Kosovo. In one part, the Serbian army is praised for killing <nowiki>"</nowiki>Amurat and his son, spawns of viper and adder, whelps of lion and basilisk...<nowiki>"</nowiki>


title: Basilisk

text: In William Shakespeare's" Richard III", the recently widowed Anne Neville, on hearing seductive compliments on her eyes from her husband's murderer (Richard, Duke of Gloucester), retorts that she wishes they were those of a basilisk, that she might kill him. In Act II, Scene 4 of Shakespeare's Cymbeline, a character says about a ring, "It is a basilisk unto mine eye, Kills me to look on't."


title: Basilisk

text: Similarly, Samuel Richardson wrote in his novel "Clarissa; or the History of a Young Lady": "If my eyes would carry with them the execution which the eyes of the basilisk are said to do, I would make it my first business to see this creature".


title: Basilisk

text: Alexander Pope wrote, "The smiling infant in his hand shall take/ The crested basilisk and speckled snake" (Messiah, lines 81–82).


title: Basilisk

text: In the chapter XVI of "The Zadig", Voltaire mentions a basilisk, "an Animal, that will not suffer itself to be touch'd by a Man". Percy Bysshe Shelley in his "Ode to Naples" alludes to the basilisk:


title: Basilisk

text: 17th century Vilnius University historian, Professor Adomas Ignacas Naramovskis (Adam Ignaci Naramowski) wrote of the basilisks that were said to have lived in Warsaw and Vilnius in his book "Facies rerum Sarmaticarum". Romantic historian Teodoras Narbutas (Teodor Narbutt) describes the location of the Vilnius basilisk's lair as having been near Subačius Gate.


title: Basilisk

text: Bram Stoker alludes to the creature in Chapter 4 of his 1897 novel "Dracula", when Jonathan Harker encounters the vampire Count Dracula sleeping in his crypt and makes a futile attempt to destroy him:


title: Richard Crenna

text: Richard Donald Crenna (November 30, 1926 – January 17, 2003) was an American film, television and radio actor.


title: Richard Crenna

text: Crenna starred in such motion pictures as "The Sand Pebbles", "Wait Until Dark", "Un Flic", "Body Heat", the first three "Rambo" films, "Hot Shots! Part Deux", and "The Flamingo Kid". His first success came on radio in 1948 as high school student Walter Denton co-starring with Eve Arden and Gale Gordon in the CBS series "Our Miss Brooks". Crenna continued with the comedy in its 1952 move into television. He also starred as Luke McCoy in the ABC, and later CBS, television series "The Real McCoys" (1957–1963). In 1985, he won the Primetime Emmy Award for Outstanding Lead Actor in a Limited or Anthology Series or Movie for his portrayal of the title role in "The Rape of Richard Beck".


title: Richard Crenna

text: Crenna was born November 30, 1926, in Los Angeles, California, the only child of Edith Josephine (née Pollette), who was a hotel manager in Los Angeles, and Domenick Anthony Crenna, a pharmacist. His parents were both of Italian descent. Crenna attended Virgil Junior High School, followed by Belmont Senior High School in Los Angeles, from which he graduated in 1944. He served in the U.S. Army during World War II, entering the Army in February 1945 and serving until August 1946.


title: Richard Crenna

text: After his Army service, Crenna attended the University of Southern California (USC), where he earned a Bachelor of Arts degree in English literature and was a member of the Kappa Sigma fraternity.


title: Richard Crenna

text: Crenna got his acting start on radio. In 1937, he had gained his first role, that of "the kid who did everything wrong" on "Boy Scout Jamboree", a show on which he continued to appear occasionally in numerous roles until 1948. In the following year, he started playing Walter "Bronco" Thompson on "The Great Gildersleeve", a role he played until 1954. He also originated the role of geeky Walter Denton on the Radio Comedy "Our Miss Brooks" alongside Eve Arden and Gale Gordon in 1948, and followed that role when the series moved to television in 1952. He remained in that role until 1957. He appeared as a delivery boy in "My Favorite Husband" (episode "Liz Cooks Dinner for 12"), was Oogie Pringle on "A Date With Judy" (episode "The Competitive Diet", among several other episodes of the show) and as a teenager on "The George Burns and Gracie Allen Show" (episode "Watching the Neighbor's Daughter").


title: Richard Crenna

text: Crenna played Walter Denton on radio's "Our Miss Brooks", remaining with the cast when it moved into television in 1952. He remained with the show until it was canceled in 1957. He guest-starred on the "I Love Lucy" episode "The Young Fans", with Janet Waldo and on NBC's 1955–56 anthology series "Frontier", in the lead role of the episode entitled "The Ten Days of John Leslie". In 1955, he was the guest star on "The Millionaire" in the episode "The Ralph McKnight Story".


title: Richard Crenna

text: Crenna appeared in 1956 on the television series "Father Knows Best", in the episode "The Promising Young Man," as a young man named Woody. In 1957, he played a bank robber on the "Cheyenne" television series (season 2, episode 19).


title: Richard Crenna

text: When the "Our Miss Brooks" TV series was canceled in 1957, Crenna was searching for a new series to showcase his talent. Crenna then joined the cast of the comedy series "The Real McCoys", as Luke McCoy – alongside veteran actor Walter Brennan, who played Grandpa Amos McCoy. Kathleen Nolan was cast as his young wife, Kate McCoy. Crenna ultimately became one of the series's four directors during its six-year run (1957–63).


title: Richard Crenna

text: Credited as "Dick Crenna," he directed eight episodes of "The Andy Griffith Show" during its 1963-1964 season including such gems as "Opie the Birdman," "The Sermon for Today," and the Gomer Pyle-instigated "Citizen's Arrest." Crenna also helmed "Henhouse," a 1977 episode of the CBS drama "Lou Grant" starring Ed Asner.


title: Richard Crenna

text: Crenna portrayed California state senator James Slattery in the CBS-TV series "Slattery's People" (1964–65). For his acting in this series, he was twice nominated for an Emmy Award with slightly different names: for "Outstanding Individual Achievements in Entertainment" and for "Outstanding Continued Performance by an Actor in a Leading Role in a Dramatic Series", both in 1965. Crenna was also nominated for a Golden Globe Award for "Best TV Star – Male" for this same role, again in 1965. In 1966, Crenna played beside Steve McQueen as an ill-fated captain of an American gunboat in 1920s China in "The Sand Pebbles".


title: Richard Crenna

text: During the 1970s, Crenna continued acting in such Western dramas such as "The Deserter", "Catlow", "The Man Called Noon", and "Breakheart Pass". He made a notable performance in Jean-Pierre Melville's final film "Un Flic" in 1972. In 1976, Crenna returned to weekly network television in the Norman Lear CBS sit-com "All's Fair", a political satire co-starring Bernadette Peters. Despite high expectations and good critical reviews, it lasted just a single season. The 1978 NBC-TV miniseries "Centennial", based on James A. Michener's historical novel of the same name, saw Crenna in the role of deranged religious fanatic Colonel Frank Skimmerhorn, who ordered the 1864 massacre of Colorado American Indians.


title: Richard Crenna

text: Crenna won an Emmy Award and a Golden Globe Award for Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television nomination for his performance in the title role of the 1985 film "The Rape of Richard Beck".


title: Richard Crenna

text: Crenna then played John Rambo's ex-commanding officer, Colonel Sam Trautman, in the first three "Rambo" films, a role for which he was hired after Kirk Douglas left the production a day into filming. Trautman became the veteran actor's most famous role; his performance received wide critical praise. He also spoofed the character in "Hot Shots! Part Deux" in 1993.


title: Richard Crenna

text: Crenna portrayed New York City Police Department lieutenant of detectives Frank Janek in a series of seven popular made-for-television films, beginning in 1988 and ending in 1994. The character of Janek had originally appeared in a series of novels by William Bayer.


title: Richard Crenna

text: Crenna developed pancreatic cancer and died of heart failure at age 76, on January 17, 2003, at Cedars-Sinai Medical Center with his wife, Penni, and his three adult children by his side, according to his daughter, Seana Crenna. His remains were cremated.


title: Ahmed I

text: Ahmed I ( ""; ; 18 April 1590 – 22 November 1617) was Sultan of the Ottoman Empire from 1603 until his death in 1617. Ahmed's reign is noteworthy for marking the first breach in the Ottoman tradition of royal fratricide; henceforth Ottoman rulers would no longer systematically execute their brothers upon accession to the throne. He is also well known for his construction of the Blue Mosque, one of the most famous mosques in Turkey.


title: Ahmed I

text: Ahmed was probably born in 18 April 1590 at the Manisa Palace, Manisa, when his father Şehzade Mehmed was still a prince and the governor of the Sanjak of Manisa. His mother was Handan Sultan. After his grandfather Murad III's death in 1595, his father came to Constantinople and ascended the throne as Sultan Mehmed III. Mehmed ordered the execution of his nineteen half brothers. Ahmed's elder brother Şehzade Mahmud was also executed by his father Mehmed on 7 June 1603, just before Mehmed's own death on 22 December 1603. Mahmud was buried along with his mother in a separate mausoleum built by Ahmed in Şehzade Mosque, Constantinople.


title: Ahmed I

text: Ahmed ascended the throne after his father's death in 1603, at the age of thirteen, when his powerful grandmother Safiye Sultan was still alive. With his accession to the throne, the power struggle in the harem flared up; Between his mother Handan Sultan and his grandmother Safiye Sultan, who in the previous reign had absolute power within the walls (behind the throne), in the end, with the support of Ahmed, the fight ended in favor of his mother, because his grandmother was too powerful and corrupt. A far lost uncle of Ahmed, Yahya, resented his accession to the throne and spent his life scheming to become Sultan. Ahmed broke with the traditional fratricide following previous enthronements and did not order the execution of his brother Mustafa. Instead, Mustafa was sent to live at the old palace at Bayezit along with their grandmother, Safiye Sultan. This was most likely due to Ahmed's young age - he had not yet demonstrated his ability to sire children, and Mustafa was then the only other candidate for the Ottoman throne. His brother's execution would have endangered the dynasty, and thus he was spared.


title: Ahmed I

text: His mother tried to interfere in his affairs and influence his decision, especially she wanted to control his communication and movements. In the earlier part of his reign, Ahmed I showed decision and vigor, which were belied by his subsequent conduct. The wars in Hungary and Persia, which attended his accession, terminated unfavourably for the empire. Its prestige was further tarnished in the Treaty of Zsitvatorok, signed in 1606, whereby the annual tribute paid by Austria was abolished. Following the crushing defeat in the Ottoman–Safavid War (1603–18) against the neighbouring rivals Safavid Empire, led by Shah Abbas the Great, Georgia, Azerbaijan and other vast territories in the Caucasus were ceded back to Persia per the Treaty of Nasuh Pasha in 1612, territories that had been temporarily conquered in the Ottoman–Safavid War (1578–90). The new borders were drawn per the same line as confirmed in the Peace of Amasya of 1555.


title: Ahmed I

text: During his reign the ruler of Morocco was Mulay Zidan whose father and predecessor Ahmad al-Mansur had paid a tribute of vassalage as a vassal of the Ottomans until his death. The Saadi civil wars had interrupted this tribute of vassalage, but Mulay Zidan proposed to submit to it in order to protect himself from Algiers, and so he resumed paying the tribute to the Ottomans.


title: Ahmed I

text: The Ottoman–Safavid War had begun shortly before the death of Ahmed's father Mehmed III. Upon ascending the throne, Ahmed I appointed Cigalazade Yusuf Sinan Pasha as the commander of the eastern army. The army marched from Constantinople on 15 June 1604, which was too late, and by the time it had arrived on the eastern front on 8 November 1604, the Safavid army had captured Yerevan and entered the Kars Eyalet, and could only be stopped in Akhaltsikhe. Despite the conditions being favourable, Sinan Pasha decided to stay for the winter in Van, but then marched to Erzurum to stop an incoming Safavid attack. This caused unrest within the army and the year was practically wasted for the Ottomans.


title: Ahmed I

text: In 1605, Sinan Pasha marched to take Tabriz, but the army was undermined by Köse Sefer Pasha, the Beylerbey of Erzurum, marching independently from Sinan Pasha and consequently being taken prisoner by the Safavids. The Ottoman army was routed at Urmia and had to flee firstly to Van and then to Diyarbekir. Here, Sinan Pasha sparked a rebellion by executing the Beylerbey of Aleppo, Canbulatoğlu Hüseyin Pasha, who had come to provide help, upon the pretext that he had arrived too late. He soon died himself and the Safavid army was able to capture Ganja, Shirvan and Shamakhi in Azerbaijan.


title: Ahmed I

text: The Long Turkish War between the Ottomans and the Habsburg monarchy had been going on for over a decade by the time Ahmed ascended the throne. Grand Vizier Malkoç Ali Pasha marched to the western front from Constantinople on 3 June 1604 and arrived in Belgrade, but died there, so Sokolluzade Lala Mehmed Pasha was appointed as the Grand Vizier and the commander of the western army. Under Mehmed Pasha, the western army recaptured Pest and Vác, but failed to capture Esztergom as the siege was lifted due to unfavourable weather and the objections of the soldiers. Meanwhile, the Prince of Transylvania, Stephen Bocskay, who struggled for the region's independence and had formerly supported the Habsburgs, sent a messenger to the Porte asking for help. Upon the promise of help, his forces also joined the Ottoman forces in Belgrade. With this help, the Ottoman army besieged Esztergom and captured it on 4 November 1605. Bocskai, with Ottoman help, captured Nové Zámky (Uyvar) and forces under Tiryaki Hasan Pasha took Veszprém and Palota. Sarhoş İbrahim Pasha, the Beylerbey of Nagykanizsa (Kanije), attacked the Austrian region of Istria.


title: Ahmed I

text: However, with Jelali revolts in Anatolia more dangerous than ever and a defeat in the eastern front, Mehmed Pasha was called to Constantinople. Mehmed Pasha suddenly died there, whilst preparing to leave for the east. Kuyucu Murad Pasha then negotiated the Peace of Zsitvatorok, which abolished the tribute of 30,000 ducats paid by Austria and addressed the Habsburg emperor as the equal of the Ottoman sultan. The Jelali revolts were a strong factor in the Ottomans' acceptance of the terms. This signaled the end of Ottoman growth in Europe.


title: Ahmed I

text: Resentment over the war with the Habsburgs and heavy taxation, along with the weakness of the Ottoman military response, combined to make the reign of Ahmed I the zenith of the Jelali revolts. Tavil Ahmed launched a revolt soon after the coronation of Ahmed I and defeated Nasuh Pasha and the Beylerbey of Anatolia, Kecdehan Ali Pasha. In 1605, Tavil Ahmed was offered the position of the Beylerbey of Shahrizor to stop his rebellion, but soon afterwards he went on to capture Harput. His son, Mehmed, obtained the governorship of Baghdad with a fake firman and defeated the forces of Nasuh Pasha sent to defeat him.


title: Ahmed I

text: Meanwhile, Canbulatoğlu Ali Pasha united his forces with the Druze Sheikh Ma'noğlu Fahreddin to defeat the Amir of Tripoli Seyfoğlu Yusuf. He went on to take control of the Adana area, forming an army and issuing coins. His forces routed the army of the newly appointed Beylerbey of Aleppo, Hüseyin Pasha. Grand Vizier Boşnak Dervish Mehmed Pasha was executed for the weakness he showed against the Jelalis. He was replaced by Kuyucu Murad Pasha, who marched to Syria with his forces to defeat the 30,000-strong rebel army with great difficulty, albeit with a decisive result, on 24 October 1607. Meanwhile, he pretended to forgive the rebels in Anatolia and appointed the rebel Kalenderoğlu, who was active in Manisa and Bursa, as the sanjakbey of Ankara. Baghdad was recaptured in 1607 as well. Canbulatoğlu Ali Pasha fled to Constantinople and asked for forgiveness from Ahmed I, who appointed him to Timișoara and later Belgrade, but then executed him due to his misrule there. Meanwhile, Kalenderoğlu was not allowed in the city by the people of Ankara and rebelled again, only to be crushed by Murad Pasha's forces. Kalenderoğlu ended up fleeing to Persia. Murad Pasha then suppressed some smaller revolts in Central Anatolia and suppressed other Jelali chiefs by inviting them to join the army.


title: Ahmed I

text: Due to the widespread violence of the Jelali revolts, a great number of people had fled their villages and a lot of villages were destroyed. Some military chiefs had claimed these abandoned villages as their property. This deprived the Porte of tax income and on 30 September 1609, Ahmed I issued a letter guaranteeing the rights of the villagers. He then worked on the resettlement of abandoned villages.


title: Ahmed I

text: The new Grand Vizier, Nasuh Pasha, did not want to fight with the Safavids. The Safavid Shah also sent a letter saying that he was willing to sign a peace treaty, with which he would have to send 200 loads of silk every year to Constantinople. On 20 November 1612, the Treaty of Nasuh Pasha was signed, which ceded all the lands the Ottoman Empire had gained in the war of 1578–90 back to Persia and reinstated the 1555 boundaries.


title: Ahmed I

text: However, the peace ended in 1615 when the Shah did not send the 200 loads of silk. On 22 May 1615, Grand Vizier Öküz Mehmed Pasha was assigned to organize an attack on Persia. Mehmed Pasha delayed the attack till the next year, until when the Safavids made their preparations and attacked Ganja. In April 1616, Mehmed Pasha left Aleppo with a large army and marched to Yerevan, where he failed to take the city and withdrew to Erzurum. He was removed from his post and replaced by Damat Halil Pasha. Halil Pasha went for the winter to Diyarbekir, while the Khan of Crimea, Canibek Giray, attacked the areas of Ganja, Nakhichevan and Julfa.


title: Ahmed I

text: Ahmed I renewed trade treaties with England, France and Venice. In July 1612, the first ever trade treaty with the Dutch Republic was signed. He expanded the capitulations given to France, specifying that merchants from Spain, Ragusa, Genoa, Ancona and Florence could trade under the French flag.


title: Ahmed I

text: Sultan Ahmed constructed the Sultan Ahmed Mosque, the magnum opus of the Ottoman architecture, across from the Hagia Sophia. The sultan attended the breaking of the ground with a golden pickaxe to begin the construction of the mosque complex. An incident nearly broke out after the sultan discovered that the Blue Mosque contained the same number of minarets as the grand mosque of Mecca. Ahmed became furious at this fault and became remorseful until the Shaykh-ul-Islam recommended that he should erect another minaret at the grand mosque of Mecca and the matter was solved.


title: Ahmed I

text: Ahmed became delightedly involved in the eleventh comprehensive renovations of the Kaaba, which had just been damaged by flooding. He sent craftsmen from Constantinople, and the golden rain gutter that kept rain from collecting on the roof of the Ka’ba was successfully renewed. It was again during the era of Sultan Ahmed that an iron web was placed inside the Zamzam Well in Mecca. The placement of this web about three feet below the water level was a response to lunatics who jumped into the well, imagining a promise of a heroic death.


title: Ahmed I

text: In Medina, the city of the Islamic prophet Muhammad, a new pulpit made of white marble and shipped from Istanbul arrived in the mosque of Muhammad and substituted the old, worn-out pulpit. It is also known that Sultan Ahmed erected two more mosques in Uskudar on the Asian side of Istanbul; however, neither of them has survived.


title: Ahmed I

text: The sultan had a crest carved with the footprint of Muhammad that he would wear on Fridays and festive days and illustrated one of the most significant examples of affection to Muhammad in Ottoman history. Engraved inside the crest was a poem he composed:


title: Ahmed I

text: Sultan Ahmed was known for his skills in fencing, poetry, horseback riding, and fluency in several languages.


title: Ahmed I

text: Ahmed was a poet who wrote a number of political and lyrical works under the name Bahti. Ahmed patronized scholars, calligraphers, and pious men. Hence, he commissioned a book entitled "The Quintessence of Histories" to be worked upon by calligraphers. He also attempted to enforce conformance to Islamic laws and traditions, restoring the old regulations that prohibited alcohol, and he attempted to enforce attendance at Friday prayers and paying alms to the poor in the proper way.


title: Ahmed I

text: Ahmed I died of typhus and gastric bleeding on 22 November 1617 at the Topkapı Palace, Istanbul. He was buried in Ahmed I Mausoleum, Sultan Ahmed Mosque. He was succeeded by his younger half-brother Şehzade Mustafa as Sultan Mustafa I. Later three of Ahmed's sons ascended to the throne: Osman II (r. 1618–22), Murad IV (r. 1623–40) and Ibrahim (r. 1640–48).


title: Ahmed I

text: Ahmed had two known consorts, plus several unknown concubines, mothers of the other princes and princesses.


title: Ahmed I

text: Today, Ahmed I is remembered mainly for the construction of the Sultan Ahmed Mosque (also known as the Blue Mosque), one of the masterpieces of Islamic architecture. The area in Fatih around the Mosque is today called Sultanahmet. He died at Topkapı Palace in Constantinople and is buried in a mausoleum right outside the walls of the famous mosque.


title: Achondroplasia

text: Achondroplasia is a genetic disorder with an autosomal dominant pattern of inheritance whose primary feature is dwarfism. In those with the condition, the arms and legs are short, while the torso is typically of normal length. Those affected have an average adult height of for males and for females. Other features can include an enlarged head and prominent forehead. Complications can include sleep apnea or recurrent ear infections. Achondroplasia includes short-limb skeletal dysplasia with severe combined immunodeficiency.


title: Achondroplasia

text: Achondroplasia is caused by a mutation in the fibroblast growth factor receptor 3 ("FGFR3") gene that results in its protein being overactive. Achondroplasia results in impaired endochondral bone growth (bone growth within cartilage). The disorder has an autosomal dominant mode of inheritance, meaning only one mutated copy of the gene is required for the condition to occur. About 80% of cases occur in children of parents of average stature and result from a new mutation, which most commonly originates as a spontaneous change during spermatogenesis. The rest are inherited from a parent with the condition. The risk of a new mutation increases with the age of the father. In families with two affected parents, children who inherit both affected genes typically die before birth or in early infancy from breathing difficulties. The condition is generally diagnosed based on the clinical features but may be confirmed by genetic testing.


title: Achondroplasia

text: Treatments may include support groups and growth hormone therapy. Efforts to treat or prevent complications such as obesity, hydrocephalus, obstructive sleep apnea, middle ear infections or spinal stenosis may be required. Achondroplasia is the most common cause of dwarfism and affects about 1 in 27,500 people.


title: Achondroplasia

text: Children with achondroplasia often have less muscle tone; because of this it is common for them to have delayed walking and motor skills. It is also common for children to have bowed legs, scoliosis, lordosis, arthritis, issues with joint flexibility, breathing problems, ear infections, and crowded teeth. These issues can be treated with surgery, braces, or physical therapy.


title: Achondroplasia

text: Hydrocephalus is a severe effect associated with achondroplasia in children. This condition occurs when cerebrospinal fluid is not able to flow in and out of the skull because of how the spine narrows. This fluid build up is associated with an enlarged head, vomiting, lethargy, headaches, and irritability. A shunt surgery is commonly performed to treat this condition, but an endoscopic third ventriculostomy can also be done.


title: Achondroplasia

text: Adults with achondroplasia often face issues with obesity and sleep apnea. It is also typical for adults to experience numbness or tingling in their legs because of nerve compression.


title: Achondroplasia

text: Some research has found that adults with achondroplasia may also experience psychosocial complications, usually associated with short stature.


title: Achondroplasia

text: Pregnancy in women with achondroplasia is considered higher risk. Women with achondroplasia generally have their babies delivered through C-sections to prevent complications that could occur with a natural birth. The life expectancy of people with achondroplasia is approximately 10 years less than average.


title: Achondroplasia

text: Achondroplasia is caused by a mutation in fibroblast growth factor receptor 3 ("FGFR3") gene. This gene encodes a protein called fibroblast growth factor receptor 3, which contributes to the production of collagen and other structural components in tissues and bones. When the FGFR3 gene is mutated it interferes with how this protein interacts with growth factors leading to complications with bone production. Cartilage is not able to fully develop into bone, causing the individual to be disproportionately shorter in height.


title: Achondroplasia

text: In normal development "FGFR3" has a negative regulatory effect on bone growth. In achondroplasia, the mutated form of the receptor is constitutively active and this leads to severely shortened bones. The effect is genetically dominant, with one mutant copy of the "FGFR3" gene being sufficient to cause achondroplasia, while two copies of the mutant gene are invariably fatal (recessive lethal) before or shortly after birth (known as a lethal allele). This occurs due to respiratory failure from an underdeveloped ribcage. A person with achondroplasia thus has a 50% chance of passing dwarfism to each of their offspring. People with achondroplasia are often born to parents that do not have the condition due to spontaneous mutation.


title: Achondroplasia

text: Achondroplasia can be inherited through autosomal dominance. In couples where one partner has achondroplasia there is a 50% chance of passing the disorder on to their child every pregnancy. In situations where both parents have achondroplasia there is a 50% chance the child will have achondroplasia, 25% chance the child will not, and a 25% chance that the child will inherit the gene from both parents resulting in "double dominance" and leading to severe or lethal bone dysplasia.


title: Achondroplasia

text: Studies have demonstrated that new gene mutations for achondroplasia are exclusively inherited from the father and occur during spermatogenesis; it has been theorized that sperm carrying the mutation in FGFR3 have a selective advantage over sperm with normal FGFR3. The frequency of mutations in sperm leading to achondroplasia increases in proportion to paternal age, as well as in proportion to exposure to ionizing radiation. The occurrence rate of achondroplasia in the children of fathers over 50 years of age is 1 in 1,875, compared to 1 in 15,000 in the general population. Research by urologist Harry Fisch of the Male Reproductive Center at Columbia Presbyterian Hospital in 2013 indicated that in humans this defect may be exclusively inherited from the father and becomes increasingly probable with paternal age, specifically males reproducing after 35.


title: Achondroplasia

text: There are two other syndromes with a genetic basis similar to achondroplasia: hypochondroplasia and thanatophoric dysplasia.


title: Achondroplasia

text: Achondroplasia can be detected before birth by prenatal ultrasound, although signs are often subtle and not apparent before the 24th week of pregnancy. A DNA test can be performed before birth to detect homozygosity, wherein two copies of the mutant gene are inherited, a lethal condition leading to stillbirths. Postnatal diagnosis of achondroplasia is typically uncomplicated, involving an assessment of physical and radiographic features. Clinical features include megalocephaly, short limbs, prominent forehead, thoracolumbar kyphosis and mid-face hypoplasia. Complications like dental malocclusion, hydrocephalus and repeated otitis media can be observed. The risk of death in infancy is increased due to the likelihood of compression of the spinal cord with or without upper airway obstruction.


title: Achondroplasia

text: A skeletal survey is useful to confirm the diagnosis of achondroplasia. The skull is large, with a narrow foramen magnum, and relatively small skull base. The vertebral bodies are short and flattened with relatively large intervertebral disk height, and there is congenitally narrowed spinal canal. The iliac wings are small and squared, with a narrow sciatic notch and horizontal acetabular roof. The tubular bones are short and thick with metaphyseal cupping and flaring and irregular growth plates. Fibular overgrowth is present. The hand is broad with short metacarpals and phalanges, and a trident configuration. The ribs are short with cupped anterior ends. If the radiographic features are not classic, a search for a different diagnosis should be entertained. Because of the extremely deformed bone structure, people with achondroplasia are often "double jointed". The diagnosis can be made by fetal ultrasound by progressive discordance between the short femur length and biparietal diameter by age. The trident hand configuration can be seen if the fingers are fully extended.


title: Achondroplasia

text: There is no known cure for achondroplasia even though the cause of the mutation in the growth factor receptor has been found. Although used by those without achondroplasia to aid in growth, human growth hormone does not help people with achondroplasia, which involve a different hormonal pathway. Usually, the best results appear within the first and second year of therapy. After the second year of growth hormone therapy, beneficial bone growth decreases, so the therapy is not a satisfactory long-term treatment. As of December 2020, the treatment of achondroplasia with human growth hormone was approved only in Japan.


title: Achondroplasia

text: An experimental drug called vosoritide has shown promise in stage 3 human trials, although its long-term effects are unknown.


title: Achondroplasia

text: Limb-lengthening will increase the length of the legs and arms of someone with achondroplasia, but little medical consensus exists regarding this practice. The age of surgery can vary from early childhood to adulthood.


title: Achondroplasia

text: Research has also shown that introducing parents of children with achondroplasia to support and advocacy groups at the time of diagnosis can improve outcomes. Several patient advocacy groups exist to support people with achondroplasia and their families.


title: Achondroplasia

text: Achondroplasia is one of several congenital conditions with similar presentations, such as osteogenesis imperfecta, multiple epiphyseal dysplasia tarda, achondrogenesis, osteopetrosis, and thanatophoric dysplasia. This makes estimates of prevalence difficult, with changing and subjective diagnostic criteria over time. One detailed and long-running study in the Netherlands found that the prevalence determined at birth was only 1.3 per 100,000 live births. Another study at the same time found a rate of 1 per 10,000. A 2020 review and meta-analysis estimated a worldwide prevalence of 4.6 per 100,000.


title: Achondroplasia

text: , tentative evidence has found that the experimental peptide drug vosoritide increases growth velocity in those with achondroplasia. The drug inhibits the activity of "FGFR3".


title: Achondroplasia

text: Based on their disproportionate dwarfism, some dog breeds traditionally have been classified as "achondroplastic". This is the case for the dachshund, basset hound, corgi and bulldog breeds. Data from whole genome association studies in short-limbed dogs reveal a strong association of this trait with a retro-gene coding for fibroblast growth factor 4 (FGF4). Therefore, it seems unlikely that dogs and humans are achondroplastic for the same reasons. However, histological studies in some achondroplastic dog breeds have shown altered cell patterns in cartilage that are very similar to those observed in humans exhibiting achondroplasia.


title: Achondroplasia

text: A similar form of achondroplasia was found in a litter of piglets from a phenotypically normal Danish sow. The dwarfism was inherited dominant in the offspring from this litter. The piglets were born phenotypically normal, but became more and more symptomatic as they reached maturity. This involved a mutation of the protein collagen, type X, alpha 1, encoded by the COL10A1 gene. In humans a similar mutation (G595E) has been associated with Schmid metaphyseal chondrodysplasia (SMCD), a relatively mild skeletal disorder that is also associated with dwarfism.


title: Achondroplasia

text: The now-extinct Ancon sheep was created by humans through the selective breeding of common domestic sheep with achondroplasia. The average-sized torso combined with the relatively smaller legs produced by achondroplasia was valued for making affected sheep less likely to escape without affecting the amount of wool or meat each sheep produced.


title: David Hockney

text: David Hockney (born 9 July 1937) is an English painter, draftsman, printmaker, stage designer, and photographer. As an important contributor to the pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th century.


title: David Hockney

text: Hockney has owned residences and studios in Bridlington, and London, as well as two residences in California, where he has lived intermittently since 1964: one in the Hollywood Hills, one in Malibu, and an office and archives on Santa Monica Boulevard in West Hollywood, California.


title: David Hockney

text: On 15 November 2018, Hockney's 1972 work "Portrait of an Artist (Pool with Two Figures)" sold at Christie's auction house in New York City for $90 million (£70 million), becoming the most expensive artwork by a living artist sold at auction. This broke the previous record, set by the 2013 sale of Jeff Koons' "Balloon Dog (Orange)" for $58.4 million. Hockney held this record until 15 May 2019 when Koons reclaimed the honour selling his "Rabbit" for more than $91 million at Christie's in New York.


title: David Hockney

text: David Hockney was born in Bradford, West Riding of Yorkshire, England, to Laura and Kenneth Hockney, a conscientious objector in the Second World War, the fourth of five children. He was educated at Wellington Primary School, Bradford Grammar School, Bradford College of Art (where his teachers included Frank Lisle and his fellow students included Derek Boshier, Pauline Boty, Norman Stevens, David Oxtoby and John Loker) and the Royal College of Art in London, where he met R. B. Kitaj. While there, Hockney said he felt at home and took pride in his work.


title: David Hockney

text: At the Royal College of Art, Hockney featured in the exhibition "Young Contemporaries" – alongside Peter Blake – that announced the arrival of British Pop art. He was associated with the movement, but his early works display expressionist elements, similar to some works by Francis Bacon. When the RCA said it would not let him graduate if he did not complete an assignment of a life drawing of a live model in 1962, Hockney painted "Life Painting for a Diploma" in protest. He had refused to write an essay required for the final examination, saying he should be assessed solely on his artworks. Recognizing his talent and growing reputation, the RCA changed its regulations and awarded the diploma. After leaving the RCA, he taught at Maidstone College of Art for a short time. He taught at the University of Iowa in 1964. Hockney also taught at the University of Colorado, Boulder in 1965. Then taught at the University of California, Los Angeles from 1966-1967, followed by the University of California, Berkeley in 1967.


title: David Hockney

text: In 1964, Hockney moved to Los Angeles, where he was inspired to make a series of paintings of swimming pools in the comparatively new acrylic medium using vibrant colours. He lived back and forth among Los Angeles, London, and Paris in the late 1960s to 1970s. In 1974 he began a decade-long personal relationship with Gregory Evans who moved with him to the US in 1976 and as of 2019 remains a business partner. In 1978 he rented a house in the Hollywood Hills, and later bought and expanded it to include his studio. He also owned a 1,643-square-foot beach house at 21039 Pacific Coast Highway in Malibu, which he sold in 1999 for around $1.5 million.


title: David Hockney

text: In the 1990s, Hockney returned more frequently to Yorkshire, usually every three months, to visit his mother who died in 1999. Until 1997, he rarely stayed for more than two weeks, when his friend Jonathan Silver who was terminally ill encouraged him to capture the local surroundings. He did this at first with paintings based on memory, some from his boyhood. In 1998, he completed the painting of the Yorkshire landmark, Garrowby Hill. Hockney returned to Yorkshire for longer and longer stays, and by 2003 was painting the countryside en plein air in both oils and watercolour. He set up residence and studio in a converted bed and breakfast, in the seaside town of Bridlington, about from where he was born. The oil paintings he produced after 2005 were influenced by his intensive studies in watercolour, a series titled "Midsummer: East Yorkshire" (2003–2004). He created paintings made of multiple smaller canvases—two to fifty—placed together. To help him visualise work at that scale, he used digital photographic reproductions to study the day's work.


title: David Hockney

text: In spring 2019 Hockney stayed at La Grande Cour, a farmhouse and studio in Normandy, during the global COVID-19 pandemic.


title: David Hockney

text: Hockney has experimented with painting, drawing, printmaking, watercolours, photography, and many other media including a fax machine, paper pulp, computer applications and iPad drawing programs. The subject matter of interest ranges from still lifes to landscapes, portraits of friends, his dogs, and stage designs for the Royal Court Theatre, Glyndebourne, and the Metropolitan Opera in New York City.


title: David Hockney

text: Hockney has always returned to painting portraits throughout his career. From 1968, and for the next few years, he painted portraits and double portraits of friends, lovers, and relatives just under life-size in a realistic style that adroitly captured the likenesses of his subjects. Hockney has repeatedly been drawn to the same subjects – his family, employees, artists Mo McDermott and Maurice Payne, various writers he has known, fashion designers Celia Birtwell and Ossie Clark ("Mr. and Mrs. Clark and Percy", 1970–71), curator Henry Geldzahler, art dealer Nicholas Wilder, George Lawson and his ballet dancer lover, Wayne Sleep, and also his romantic interests throughout the years, including Peter Schlesinger and Gregory Evans. Perhaps more than all of these, Hockney has turned to his own figure year after year, creating over 300 self-portraits.


title: David Hockney

text: From 1999 to 2001 Hockney used a camera lucida for his research into art history as well as his own work in the studio. He created over 200 drawings of friends, family, and himself using this antique lens-based device.


title: David Hockney

text: In 2016, the Royal Academy exhibited Hockney's series entitled "82 Portraits and 1 Still-life" which traveled to Ca' Pesaro in Venice, Italy, and the Guggenheim Museum Bilbao, in 2017 and to the Los Angeles County Museum of Art in 2018. Hockney calls the paintings started in 2013 "twenty-hour exposures" because each sitting took six to seven hours on three consecutive days.


title: David Hockney

text: Hockney experimented with printmaking as early as a lithograph "Self-Portrait" in 1954 and worked in etchings during his time at RCA. In 1965, the print workshop Gemini G.E.L. approached him to create a series of lithographs with a Los Angeles theme. Hockney responded by creating "The Hollywood Collection", a series of lithographs recreating the art collection of a Hollywood star, each piece depicting an imagined work of art within a frame. Hockney went on to produce many other portfolios with Gemini G.E.L. including "Friends, The Weather Series," and "Some New Prints". During the 1960s he produced several series of prints he thought of as 'graphic tales', including "A Rake’s Progress" (1961–63) after Hogarth, "Illustrations for Fourteen Poems from C.P. Cavafy" (1966) and "Illustrations for Six Fairy Tales from the Brothers Grimm" (1969).


title: David Hockney

text: In 1973 Hockney began a fruitful collaboration with Aldo Crommelynck, Picasso's preferred printer. In his atelier, he adopted Crommelynck's trademark sugar lift, as well as a system of the master's own devising of imposing a wooden frame onto the plate to ensure colour separation. Their early work together included "Artist and Model" (1973–74) and "Contrejour in the French Style" (1974). In 1976 Hockney created a portfolio of 20 etchings at Crommelynck's atelier, "The Blue Guitar: Etchings By David Hockney Who Was Inspired By Wallace Stevens Who Was Inspired By Pablo Picasso". The etchings refer to themes in a poem by Wallace Stevens, "The Man with the Blue Guitar". It was published by Petersburg Press in October 1977. That year, Petersburg also published a book, in which the images were accompanied by the poem's text.


title: David Hockney

text: In the summer of 1978, David Hockney stayed 6 weeks with his friend the printer Ken Tyler at Tyler's studio in New York, Tyler Graphics Ltd. Tyler invited Hockney to try a new technique with liquid paper. The process is painting with the paper itself, so the artist had to do it himself by hand. Each image becomes a unique work between printmaking and painting. In 6 weeks, Hockney created a total of 29 artworks with a series of 17 sunflowers and swimming pools. Many of the works are very similar, differentiated by changes in colour choice and application of the colour. Some are solely coloured using paper pulp, while some use spray paint to achieve certain details.


title: David Hockney

text: Some of Hockney's other print portfolios include "Home Made Prints" (1986), "Recent Etchings" (1998) and "Moving Focus" (1984–1986), which contains lithographs related to "A Walk Around the Hotel Courtyard, Acatlan." A retrospective of his prints, including 'computer drawings' printed on fax machines and inkjet printers, was exhibited at Dulwich Picture Gallery in London 5 February – 11 May 2014 and Bowes Museum, County Durham 7 June – 28 September 2014, with an accompanying publication "Hockney, Printmaker" by Richard Lloyd.


title: David Hockney

text: In the early 1980s, Hockney began to produce photo collages—which in his early explorations within his personal photo albums he referred to as "joiners"—first using Polaroid prints and subsequently 35mm, commercially processed colour prints. Using Polaroid snaps or photolab-prints of a single subject, Hockney arranged a patchwork to make a composite image. Because the photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, one of Hockney's major aims—discussing the way human vision works. Some pieces are landscapes, such as "Pearblossom Highway #2", others portraits, such as "Kasmin 1982," and "My Mother, Bolton Abbey, 1982."


title: David Hockney

text: Creation of the "joiners" occurred accidentally. He noticed in the late sixties that photographers were using cameras with wide-angle lenses. He did not like these photographs because they looked somewhat distorted. While working on a painting of a living room and terrace in Los Angeles, he took Polaroid shots of the living room and glued them together, not intending for them to be a composition on their own. On looking at the final composition, he realised it created a narrative, as if the viewer moved through the room. He began to work more with photography after this discovery and stopped painting for a while to exclusively pursue this new technique.


title: David Hockney

text: Over time, however, he discovered what he could "not" capture with a lens, saying: "Photography seems to be rather good at portraiture, or can be. But, it can't tell you about space, which is the essence of landscape. For me anyway. Even Ansel Adams can't quite prepare you for what Yosemite looks like when you go through that tunnel and you come out the other side." Frustrated with the limitations of photography and its 'one-eyed' approach, he returned to painting.


title: David Hockney

text: In December 1985 Hockney used the Quantel Paintbox, a computer program that allowed the artist to sketch directly onto the screen. The resulting work was featured in a BBC series that profiled several artists. In 1999–2001, David's sister, Margaret, began experimenting with digital photography, scanning and computer printing, particularly making images of flowers scanning a small Japanese vase and fresh flowers. In 2003, she was experimenting with Photoshop, scanning summer flowers and building up images in layers which Margaret printed out on an A3 printer. In 2004, David went to stay with Margaret and she helped him scan his sketchbook of Yorkshire landscape and David soon began using a Wacom pad and pen directly into Photoshop.


title: David Hockney

text: Since 2009, Hockney has painted hundreds of portraits, still lifes and landscapes using the Brushes iPhone and iPad application, often sending them to his friends. In 2010 and 2011, Hockney visited Yosemite National Park to draw its landscape on his iPad. He used an iPad in designing a stained glass window at Westminster Abbey which celebrated the reign of Queen Elizabeth II. Unveiled in September 2018, the Queen's Window is located in the north transept of the Abbey and features a hawthorn blossom scene which is set in Yorkshire.


title: David Hockney

text: From 2010 to 2014, Hockney created multi-camera movies using three to eighteen cameras to record a single scene. He filmed the landscape of Yorkshire in various seasons, jugglers and dancers, and his own exhibitions within the de Young Museum and the Royal Academy of Arts.


title: David Hockney

text: Hockney's earlier photocollages influenced his shift to another medium, digital photography. He combined hundreds of photographs to create multi-viewpoint "photographic drawings" of groups of his friends in 2014. Hockney picked the process back up in 2017, this time using the more advanced Agisoft PhotoScan photogrammetric software which allowed him to stitch together and rearrange thousands of photos. The resulting images were printed out as massive photomurals and were exhibited at Pace Gallery and LACMA in 2018.


title: David Hockney

text: In June 2007, Hockney's largest painting, "Bigger Trees Near Warter or/ou Peinture sur le Motif pour le Nouvel Age Post-Photographique", which measures , was hung in the Royal Academy's largest gallery in its annual Summer Exhibition. This work "is a monumental-scale view of a coppice in Hockney's native Yorkshire, between Bridlington and York. It was painted on 50 individual canvases, mostly working in situ, over five weeks last winter." In 2008, he donated it to Tate in London, saying: "I thought if I'm going to give something to the Tate I want to give them something really good. It's going to be here for a while. I don't want to give things I'm not too proud of... I thought this was a good painting because it's of England... it seems like a good thing to do." The painting was the subject of a BBC1 Imagine film documentary by Bruno Wollheim called "David Hockney: A Bigger Picture" (2009) which followed Hockney as he worked outdoors over the preceding two years.


title: David Hockney

text: Hockney's first stage designs were for "Ubu Roi" at London's Royal Court Theatre in 1966, Stravinsky's "The Rake's Progress" at the Glyndebourne Festival Opera in England in 1975, and "The Magic Flute" for Glyndebourne in 1978. In 1980, he agreed to design sets and costumes for a 20th-century French triple bill at the Metropolitan Opera House with the title "Parade." The works were "Parade", a ballet with music by Erik Satie; "Les mamelles de Tirésias", an opera with libretto by Guillaume Apollinaire and music by Francis Poulenc, and "L'enfant et les sortilèges", an opera with libretto by Colette and music by Maurice Ravel. The reimagined set of "L'enfant et les sortilèges" from the 1983 exhibition "Hockney Paints the Stage" is a permanent installation at the Spalding House branch of the Honolulu Museum of Art. He designed sets for another triple bill of Stravinsky's "Le sacre du printemps, Le rossignol," and "Oedipus Rex" for the Metropolitan Opera in 1981 as well as Richard Wagner's "Tristan und Isolde" for the Los Angeles Music Center Opera in 1987, Puccini's "Turandot" in 1991 at the Chicago Lyric Opera, and Richard Strauss's "Die Frau ohne Schatten" in 1992 at the Royal Opera House in London. In 1994, he designed costumes and scenery for twelve opera arias for the TV broadcast of Plácido Domingo's "Operalia" in Mexico City. Technical advances allowed him to become increasingly complex in model-making. At his studio he had a proscenium opening by in which he built sets in 1:8 scale. He also used a computerised setup that let him punch in and program lighting cues at will and synchronise them to a soundtrack of the music.


title: David Hockney

text: In 2017, Hockney was awarded the San Francisco Opera Medal on the occasion of the revival and restoration of his production for "Turandot".


title: David Hockney

text: The majority of Hockney's theater works and stage design studies are found in the collection of The David Hockney Foundation.


title: David Hockney

text: David Hockney has been featured in over 400 solo exhibitions and over 500 group exhibitions. He had his first one-man show at Kasmin Limited when he was 26 in 1963, and by 1970 the Whitechapel Gallery in London had organised the first of several major retrospectives, which subsequently travelled to three European institutions. LACMA also hosted a retrospective exhibition in 1988 which travelled to The Met, New York, and Tate, London. In 2004, he was included in the cross-generational Whitney Biennial, where his portraits appeared in a gallery with those of a younger artist he had inspired, Elizabeth Peyton.


title: David Hockney

text: In October 2006, the National Portrait Gallery in London organised one of the largest ever displays of Hockney's portraiture work, including 150 paintings, drawings, prints, sketchbooks, and photocollages from over five decades. The collection ranged from his earliest self-portraits to work he completed in 2005. Hockney assisted in displaying the works and the exhibition, which ran until January 2007, was one of the gallery's most successful. In 2009, "David Hockney: Just Nature" attracted some 100,000 visitors at the Kunsthalle Würth in Schwäbisch Hall, Germany.


title: David Hockney

text: From 21 January 2012 to 9 April 2012, the Royal Academy presented , which included more than 150 works, many of which take entire walls in the gallery's brightly lit rooms. The exhibition is dedicated to landscapes, especially trees and tree tunnels of his native Yorkshire. Works included oil paintings, watercolours, and drawings created on an iPad and printed on paper. Hockney said, in a 2012 interview, "It's about big things. You can make paintings bigger. We're also making photographs bigger, videos bigger, all to do with drawing." The exhibition drew more than 600,000 visitors in under 3 months. The exhibition moved to the Guggenheim Museum in Bilbao, Spain from 15 May to 30 September, and from there to the Ludwig Museum in Cologne, Germany, between 27 October 2012 and 3 February 2013.


title: David Hockney

text: From 26 October 2013 to 30 January 2014 "David Hockney: A Bigger Exhibition" was presented at the de Young Museum, one of the Fine Arts Museums of San Francisco. The largest solo exhibition Hockney has had, with 397 works of art in more than 18,000 square feet, was curated by Gregory Evans and included the only public showing of "The Great Wall", developed during research for "Secret Knowledge", and works from 1999 to 2013 in a variety of media from camera lucida drawings to watercolours, oil paintings, and digital works.


title: David Hockney

text: From 9 February to 29 May 2017 "David Hockney" was presented at the Tate Britain, becoming the gallery's most visited exhibition ever. The exhibition marked Hockney's 80th year and gathered together "an extensive selection of David Hockney’s most famous works celebrating his achievements in painting, drawing, print, photography and video across six decades". The show then travelled to Centre Georges Pompidou in Paris and The Metropolitan Museum of Art. The wildly popular retrospective landed among the top ten ticketed exhibitions in London and Paris for 2017 with over 4,000 visitors per day at the Tate and over 5,000 visitors per day in Paris.


title: David Hockney

text: After the blockbuster exhibitions in 2017 of the works of decades past, Hockney moved right along to show his newest paintings on hexagonal canvases and mural-size 3D photographic drawings at Pace Gallery in 2018. He revisited paintings of Garrowby Hill, the Grand Canyon, and Nichols Canyon Road, this time painting them on hexagonal canvases to enhance aspects of reverse perspective. In 2019, his early work featured in his native Yorkshire at The Hepworth Wakefield.


title: David Hockney

text: Hockney came out as gay at the age of 23, while studying at the Royal College of Art in London. Britain decriminalised homosexual acts seven years later in the Sexual Offences Act 1967. Hockney has explored the nature of gay love in his work, such in as the painting "We Two Boys Together Clinging" (1961), named after a poem by Walt Whitman. In 1963 he painted two men together in the painting "Domestic Scene, Los Angeles", one showering while the other washes his back. In the summer of 1966, while teaching at UCLA, he met Peter Schlesinger, an art student who posed for paintings and drawings, and with whom he became romantically involved. Another of Hockney's romantic partners was the subject of his work was Gregory Evans; the two met in 1971 and began a relationship in 1974. While no longer romantically involved, they still work together, with Evans managing the David Hockney Studio. Hockney’s current partner is longtime companion Jean-Pierre Gonçalves de Lima. Also known as JP, he also works with Hockney in his studio as his chief assistant.


title: David Hockney

text: On the morning of 18 March 2013, Hockney's 23-year-old assistant, Dominic Elliott, died as a result of drinking drain cleaner at Hockney's Bridlington studio; he had also earlier drunk alcohol and taken cocaine, ecstasy and temazepam. Elliott was a first- and second-team player for Bridlington Rugby Club. It was reported that Hockney's partner drove Elliott to Scarborough General Hospital where he later died. The inquest returned a verdict of death by misadventure and Hockney was never implicated. In November 2015 Hockney sold his house in Bridlington, a five-bedroomed former guest house, for £625,000, cutting all his remaining ties with the town.


title: David Hockney

text: He holds a California Medical Marijuana Verification Card, which enables him to buy cannabis for medical purposes. He has used hearing aids since 1979, but realised he was going deaf long before that. As of 2018, he kept fit by spending half an hour in the swimming pool each morning, and could stand for six hours at the easel.


title: David Hockney

text: Many of Hockney's works are housed in the 1853 Gallery at Salts Mill in Saltaire, near his hometown of Bradford. Another large group of works are held by The David Hockney Foundation. His work is in numerous public and private collections worldwide, including:


title: David Hockney

text: In 1967, Hockney's painting, "Peter Getting Out of Nick's Pool", won the John Moores Painting Prize at the Walker Art Gallery in Liverpool. Hockney was offered a knighthood in 1990 but declined, before accepting an Order of Merit in January 2012. He was awarded The Royal Photographic Society's Progress medal in 1988 and the Special 150th Anniversary Medal and Honorary Fellowship in recognition of a sustained, significant contribution to the art of photography in 2003. He was made a Companion of Honour in 1997 and awarded The Cultural Award from the German Society for Photography (DGPh). He is a Royal Academician. In 2012, he was appointed to the Order of Merit, an honour restricted to 24 members at any one time for their contributions to the arts and sciences.


title: David Hockney

text: He was a Distinguished Honoree of the National Arts Association, Los Angeles, in 1991 and received the First Annual Award of Achievement from the Archives of American Art, Los Angeles, in 1993. He was appointed to the board of trustees of the American Associates of the Royal Academy Trust, New York in 1992 and was given a Foreign Honorary Membership to the American Academy of Arts and Sciences, Cambridge, Massachusetts in 1997. In 2003, Hockney was awarded the Lorenzo de' Medici Lifetime Career Award of the Florence Biennale, Italy.


title: David Hockney

text: Commissioned by The Other Art Fair, a November 2011 poll of 1,000 British painters and sculptors declared him Britain's most influential artist of all time. In 2012, Hockney was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" album cover – to celebrate the British cultural figures of his life that he most admires.


title: David Hockney

text: On 21 June 2006, Hockney's painting "The Splash" sold for £2.6 million. It was offered for auction again on 11 February 2020, with an estimate of £20–30 million and sold, to an unknown buyer, for £23.1 million.


title: David Hockney

text: His "A Bigger Grand Canyon", a series of 60 canvases that combined to produce one enormous picture, was bought by the National Gallery of Australia for $4.6 million.


title: David Hockney

text: "Beverly Hills Housewife" (1966–67), a 12-foot-long acrylic that depicts the collector Betty Freeman standing by her pool in a long hot-pink dress, sold for $7.9 million at Christie's in New York in 2008, the top lot of the sale and a record price for a Hockney. This was topped in 2016 when his "Woldgate Woods" landscape made £9.4 million at auction.


title: David Hockney

text: The record was broken again in 2018 with the sale of "Piscine de Medianoche" ("Paper Pool 30)" for $11.74 million and then doubled in the same Sotheby's auction when "Pacific Coast Highway and Santa Monica" sold for $28.5 million.


title: David Hockney

text: On 15 November 2018, David Hockney's 1972 painting "Portrait of an Artist (Pool with Two Figures)" sold at Christie's for $90.3 million with fees, surpassing the previous auction record for a living artist of $58.4 million, held by Jeff Koons for one of his "Balloon Dog" sculptures. He had originally sold this painting for $20,000 in 1972.


title: David Hockney

text: In the 2001 television programme and book "Secret Knowledge", Hockney posited that the Old Masters used "camera obscura" as well as "camera lucida" and lens techniques that projected the image of the subject onto the surface of the painting. Hockney argues that this technique migrated gradually from Northern Europe to Italy, and is the reason for the photographic style of painting we see in the Renaissance and later periods of art. He published his conclusions in the 2001 book "Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters", which was revised in 2006.


title: David Hockney

text: Like his father, Hockney was a conscientious objector, and worked as a medical orderly in hospitals during his National Service, 1957–1959.


title: David Hockney

text: Hockney was a founder of the Museum of Contemporary Art, Los Angeles, in 1979. He serves on the advisory board of the political magazine "Standpoint", and contributed original sketches for its launch edition, in June 2008, as well as agreeing to allow "Standpoint" to publish his previous views and pictures over the years.


title: David Hockney

text: He is a staunch pro-tobacco campaigner and was invited to guest-edit BBC Radio's "Today" programme on 29 December 2009 in which he aired his views on the subject.


title: David Hockney

text: In October 2010, he and a hundred other artists signed an open letter to the Secretary of State for Culture, Media and Sport, Jeremy Hunt, protesting against cutbacks in the arts.


title: David Hockney

text: In 1966, while working on a series of etchings based on love poems by the Greek poet Constantine P. Cavafy, Hockney starred in a documentary by filmmaker James Scott, entitled "Love's Presentation". He was the subject of Jack Hazan's 1974 biopic, "A Bigger Splash", named after Hockney's 1967 pool painting of the same name. Hockney was also the inspiration of artist Billy Pappas in the documentary film "Waiting for Hockney" (2008), which debuted at the Tribeca Film Festival in 2008.


title: David Hockney

text: Hockney was inducted into "Vanity Fair"s International Best-Dressed Hall of Fame in 1986. In 2005, Burberry creative director Christopher Bailey centred his entire spring/summer menswear collection around the artist and in 2012, fashion designer Vivienne Westwood, a close friend, named a checked jacket after Hockney. In 2011, British "GQ" named him one of the 50 Most Stylish Men in Britain and in March 2013, he was listed as one of the Fifty Best-dressed Over-50s by "The Guardian".


title: David Hockney

text: Hockney was commissioned to design the cover and pages for the December 1985 issue of the French edition of "Vogue". Consistent with his interest in cubism and admiration for Pablo Picasso, Hockney chose to paint Celia Birtwell (who appears in several of his works) from different views for the cover, as if the eye had scanned her face diagonally.


title: David Hockney

text: "David Hockney: A Rake's Progress" (2012) is a biography of Hockney covering the years 1937–1975, by writer/photographer Christopher Simon Sykes.


title: David Hockney

text: In 2012, Hockney featured in BBC Radio 4's list of "The New Elizabethans" to mark the diamond Jubilee of Queen Elizabeth II. A panel of seven academics, journalists and historians named Hockney among the group of people in the UK "whose actions during the reign of Elizabeth II have had a significant impact on lives in these islands and given the age its character".


title: David Hockney

text: The David Hockney Foundation—both the UK registered charity 1127262 and the US 501(c)(3) private operating foundation—was created by the artist in 2008. In 2012, Hockney, worth an estimated $55.2 million (approx. £36.1 m), transferred paintings valued at $124.2 million (approx. £81.5 m) to the David Hockney Foundation, and gave an additional $1.2 million (approx. £0.79 m) in cash to help fund the foundation's operations.


title: David Hockney

text: The foundation's mission is to advance appreciation and understanding of visual art and culture through the exhibition, preservation, and publication of David Hockney's work. Richard Benefield, who organised "David Hockney: A Bigger Exhibition" in 2013–2014 at the de Young Museum in San Francisco, became the first executive director in January 2017.


title: David Hockney

text: The foundation owns over 8,000 works – paintings, drawings, watercolours, complete editioned prints, stage design, multi-camera movies, and other media. They also hold 203 sketchbooks and Hockney's personal photo albums from 1961 to 1990. The foundation manages various loans to museums and exhibitions around the world, including "Happy Birthday, Mr. Hockney!" at the Getty celebrating his 80th birthday, and the retrospective exhibitions of 2017–2018 at the Metropolitan Museum, Centre Georges Pompidou, and Tate Britain.


title: David Hockney

text: In October 2016 Taschen published "David Hockney: A Bigger Book", costing £1,750 (£3,500 with an added loose print). The artist curated the selection of more than 60 years of his work reproduced within 498 pages. The book, weighing 78 lbs, had gone through 19 proof stages. The book came with an (optional) substantial wooden lectern. He unveiled the book at the Frankfurt Book Fair where he was the keynote speaker at the opening press conference.


title: Star Trek II: The Wrath of Khan

text: Star Trek II: The Wrath of Khan is a 1982 American science fiction film directed by Nicholas Meyer and based on the television series "". It is the second film in the "Star Trek" film series following "" (1979), and is a sequel to the episode "Space Seed" (1967). The plot features Admiral James T. Kirk (William Shatner) and the crew of the starship USS "Enterprise" facing off against the genetically engineered tyrant Khan Noonien Singh (Ricardo Montalbán). When Khan escapes from a 15-year exile to exact revenge on Kirk, the crew of the "Enterprise" must stop him from acquiring a powerful terraforming device named Genesis. The film is the beginning of a three-film story arc that continues with the film "" (1984) and concludes with the film "" (1986).


title: Star Trek II: The Wrath of Khan

text: After the lackluster critical response to the first film, series creator Gene Roddenberry was forced out of the sequel's production. Executive producer Harve Bennett wrote the film's original outline, which Jack B. Sowards developed into a full script. Meyer completed its final script in twelve days, without accepting a writing credit. Meyer's approach evoked the swashbuckling atmosphere of the original series, a theme reinforced by James Horner's musical score. Leonard Nimoy had not intended to have a role in the sequel, but was enticed back on the promise that his character would be given a dramatic death scene. Negative test audience reaction to Spock's death led to significant revisions of the ending over Meyer's objections. The production team used various cost-cutting techniques to keep within budget, including utilizing miniature models from past projects and reusing sets, effects footage, and costumes from the first film. The film was the first feature film to contain a sequence created entirely with computer graphics.


title: Star Trek II: The Wrath of Khan

text: "Star Trek II: The Wrath of Khan" was released in North America on June 4, 1982, by Paramount Pictures. It was a box office success, earning worldwide and setting a world record for its first-day box office gross. Critical reaction to the film was positive; reviewers highlighted Khan's character, Meyer's direction, improved performances, the film's pacing, and the character interactions as strong elements. Negative reactions focused on weak special effects and some of the acting. "The Wrath of Khan" is considered by many to be the best film in the "Star Trek" series, and is often credited with renewing substantial interest in the franchise.


title: Star Trek II: The Wrath of Khan

text: In 2285, Admiral James T. Kirk oversees a simulator session of Captain Spock's trainees. In the simulation, Lieutenant Saavik commands the starship on a rescue mission to save the crew of the damaged ship "Kobayashi Maru", but is attacked by Klingon cruisers and critically damaged. The simulation is a no-win scenario designed to test the character of Starfleet officers. Later, Dr. McCoy visits Kirk on his birthday; seeing Kirk in low spirits due to his age, the doctor advises Kirk to get a new command instead of growing old behind a desk.


title: Star Trek II: The Wrath of Khan

text: Meanwhile, the starship "Reliant" is on a mission to search for a lifeless planet to test the Genesis Device, a technology designed to reorganize dead matter into habitable worlds. "Reliant"'s Captain Clark Terrell and first officer Commander Pavel Chekov beam down to evaluate a planet they believe to be Ceti Alpha VI; once there, they are captured by the genetically engineered tyrant Khan Noonien Singh explaining that they are on Ceti Alpha V. Fifteen years prior, Kirk exiled Khan and his fellow supermen to Ceti Alpha V after they attempted to take over his ship. The neighboring planet exploded, devastating the surface of Ceti Alpha V. Khan implants Chekov and Terrell with indigenous eel larvae (which killed several of his followers, including his wife) that render them susceptible to mind control, and uses them to capture "Reliant". Learning of the Genesis Device, Khan attacks space station "Regula I" where the device is being developed by Kirk's former lover, Dr. Carol Marcus, and their son, David.


title: Star Trek II: The Wrath of Khan

text: Kirk assumes command of "Enterprise" after the ship, deployed on a training cruise, receives a distress call from "Regula I". En route, "Enterprise" is ambushed and crippled by "Reliant". Khan offers to spare Kirk's crew if they relinquish all material related to Genesis; Kirk instead stalls for time and, taking advantage of Khan's unfamiliarity with starship controls, remotely lowers "Reliant"s shields, enabling a counter-attack. Khan is forced to retreat and effect repairs, while "Enterprise" limps to "Regula I". Kirk, McCoy, and Saavik beam to the station and find Terrell and Chekov alive, along with the slaughtered members of Marcus' team. They soon find Carol and David hiding Genesis deep inside the nearby planetoid. Khan, having used Terrell and Chekov as spies, orders them to kill Kirk; Terrell resists the eel's influence and kills himself, while Chekov collapses as the eel leaves his body. Khan transports Genesis aboard the "Reliant", intending to maroon Kirk on the lifeless planetoid, but is tricked by Kirk and Spock's coded arrangements for a rendezvous. Kirk directs "Enterprise" into the nearby Mutara Nebula; conditions inside the nebula render shields useless and compromise targeting systems, making "Enterprise" and "Reliant" evenly matched. Spock notes that Khan's tactics indicate inexperience in three-dimensional combat, which Kirk exploits to disable "Reliant".


title: Star Trek II: The Wrath of Khan

text: Mortally wounded, Khan activates Genesis, quoting Captain Ahab from the novel Moby Dick as he dies. Though Kirk's crew detects the activation and attempts to move out of range, they will not be able to escape the nebula in time without the ship's inoperable warp drive. Spock goes to restore warp power in the engine room, which is flooded with radiation. When McCoy tries to prevent Spock's entry, Spock incapacitates him with a Vulcan nerve pinch and performs a mind meld, telling him to "remember". Spock repairs the warp drive, and "Enterprise" jumps to warp, escaping the explosion, which forms a new planet. Before dying of radiation poisoning, Spock urges Kirk not to grieve, as his decision to sacrifice himself to save the "Enterprise" was a logical one. Kirk and the ship's crew host a space burial for Spock, whose photon torpedo casket lands on the new Genesis planet.


title: Star Trek II: The Wrath of Khan

text: "The Wrath of Khan"s cast includes all the major characters from the original television series, as well as new actors and characters.


title: Star Trek II: The Wrath of Khan

text: After the release of "The Motion Picture", executive producer Gene Roddenberry wrote his own sequel. In his plot, the crew of the "Enterprise" travel back in time to set right a corrupted time line after Klingons use the Guardian of Forever to prevent the assassination of John F. Kennedy. This was rejected by Paramount executives, who blamed the tepid reception and costs of the first film on its plodding pace and the constant rewrites Roddenberry demanded. As a consequence, Roddenberry was removed from the production and, according to Shatner, "kicked upstairs" to the ceremonial position of executive consultant.


title: Star Trek II: The Wrath of Khan

text: Harve Bennett, a new Paramount television producer, was made producer for the next "Star Trek" film. According to Bennett, he was called in front of a group including Jeffrey Katzenberg and Michael Eisner and asked if he thought he could make a better film than "The Motion Picture", which Bennett confessed he found "really boring". When Bennett replied in the affirmative, Charles Bluhdorn asked, "Can you make it for less than forty-five-fucking-million-dollars?" Bennett replied that "Where I come from, I can make five movies for that." Bennett realized he faced a serious challenge in developing the new "Star Trek" film, partly due to his never having seen the television series. Watching episodes of the show convinced Bennett that what the first picture lacked was a real villain; after seeing the episode "Space Seed", he decided that the character of Khan Noonien Singh was the perfect enemy for the new film. Bennett selected Robert Sallin, a director of television commercials and a college friend, to produce the film. Sallin's job would be to produce "Star Trek II" quickly and cheaply. Bennett hired Michael Minor as art director to shape the direction of the film.


title: Star Trek II: The Wrath of Khan

text: Bennett wrote his first film treatment in November 1980. In his version, titled "The War of the Generations", Kirk investigates a rebellion on a distant world and discovers that his son is the leader of the rebels. Khan is the mastermind behind the plot, and Kirk and son join forces to defeat the tyrant. Bennett then hired Jack B. Sowards, an avid "Star Trek" fan, to turn his outline into a film-able script. Sowards wrote an initial script before a writer's strike in 1981. Sowards' draft, "The Omega Syndrome", involved the theft of the Federation's ultimate weapon, the "Omega system". Sowards was concerned that his weapon was too negative, and Bennett wanted something more uplifting "and as fundamental in the 23rd century as recombinant DNA is in our time", Minor recalled. Minor suggested to Bennett that the device be turned into a terraforming tool instead. At the story conference the next day, Bennett hugged Minor and declared that he had saved "Star Trek". In recognition of the Biblical power of the weapon, Sowards renamed the "Omega system" to the "Genesis Device".


title: Star Trek II: The Wrath of Khan

text: By April 1981, Sowards had produced a draft that moved Spock's death to later in the story, because of fan dissatisfaction of the event after the script was leaked. Spock had originally died in the first act, in a shocking demise that Bennett compared to Janet Leigh's early death in "Psycho". This draft had a twelve-page face-to-face confrontation between Kirk and Khan. Sowards' draft introduced a male character named Saavik. As pre-production began, Samuel A. Peeples, writer of the "Star Trek" episode "Where No Man Has Gone Before", was invited to offer his own script. Peeples' draft replaced Khan with two new villains named Sojin and Moray; the alien beings are so powerful they almost destroy Earth by mistake. This script was considered inadequate; the aliens resembled too closely the villains on a typical "TOS" ("Star Trek: The Original Series") episode. Deadlines loomed for special effects production to begin (which required detailed storyboards based on a finished script), which did not exist.


title: Star Trek II: The Wrath of Khan

text: Karen Moore, a Paramount executive, suggested that Nicholas Meyer, writer of "The Seven-Per-Cent Solution" and director of "Time After Time", could help resolve the screenplay issues. Meyer had also never seen an episode of "Star Trek". He had the idea of making a list consisting of everything that the creative team had liked from the preceding drafts—"it could be a character, it could be a scene, it could be a plot, it could be a subplot, [...] it could be a line of dialogue"—so that he could use that list as the basis of a new screenplay made from all the best aspects of the previous ones. To offset fan expectation that Spock would die, Meyer had the character "killed" in the Kobayashi Maru simulator in the opening scene. The effects company required a completed script in just 12 days. Meyer wrote the screenplay uncredited and for no pay before the deadline, surprising the actors and producers, and rapidly produced subsequent rewrites as necessary. One draft, for example, had a baby in Khan's group, who is killed with the others in the Genesis detonation. Meyer later said:


title: Star Trek II: The Wrath of Khan

text: Meyer described his script as "'Hornblower' in outer space", utilizing nautical references and a swashbuckling atmosphere. (Hornblower was an inspiration to Roddenberry and Shatner when making the show, although Meyer was unaware of this.) Sallin was impressed with Meyer's vision for the film: "His ideas brought dimension that broadened the scope of the material as we were working on it." Gene Roddenberry disagreed with the script's naval texture and Khan's Captain Ahab undertones, but was mostly ignored by the creative team.


title: Star Trek II: The Wrath of Khan

text: As a gesture of good faith, Paramount changed the film's title from its original working title, "The Vengeance of Khan," as it was too close to the working title for Lucasfilm's upcoming "Star Wars" film. After the name change was made, Lucasfilm changed their title from "Revenge of the Jedi" to "Return of the Jedi." An even earlier working title for the Trek film was "The Undiscovered Country", a title which would eventually be used for the of the franchise.


title: Star Trek II: The Wrath of Khan

text: Meyer attempted to change the look of "Star Trek" to match the nautical atmosphere he envisioned while staying within budget. The "Enterprise", for example, was given a ship's bell, boatswain's call, and more blinking lights and signage. Meyer had a "No Smoking" sign added to the "Enterprise"s bridge, which he recalled "Everyone had a fit over [...] I said, 'Why, have they stopped smoking in the future? They've been smoking for four hundred years, you think it's going to stop in the next two?'" The sign appeared in the first shot of the film, but was removed for all others appearing in the final cut.


title: Star Trek II: The Wrath of Khan

text: To save money on set design, production designer Joseph Jennings used existing elements from "The Motion Picture" that had been left standing after filming was completed. Sixty-five percent of the film was shot on the same set; the bridge of the "Reliant" and the "bridge simulator" from the opening scene were redresses of the "Enterprise"s bridge. The Klingon bridge from "The Motion Picture" was redressed as the Regula I transporter room and the "Enterprise"'s torpedo bay. The filmmakers stretched "The Wrath of Khan"s budget by reusing models and footage from the first film, including footage of "Enterprise" in spacedock. The original ship miniatures were used where possible, or modified to stand in as new constructions. The orbital office complex from "The Motion Picture" was inverted and retouched to become the Regula I space station. Elements of the cancelled "" television show, such as bulkheads, railings, and sets, were cannibalized and reused. A major concern for the designers was that "Reliant" should be easily distinguishable from "Enterprise". The ship's design was flipped after Bennett accidentally opened and approved the preliminary "Reliant" designs upside-down.


title: Star Trek II: The Wrath of Khan

text: Designer Robert Fletcher was brought in to redesign existing costumes and create new ones. Fletcher decided on a scheme of "corrupt colors", using materials with colors slightly off from the pure color. "They're not colors you see today, so in a subtle way [they] indicate another time." Meyer did not like the Starfleet uniforms from either the television series or "The Motion Picture" and wanted them changed, but could not be discarded entirely because of the budget. Dye tests of the fabric showed that the old uniforms took three colors well: blue-gray, gold, and dark red. Fletcher decided to use the dark red due to the strong contrast it provided with the background. The resulting naval-inspired designs would be used in "Star Trek" films until "" (1996). The first versions of the uniforms had stiff black collars, but Sallin suggested changing it to a turtleneck, using a form of vertical quilting called "trapunto". The method creates a bas-relief effect to the material by stuffing the outlined areas with soft thread shot via air pressure through a hollow needle. By the time of "The Wrath of Khan"s production, the machines and needles needed to produce "trapunto" were rare, and Fletcher was only able to find one needle for the wardrobe department. The crew was so worried about losing or breaking the needle that one of the department's workers took it home with him as a security measure, leading Fletcher to think it had been stolen.


title: Star Trek II: The Wrath of Khan

text: For Khan and his followers, Fletcher created a strong contrast with the highly organized Starfleet uniforms; his idea was that the exiles' costumes were made out of whatever they could find. Fletcher said, "My intention with Khan was to express the fact that they had been marooned on that planet with no technical infrastructure, so they had to cannibalize from the spaceship whatever they used or wore. Therefore, I tried to make it look as if they had dressed themselves out of pieces of upholstery and electrical equipment that composed the ship." Khan's costume was designed with an open chest to show Ricardo Montalbán's physique. Fletcher also designed smocks for the Regula I scientists, and civilian clothes for Kirk and McCoy that were designed to look practical and comfortable.


title: Star Trek II: The Wrath of Khan

text: Principal photography began on November 9, 1981, and ended on January 29, 1982. "The Wrath of Khan" was more action-oriented than its predecessor, but less costly to make. The project was supervised by Paramount's television unit rather than its theatrical division. Bennett, a respected television veteran, made "The Wrath of Khan" on a budget of $12 million. The budget was initially lower at $8.5 million, but it rose when the producers were impressed by the first two weeks of footage. Meyer used camera and set tricks to spare the construction of large and expensive sets. For a scene taking place at Starfleet Academy, a forced perspective was created by placing scenery close to the camera to give the sense the set was larger than it really was. To present the illusion that the "Enterprise"s elevators moved between decks, corridor pieces were wheeled out of sight to change the hall configuration while the turbolift doors were closed. Background equipment such as computer terminals were rented when possible instead of purchased outright. Some designed props, such as a redesigned phaser and communicator, were vetoed by Paramount executives in favor of existing materials from "The Motion Picture".


title: Star Trek II: The Wrath of Khan

text: The "Enterprise" was refurbished for its space shots, with its shiny exterior dulled down and extra detail added to the frame. Compared to the newly built "Reliant", the "Enterprise" was hated by the effects artists and cameramen; it took eight people to mount the model, and a forklift truck to move it. The "Reliant", meanwhile, was lighter and had less complex internal wiring. The spaceship miniatures were photographed against a blue screen, which in post production allowed them to be composited with background scenery which had itself been photographed independently of the foreground miniatures. Any reflection of blue on the ship's hull would appear as a hole on the film; the gaps had to be patched frame by frame for the final film. The same camera used to film "Star Wars", the Dykstraflex, was used for shots of the "Enterprise" and other ships.


title: Star Trek II: The Wrath of Khan

text: The barren desert surface of Ceti Alpha V was simulated on stage 8, the largest sound stage at Paramount's studio. The set was elevated 25 feet off the ground and covered in wooden mats, over which tons of colored sand and powder were dumped. A cyclorama was painted and wrapped around the set, while massive industrial fans created a sandstorm. The filming was uncomfortable for actors and crew alike. The spandex environmental suits Koenig and Winfield wore were unventilated, and the actors had to signal by microphone when they needed air. Filming equipment was wrapped in plastic to prevent mechanical troubles and everyone on set wore boots, masks, and coveralls as protection from flying sand.


title: Star Trek II: The Wrath of Khan

text: Spock's death was shot over three days, during which no visitors were allowed on set. Spock's death was to be irrevocable, but Nimoy had such a positive experience during filming that he asked if he could add a way for Spock to return in a later film. The mind meld sequence was initially filmed without Kelley's prior knowledge of what was going on. Shatner disagreed with having a clear glass separation between Spock and Kirk during the death scene; he instead wanted a translucent divider allowing viewers to see only Spock's silhouette, but his objection was overruled. During Spock's funeral sequence Meyer wanted the camera to track the torpedo that served as Spock's coffin as it was placed in a long trough and slid into the launcher. The camera crew thought the entire set would have to be rebuilt to accommodate the shot, but Sallin suggested putting a dolly into the trough and controlling it from above with an offset arm. Scott's rendition of "Amazing Grace" on the bagpipes was James Doohan's idea.


title: Star Trek II: The Wrath of Khan

text: Spock's death in the film was widely reported during production. "Trekkies" wrote letters to protest, one paid for trade press advertisements urging Paramount to change the plot, and Nimoy even received death threats. Test audiences reacted badly to Spock's death and the film's ending's dark tone, so it was made more uplifting by Bennett. The scene of Spock's casket on the planet and Nimoy's closing monologue were added; Meyer objected, but did not stand in the way of the modifications. Nimoy did not know about the scene until he saw the film, but before it opened, the media reassured fans that "Spock will live" again. Due to time constraints, the casket scene was filmed in an overgrown corner of San Francisco's Golden Gate Park, using smoke machines to add a primal atmosphere. The shoot lasted from midday to evening, as the team was well aware there would be no time for reshoots.


title: Star Trek II: The Wrath of Khan

text: Special consideration was given during filming to allow for integration of the planned special effects. Television monitors standing in for computer displays were specially calibrated so that their refresh rate did not result in banding on film. Due to a loss of resolution and quality resulting from rephotographing an element in an optical printer, live action sequences for effects were shot in 65mm or VistaVision formats to compensate. When the larger prints were reduced through an anamorphic lens on the printer, the result was a Panavision composite.


title: Star Trek II: The Wrath of Khan

text: With a short timeframe to complete "The Wrath of Khan"s special effects sequences, effects supervisor Jim Veilleux, Meyer, Jennings, Sallin and Minor worked to transform the written ideas for the script into concrete storyboards and visuals. The detailed sequences were essential to keep the film's effects from spiraling out of control and driving up costs, as had occurred with "The Motion Picture". Each special and optical effect, and the duration of the sequences, was listed. By the end of six weeks, the producers determined the basic look and construction of nearly all the effects; the resulting shots were combined with film footage five months later. Industrial Light & Magic (ILM) produced many of the effects, and created the new models; the "Reliant" was the first non-"Constitution"-class Federation starship seen in the series. Originally, the "Reliant" was conceived as a "Constitution"-class starship identical to the "Enterprise", but it was felt audiences would have difficulty distinguishing between two alike ships. As the script called for the "Reliant" and "Enterprise" to inflict significant damage on each other, ILM developed techniques to illustrate the damage without physically harming the models. Rather than move the models on a bluescreen during shooting, the VistaVision camera was panned and tracked to give the illusion of movement. Damage to the "Enterprise" was cosmetic, and simulated with pieces of aluminum that were colored or peeled off. Phaser damage was created using stop motion. The script called for large-scale damage to the "Reliant", so larger versions of the ship's model were created to be blown up.


title: Star Trek II: The Wrath of Khan

text: The battle in the nebula was a difficult sequence to accomplish without the aid of computer-generated models. The swirling nebula was created by injecting a latex rubber and ammonia mixture into a cloud tank filled with fresh and salt water. All the footage was shot at two frames per second to give the illusion of faster movement. The vibrant abstract colors of the nebula were simulated by lighting the tank using colored gels. Additional light effects such as auroras were created by the ILM animation department. The ships were combined with the nebula background plates via bluescreen mattes to complete the shot. The destruction of the "Reliant"s engine nacelle was created by superimposing shots of the engine blowing apart and explosions over the model.


title: Star Trek II: The Wrath of Khan

text: The scene in which Terrell kills Jedda, a Regula scientist, by vaporizing him with a phaser was filmed in two takes. Winfield and the related actors first played out the scene; this footage became the background plate. A blue screen was wheeled onto the set and actor John Vargas, the recipient of the phaser blast, acted out his response to being hit with the energy weapon. A phaser beam element was placed on top of the background plate, and Vargas' shots were optically dissolved into an airbrushed disintegration effect which matched Vargas' position in every frame.


title: Star Trek II: The Wrath of Khan

text: The Ceti eel shots used several models, overseen by visual effects supervisor Ken Ralston, who had just finished creature design for "Return of the Jedi". He tied a string to the eels to inch the models across the actors' faces before they entered the ear canal. The scene of a more mature eel leaving Chekov's ear was simulated by threading a microfilament through the floor of the set up to Koenig's ear. The scene was filmed with three variations, which Ralston described as "a dry shot, one with some blood, and the "Fangoria" shot, with a lot of gore." Footage of a giant model of Koenig's ear was discarded from the theatrical release due to the visceral reaction it elicited in test audiences.


title: Star Trek II: The Wrath of Khan

text: Additional optical effects were provided by Visual Concept Engineering (VCE), a small effects company headed by Peter Kuran; Kuran had previously worked at ILM and left after finishing "The Empire Strikes Back". VCE provided effects including phaser beams, the "Enterprise" reactor, additional sand on Ceti Alpha V, and an updated transporter effect. Meyer and the production staff were adamant about not using freeze frames for the transporter, as had been done in the original television series. Scenes were shot so that conversations would continue while characters were in mid-transport, although much of the matte work VCE created was discarded when the production decided not to have as much action during transports. Computer graphics company Evans & Sutherland used the computer graphics-based Digistar planetarium system to generate the fields of stars, based on a database of real stars. The models of the ships were composited atop the star fields. The Evans & Sutherland team also produced the vector graphics tactical displays seen on the "Enterprise" and the simulator bridge.


title: Star Trek II: The Wrath of Khan

text: "The Wrath of Khan" was one of the first films to extensively use computer graphics to improve the visual quality and production speed of special effects shots. Among the film's technical achievements was cinema's first entirely computer-generated sequence, ILM's animation for the demonstration of the effects of the Genesis Device on a barren planet. The first concept for the shot took the form of a laboratory demonstration, where a rock would be placed in a chamber and turned into a flower. Veilleux suggested the sequence's scope be expanded to show the Genesis effect taking over a planet. While Paramount appreciated the more dramatic presentation, they wanted the simulation to be more impressive than traditional animation. Having seen research done by Lucasfilm's Computer Graphics group, Veilleux offered them the task. Introducing the novel technique of particle systems for the sixty-second sequence, the graphics team paid attention to detail such as ensuring that the stars visible in the background matched those visible from a real star light-years from Earth. The animators hoped it would serve as a "commercial" for the studio's talents. The studio would later branch off from Lucasfilm to form Pixar. The sequence would be reused in two sequels, "" and "", as well as in the unrelated LaserDisc-based stand-up video arcade game "Astron Belt".


title: Star Trek II: The Wrath of Khan

text: Jerry Goldsmith had composed the music for "The Motion Picture", but was not an option for "The Wrath of Khan" given the reduced budget; Meyer's composer for "Time After Time", Miklós Rózsa, was likewise prohibitively expensive. Bennett and Meyer wanted the music for the film to go in a different direction, but had not decided on a composer by the time filming began. Meyer initially hoped to hire an associate named John Morgan, but Morgan lacked film experience, which would have troubled the studio.


title: Star Trek II: The Wrath of Khan

text: Paramount's vice-president of music Joel Sill took a liking to a 28-year-old composer named James Horner, feeling that his demo tapes stood out from generic film music. Horner was introduced to Bennett, Meyer and Sallin. Horner said that "[The producers] did not want the kind of score they had gotten before. They did not want a John Williams score, "per se". They wanted something different, more modern." When asked about how he landed the assignment, the composer replied that "the producers loved my work for "Wolfen", and had heard my music for several other projects, and I think, so far as I've been told, they liked my versatility very much. I wanted the assignment, and I met with them, we all got along well, they were impressed with my music, and that's how it happened." Horner agreed with the producers' expectations and agreed to begin work in mid-January 1982.


title: Star Trek II: The Wrath of Khan

text: In keeping with the nautical tone, Meyer wanted music evocative of seafaring and swashbuckling, and the director and composer worked together closely, becoming friends in the process. As a classical music fan, Meyer was able to describe the effects and sounds he wanted in the music. While Horner's style was described as "echoing both the bombastic and elegiac elements of John Williams' "Star Wars" and Goldsmith's original "Star Trek" (The Motion Picture) scores," Horner was expressly told to not use any of Goldsmith's score. Instead Horner adapted the opening fanfare of Alexander Courage's "Star Trek" television theme. "The fanfare draws you in immediately — you know you're going to get a good movie," Horner said.


title: Star Trek II: The Wrath of Khan

text: In comparison to the flowing main theme, Khan's leitmotif was designed as a percussive texture that could be overlaid with other music and emphasized the character's insanity. The seven-note brass theme was echoplexed to emphasize the character's ruminations about the past while on Ceti Alpha V, but does not play fully until "Reliant"s attack on the "Enterprise". Many elements drew from Horner's previous work (a rhythm that accompanies Khan's theme during the surprise attack borrows from an attack theme from "Wolfen", in turn influenced by Goldsmith's score for "Alien"). Musical moments from the original television series are also heard during investigation of the Regula space station and elsewhere.


title: Star Trek II: The Wrath of Khan

text: To Horner, the "stuff underneath" the main story was what needed to be addressed by the score; in "The Wrath of Khan", this was the relationship between Kirk and Spock. The main theme serves as Kirk's theme, with a mellower section following that is the theme for the Starship "Enterprise". Horner also wrote a motif for Spock, to emphasize the character's depth: "By putting a theme over Spock, it warms him and he becomes three-dimensional rather than a collection of schticks." The difference in the short, French horn-based cues for the villain and longer melodies for the heroes helped to differentiate characters and ships during the battle sequences.