star trek ii soundtrack expanded

Star Trek II: The Wrath of Khan (expanded soundtrack)

• View history

The release includes a 28-page booklet featuring commentary and track-by-track breakdowns.

Track listing [ ]

See also [ ].

• Star Trek II: The Wrath of Khan (soundtrack)
• 2 ISS Enterprise (NCC-1701)

• The Original Series
• The Animated Series
• The Next Generation
• Deep Space Nine
• Strange New Worlds
• Lower Decks
• Star Trek Movies
• TrekCore on Twitter
• TrekCore on Facebook

La-La Land Records, Paramount Pictures, and Atlantic Records proudly present a limited edition, remastered 2-CD release of legendary composer James Horner’s (FIELD OF DREAMS, GLORY, TITANIC) original motion picture score to the classic 1982 sci-fi blockbuster STAR TREK II — THE WRATH OF KHAN, starring William Shatner, Leonard Nimoy and DeForest Kelley, and directed by Nicholas Meyer. Considered to be one of James Horner’s finest scores, the deluxe reissue showcases this masterwork sounding better-than-ever and expanded with previously unreleased alternate tracks. Disc One features the score presentation, while Disc Two presents the re-mastered 1982 Original Soundtrack Album and additional music. Produced by Neil S. Bulk and Mike Matessino, and re-mixed and mastered by Mike Matessino, this special 2-CD release is limited 10,000 units and features art design by Jim Titus. Disc One, and the additional score tracks on Disc Two, have been re-edited and remixed in hi-res from newly discovered 1st generation analog 3-track stereo tapes. The original soundtrack album has been newly remixed from digital-to-analog 3-track stereo tapes made in 1982. The exclusive, in-depth liner notes by writer and musical director/conductor Deniz Cordell feature new comments from Sara Horner, Nicholas Meyer, producer Robert Sallin, former Paramoun Music President Joel SIll, and longtime Horner collaborators Jim Henrikson and J.A.C. Redford.

We had an opportunity to hear directly from the soundtrack’s co-producer  Neil S. Bulk , who was happy to share his insight into just what it took to bring this new  Wrath of Khan score collection to light — and why this Star Trek II CD release is different from the 2009 ‘expanded edition’.

by Neil S. Bulk

When work began on this new Star Trek II: The Wrath of Khan soundtrack in January 2021, I expected to get the same tapes that were used for the previous expanded release, an album co-producer Mike Matessino and I worked on in 2009.

Those tapes had one recording of every cue and the thought was this new album could be wrapped up quickly. It turns out I didn’t know enough about the recording of the score and with all of the new information available, I’d like to share some of these details.

To begin, the score was recorded digitally using a system developed by 3M in the late 70’s that operated at 50kHz-16 bit ( source ). This was cutting edge technology 40 years ago and the original album cover proudly said “Digital Recording” while the vinyl side labels mentioned the word “digital” twice, driving the point home.

Running concurrently at the sessions were two analog back-up machines: the first was a 2” 24-track unit, which had the same music content as the digital 1” except for the stereo LCR mixes, which were recorded to a separate ½” machine. These live analog reels were recorded in case the digital recordings had problems and there’s a good chance these tapes were never used.

Yet another set of analog reels were created after scoring. As mentioned, the primary source for the film production was 32-track digital. Once the final performance edits were completed on digital tape (thus not incurring any generational loss inherent to analog) these were copied to analog tape in 1982 as protection. These ½” three-track stereo LCR safety reels, coming from digital and played through converters of the era, preserve the frequency response of the digital recordings and were used for the previous expanded album.

Readers may be wondering, “If there’s a digital recording why not stick with that and forget about all of these analog tapes?”. It’s a fair point, however the reality isn’t that simple. The 3M digital format is practically extinct. There are very few machines left in operation that can play the tapes properly without errors. Due to scarcity the transfer costs are also far more than analog tape.

On top of that, the tapes operate at a sampling rate that isn’t compatible with modern digital audio workstations, so a conversion to analog has to occur, meaning you’re still at the mercy of 40+ year old digital technology. Instead, by going with the fully analog tapes the score to Star Trek II could be re-edited, re-mixed and mastered in genuine hi-res audio for the very first time.

All of the ½” analog tapes have been newly transferred into hi-res 96kHz/24-bit digital. That higher rate doesn’t increase the frequency response of the digital-to-analog safety reels, but it does preserve the creative intentions of the editors and engineers. However, for the newly uncovered live analog tapes this new hi-res transfer captures a greater frequency response with better precision than any previous digital recording or transfer of the score. It’s these first-generation tapes that became the primary source for this new release.

Disc 1 of this collection presents the score in film order from the new hi-res transfers of the live ½” tapes. Disc 2 presents the original album from the ½” digital-to-analog safety reels, preserving work done in 1982. The additional music on disc 2 (apart from Craig Huxley’s “Genesis Project” which was sourced from the composer) is derived entirely from the ½” analog session tapes.

One of the advantages of having the full scoring sessions is that we can now document the recording of this score; above is a breakdown that shows the takes used for every cue on the album and the dates they were recorded. Titles here are from the legal cue sheet (and may differ with the final titles used on the album).

If you want to add this new Star Trek II: The Wrath of Khan expanded score to your own collection, you can head over to La-La Land Records’ official site now — where you can explore the entire track listing for the new 2-CD soundtrack set, and place an order for shipment today at a price of $29.98 USD.

• james horner
• La-La Land Records
• Soundtracks
• Star Trek II: The Wrath of Khan
• Trek Merchandise

Related Stories

Hallmark’s 2024 star trek ornaments include dr. crusher, captain pike, the long-awaited enterprise-b, and more, vice press celebrates star trek: the original series with a new poster from artist lyndon willoughby, star trek: strange new worlds “subspace rhapsody” musical soundtrack now available on vinyl, search news archives, new & upcoming releases, featured stories, lost-for-decades original star trek uss enterprise model returned to roddenberry family, star trek: lower decks cancelled; strange new worlds renewed for season 4, our star trek: discovery season 5 spoiler-free review.

TrekCore.com is not endorsed, sponsored or affiliated with Paramount, CBS Studios, or the Star Trek franchise. All Star Trek images, trademarks and logos are owned by CBS Studios Inc. and/or Paramount. All original TrekCore.com content and the WeeklyTrek podcast (c) 2024 Trapezoid Media, LLC. · Terms & Conditions

Den of Geek

Star Trek II: The Wrath Of Khan expanded soundtrack review

A seminal work for composer James Horner is honoured in this very welcome re-release from the 1982 movie...

• Share on Facebook (opens in a new tab)
• Share on Twitter (opens in a new tab)
• Share on Linkedin (opens in a new tab)
• Share on email (opens in a new tab)

The soundtrack collecting hobby is all about holy grails. Those albums which miss off a great deal of music, or which only had an LP release, or were never, ever issued at all. We all have them, and when one of them is ticked off the list it’s not just another CD to purchase, it’s a major event, usually treated like most people would treat the release of a big blockbuster or the latest Harry Potter book.

Recently people have been striking some pretty big titles off their lists – such as last year’s expanded Indiana Jones collection or the Superman “Blue Box” – but now one has come along which can probably count as a lot of enthusiasts’ one real holy grail. Film Score Monthly’s Star Trek II: The Wrath of Khan .

As most people know, Star Trek II was on a much tighter budget than its predecessor, mostly due to The Motion Picture ’s gigantic expenditure. As such luminaries such as Jerry Goldsmith – who memorably composed one of the franchise’s most recognizable and beloved themes for TMP – were financially out of reach of director Nicholas Meyer and producer Harve Bennett, they had to turn to the lesser-known composers, and came across a young man named James Horner.

At the time, Horner was used to working on more restrictive budgets after working with infamous producer Roger Corman on movies such as Battle Beyond The Stars and Humanoids From The Deep , and had started to score bigger budget films such as Michael Wadleigh’s Wolfen and Wes Craven’s Deadly Blessing .

Ad – content continues below

Horner was asked by Corman to score Battle Beyond The Stars in a similar way to John Williams’ Star Wars and Goldsmith’s Star Trek , of which Horner was more than up to the task, creating a score that certainly had much influence on Star Trek II , as did Wolfen .

Much of Horner’s “influence” from his previous scores has been hotly debated for decades, so I’m not going to go into it here, but there’s a certain sense of evolution from listening to BBTS , Wolfen and then Khan , with Horner refining his style until he has the confidence to let it open up, and subsequently let him create one of the most respected and loved film scores of all time.

Star Trek II originally had an LP release that ran forty-five minutes, which in itself was a great album, containing most of the score’s highlights. However, for the completists the FSM release now features the complete seventy-two minute score, along with one alternate cue. As before, the new album starts with Horner’s famous ‘Main Title’.

One of the things that Horner did differently to Goldsmith was bring back Alexander Courage’s opening fanfare from the television series, and it opens the track here, as it has done with the majority of the Trek titles since, before giving way to the film’s main theme a.k.a. Kirk’s theme, a sweeping nautical cue that instantly conjures up epic images of great sailing ships and the open ocean, while simultaneously saying “This is STAR TREK!”

But while Kirk’s theme is heroic and adventurous, the theme for Ricardo Montalban’s notoriously villainous – and charismatic – Khan is downright evil, and creepy to boot, which fits with some of the things he does. Having such a huge part to play as the character does, Horner gives him a lot of great moments, not least his introduction in ‘Khan’s Pets’ (a misnomer as the Ceti Eels are not introduced while this cue plays in the film), where Horner gives an incredible build-up to his unmasking, using descending strings to play up the tension as he slowly reveals himself.

In fact the early cues give the character a very dark yet surprisingly restrained underscore, more evocative than descriptive, and while Horner refuses to underscore every one of Khan’s words, when he does at Khan’s “This is Ceti Alpha V!” moment, it’s not as much of a crescendo as you’d have thought.

His music for the malevolent ‘last surviving indigenous life-forms of Ceti Alpha V’ in ‘The Eels of Ceti Alpha V’ is pretty classically horrifying, as you might expect. The scoring of the eels is a joy to behold, immediately aurally describing their slithery and insidious nature to a tee and at the same time probably ensuring he got the gig for Aliens. There’s a lot of creepy, even haunted house-esque music here, especially when the crew are searching Regula I, which helps amp up the tension and the seriousness of the film that comes into play with Khan’s nefarious actions.

Get the best of Den of Geek delivered right to your inbox!

Completing the trio is Horner’s theme for Spock. Wildly different from Goldsmith’s very alien theme for the first picture, Horner pays much more attention to the human side of the character – as appropriate to the film – and therefore setting up the heartbreak of what will happen later. It’s a beautiful theme, very humble yet still having an alien quality to it, like it might possibly have been composed by Spock himself had he brought his lute along.

Back to Kirk, and as you know, it’s the law that if you have a scene where the Enterprise has to leave (or enter) its space dock, it must be scored with as much fanfare and pomp as humanly possible, and Horner doesn’t disappoint. Returning to the nautical material – which is somewhat ironic as Goldsmith’s original drydock material for The Motion Picture was rejected for being too seafaring – this is basically an excuse to show off Saavik’s piloting skills while using up lots of stock footage from the first movie. And it works beautifully, very militaristic in its percussion but lots of noble horns telling us we are basically following Horatio Hornblower, as Nicholas Meyer intended.

As everyone knows, one of the things Khan is most famous for is its plentiful space battles. Well, okay there’s only really two, but they’re really exciting and pretty long. Luckily Horner revels in this, and gives us nine minutes and eight seconds of bombastic genius as he mixes Khan and Kirk’s themes with fantastic results in ‘Surprise Attack’ and ‘Kirk’s Explosive Reply’. Horner is brilliantly illustrative here, as he runs between the short harsh motif for Khan, and Kirk’s longer and more heroic theme, adding more identification between the shots of the Enterprise and the Reliant so we – ergo the public – can tell them apart.

The second track is especially great, underscoring the build up to Kirk’s reply, a brilliantly-conceived set piece where Kirk and Spock exploit the Reliant’s “prefix code,” thus allowing them to order the enemy ship to lower its shields to leave them open to attack.

The first half of the cue works with Kirk’s distraction methods while they try and track down the code, with a tense but almost playful use of repeating strings, while Kirk’s theme plays over the top, occasionally punctuated by Khan’s menacing motif. This builds repeatedly, with percussion playing a big part as they execute the plan and Khan tries to figure out how and why this is happening, followed by a blast of Kirk’s theme as the Enterprise fires and Khan’s theme as the Reliant finally retreats and Kirk and Co. are left to survey the damage. Great stuff.

This excellent material continues thematically in ‘Battle In The Mutara Nebula’, where Kirk and Khan have a faux-submarine battle amidst swirly semi-psychedelic clouds. It generally follows the same pattern of the aforementioned tracks, running between Kirk’s theme, Khan’s motif, and the stirring Enterprise theme as we cut between starships, but Horner uses the themes beautifully, and in different forms, to illustrate the tension and danger involved in this titanic battle of wits. But the really great material comes at the beginning with Kirk’s call to arms as the crew prepares for the battle, using a jaunty version of the Enterprise’s theme before segueing into a triumphant reading of Kirk’s own theme, before Khan and his motif take over.

One thing that The Motion Picture did not really have that much of – and that Khan supplies in bulk – is actual real emotion, which you might well expect, given that the picture culminates in the death of one of the main characters. This brings together a final reel that is almost equal to the finales of the typical milestones for this type of scoring; Star Wars and The Empire Strikes Back .

Starting with ‘Genesis Countdown’, Horner brings up a pulsing rhythm to illustrate the onset of the Genesis Device, building quickly before kicking in with an stunning explosion of brass as the Enterprise turns to escape, intercutting tense material illustrating Spock trying to fix the engines with incremental reminders of Khan and Kirk, all heroically building until the Enterprise warps away, the Reliant explodes, and everybody is happy.

Or not, as the case may be, as while the Genesis theme is playing away and there is a big sigh of relief from everyone concerned, Kirk realises his friend’s seat on the bridge is empty. Cue a soaring version of the Enterprise theme as Kirk runs through the ship, only to be held back as he sees Spock, on the verge of death from radiation poisoning.

Spock’s theme returns in ‘Spock (Dies)’ as the Vulcan explains to Kirk that this is his no-win scenario, and that he ‘always has been, and shall be’ his friend, leaving us with a reverent reading of Courage’s original series theme as he passes. ‘Amazing Grace’ is one of the iconic musical moments of the film, where Scotty plays his bagpipes to honour his fallen comrade, before the orchestra takes over to provide a lush arrangement of John Newton’s hymn, reportedly at Horner’s protest.

As the film winds up, ‘Epilogue’ returns to a ponderous and hopeful version of the Enterprise theme as Kirk reads his Captain’s Log, segueing to an equally optimistic reading of Spock’s theme as Kirk, McCoy and Carol contemplate Spock’s passing. As Kirk proclaims ‘I feel young’, we’re taken away to the newly-formed Genesis planet where the Enterprise and Spock themes soar as we see the Vulcan’s coffin, before the original series theme returns as Leonard Nimoy voice echoes with ‘Space. The final frontier…’ before it runs into ‘End Title’, where we’re given a representation of the film’s main themes.

Make no mistake, this track (‘Epilogue’) is stunning and serves as a reminder of how talented James Horner really can be when he puts his mind to it (which – sadly – is not that often). It gives a brilliant end to the film and the score and, well, it’s certainly something to show his grandchildren to one day.

As this is a ‘Newly Expanded’ version of Star Trek II , and this album represents the film’s complete score, there’s quite a bit of new material to pore over, and in fact there are a few cues that fans have been dying to own for a while.

I’ve covered some of it with ‘Spock (Dies)’, ‘Amazing Grace’ and ‘The Eels of Ceti Alpha V’, the latter of which is paired with ‘Kirk In Space Shuttle’ which provides a brief but magnificent cue mixing material from Kirk’s theme and the original series theme.

There’s more of Horner’s fine nautical heroics in ‘Kirk Takes Command/He Tasks Me’, which also features the underscore for Khan’s ‘I’ll chase him…’ bit, and the rest of the climactic space shenanigans in ‘Enterprise Attacks Reliant’. For those of you who are fans of Horner’s more creepy and atmospheric side, there’s some fine eerie work in ‘Inside Regula 1’, ‘Brainwashed’, and ‘Captain Terrell’s Death’, not to mention ‘Buried Alive’, which I’ll note does not contain Shatner’s now-famous and much parodied “KHAAAAANNNNN!!!!” cry.

However, more beauty can be found in ‘The Genesis Cave’, even if it is rather short-lived. The ethereal and slightly surreal music for the cave in question is a lovely piece and fitting for the semi-Biblical trappings of the scene in question.

There’s even a little bit of source music provided in Craig Huxley’s ‘Genesis Project’, which underscores Carol Marcus’ video proposal for Project Genesis. I’m not sure whether it’s supposed to be diagetic or not, but I suppose if you’re pitching a big project like this to someone it’s a good thing to have a kickass score behind your images. The cue is very minimalist and eerie and fits the visuals very well, although it’s a strange but curious interlude in the listening experience, being that the track is placed on the album based on its chronological appearance in the film, basically towards the middle.

Probably the biggest coup for this album is the inclusion of the original ‘Epilogue’. As you may well know – and goodness knows it’s been documented enough times – the film originally ended with Kirk’s ‘I feel young’ bit and Nimoy’s narration, before Harve Bennett and Paramount decided that they would leave a thread hanging for a possible return of Spock.

The music had already been recorded, but they went and shot the scene of the torpedo on the Genesis planet and then asked Horner to rewrite what he had done to include this new sequence, which ended up as the ‘Epilogue’ we’ve all come to know and love. The original cue is very similar to the revised cue, with a few minor differences in the arrangement, although seems very brief, possibly because we are all used to the Genesis bit in the middle that it doesn’t have. For all the fans complaining that Nimoy’s voice is still on the original track, this provides a very similar orchestration of that section sans narration.

Together with this amazing musical package, we also have some very cool artwork for the CD case itself, the cover of which uses Bob Peak’s amazing art for the movie poster. But more importantly – and as we’re used to on the better specialist releases such as this – we get a bundle of liner notes going over the finer points of the film and the score track by track, as written by Jeff Bond, FSM head honcho Lukas Kendall, and Alexander Kaplan. It’s a great release, and as stated at the beginning, one that’s been anticipated for decades.

I personally wouldn’t say it’s as good as Star Trek – The Motion Picture , but it’s still a sure-fire five-star score and fits the film beautifully. Unfortunately, due to the various rights issues surrounding the soundtracks, it’s not a sure thing that we’ll see more of the Trek scores expanded any time soon. But don’t let that dampen your enthusiasm – this is an essential purchase.

STAR TREK II: THE WRATH OF KHAN (Complete!) is out now .

Charlie Brigden

Star Trek II: The Wrath of Khan – Original Motion Picture Soundtrack 2XLP

This year marks the 50th Anniversary of Gene Roddenberry's inimitable Star Trek franchise and Mondo is honored to kick the year off with an expanded soundtrack release of arguably one of the greatest chapters in Trek history: The Wrath Of Khan.

This expanded edition soundtrack features audio never before released on vinyl. Special thanks to Mike Mattesino, Lukas Kendall, and Neil S. Bulk for their work on the remaster for Retrograde Records, and their help with bringing this album to life on Vinyl.

This deluxe 2XLP vinyl release features original artwork by Matt Taylor, and has been remastered for vinyl by James Plotkin.

Pressed on 2X 180 Gram Black Vinyl.

MISSED OUT?

Sign up for our newsletter so it doesn’t become a habit.

• Please note: we do not ship items separately. All items purchased with a pre-order item will be shipped together.
• Shipping and taxes calculated at checkout. For a list of shipping rates, see our FAQs page .
• Tariffs may apply to international orders.

Welcome to our new website. All 600 pages, including albums and collaborators pages, are being gradually updated.

UNEXPECTED NEW EDITION OF STAR TREK II FROM LA-LA LAND: OUR EXCLUSIVE REVIEW

Since the release of Intrada’s extended edition of The Land Before Time in October 2020, which presented 15 minutes of unreleased music, we had been feverishly waiting for a new album for 10 months. The surprise comes this time from the good people of La-La Land Records, who invite us as of this August 17th, 2021 to dive into another score of the 80s: Star Trek II: The Wrath of Khan .

In this article we will not make any musical commentaries; we will not analyze each theme or each track composed by James Horner. For that we invite you to read again the numerous reviews already available on the web and which highlight the great qualities of this music:

• James Southall of Movie Wave
• Christian Clemmensen of Filmtracks
• Craig Lysy of Movie Music UK
• A description of the themes and a precise "track by track" written by Ed Chang

We are not going to recall here the many stories behind this soundtrack: the listening of the demo tapes that led Nicholas Meyer and Robert Sallin to choose James Horner, the lack of budget, the search for a new musical color, the friendship between James Horner and Nicholas Meyer, the cameo of the composer in the film, the musical requests of the director, the delay of some special effects that made the composition of some scenes difficult, the extra sessions to answer new scenes….

If you want to know more about the genesis of this score, we suggest you follow this link to read two articles published in Starlog and Cinefantastique magazines at the time of the release of the film.

Here is an overview of the important differences between this new La-La Land album and its predecessors. Starting with CD1:

• The track "Spock (Dies)" on the 2009 edition becomes "Spock and Kirk" on the 2021 edition. This avoids confusion with the track "Spock" while expressing the composer's desire to set the relationship between the two characters to music.
• "Project Genesis" by Craig Huxley is placed as a bonus on the second CD, instead of placing it in the middle of the Horner material as the 2009 album did. Thus, the emphasis is on the music of James Horner and its narrative continuity.
• The first CD features the film versions of " Battle in the Mutara Nebula" and " Genesis Countdown" already present on the 2009 Retrograde FSM edition and differing slightly from the original 1982 album. On the other hand, " Epilogue/End Title" is the version without Leonard Nimoy's voiceover, previously available on the first of the four discs of Star Trek: 50th Anniversary Collection of 2016 from La-La Land Records.
• The passages "The Eels of Ceti Alpha V" and "Kirk in Space Shuttle" presented together on the 2009 edition and the 2021 CD1 are separated on the second part of CD2.
• "Kirk Takes Command" on disc 2 is a completely different take than the version on disc 1. The film and disc 1 use take 46 while the 1982 album was going to use 47. And in fact, take 47 was the only version archived on the tapes used in 2009 for the Retrograde release, meaning the film version debuts on this release.
• The alternative version of "Buried Alive" presents another take of the piece: micro-variations in the tempo and the entry of the brass, probably due to the absence of click track, a piano a little more sustained during the tutti, and especially a repetition in the last seconds of the harmonic progression of the tutti but this time with the low brass and the energy of the strings that dissipates.
• A first alternative version of the song "Amazing Grace". Its orchestral part is one semitone higher than the original version. And the return of the orchestra is three seconds later than in the original version where, for reasons of synchronization with the image, the bagpipes melody was truncated. This is not the case in this alternative version.
• The second alternative version of the song "Amazing Grace" concerns this time only the bagpipes part. The bagpipe has been pitch shifted digitally to be in tune with the orchestra.
• We also find the first version recorded in April 1982 of "Epilogue/End Title", made before the addition of the scene with Spock's coffin on Genesis. This version therefore does not have the final orchestral flourishes featuring Spock’s theme included in the final version recorded during the additional sessions in May 1982.
• “Wild Orchestra" is a 90-second improvised piece consisting of a first half of whistling plastic tubes (also called "Whirly Tubes") and a second half of eerie colors created by brass, percussion and bass.
• The "Theme of Star Trek II (Edited End Title)” was the second track on the 45 R.P.M. released in 1982. It's a combination of the Main Title and the End Title, with some internal changes. It has never appeared on CD before.

“I did not know about the new tapes when the project started. Paramount has a preservation project going on so all of the tapes had already been transferred and it was a matter of looking at a spreadsheet and asking for specific barcodes. It wasn't a detailed list, but I knew I wanted the 1/2" tapes. When I put them in Pro Tools that's when I realized we had more tapes then last time. In 2008 we only had a set of analog reels that were dubs of final edited takes from digital. Now I had tapes of the entire recording session and it wouldn't make sense for these tapes to be digital dubs and when I looked at a spectral analysis of them I saw they didn't have the cut off in frequency response that you would get with an early digital recording. That's when I realized we had something special, fully analog tapes with mixes of the complete scoring sessions newly transferred in hi-res digital. These tapes were recorded at the scoring sessions as protection in case there was a problem with the digital recording.” Producer Neil S. Bulk.

• Those who only own the original 1982 album, because this release presents 57 additional minutes.
• Those who only own the 2009 edition, because they do not have the album presentation personally arranged by James Horner, included on the second CD of this new edition. And we know how much attention the composer paid to the design of his albums.
• For those who own both 1982 and 2009 releases, the decision may be more difficult. By buying this new edition, you will complete your collection but above all you will benefit from an unprecedented sound quality. If the latter is a criterion of choice for you, then go for this new edition, which will transport you back to space, the final frontier.
• The writing and publication of the definitve biography on the composer and his career
• The production of a documentary with brand new and exclusive footage
• The creation of a CD album with unpublished works
• The planning and organisation of a series of concerts

Related Posts

Expanded and remastered edition of field of dreams, glory: an analysis of the complete score, casper expanded edition: our exclusive review, 7 thoughts on “unexpected new edition of star trek ii from la-la land: our exclusive review”.

T-Minus less than two hours as of this post before it goes on sale. I’ve owned the original album, the FSM expanded release and grabbed the 50th Anniversary Collection just to hear that ‘Epilogue / End Titles’ track without Leonard Nimoy’s voice over (Although everything else on that set is spectacular too. Animated series!). You bet your asteroids that I’m going to dive head first into this version.

Thank you for your incredible and detailed review of the soundtrack. Whatever worries I may have had in purchasing the soundtrack are all but gone now.

Thank you for your comment Jeyl!

My copy arrived today, and I’ll have to say… this release sounds absolutely fantastic.

It doesn’t alter the “sound” of the original recording, but it is more dynamic in range, clearer, and less harsh than the original soundtrack album.

IMHO, this is the way the score should sound and be presented.

Top marks all around for this.

Thank you for your comment Martin! Yes the sound is fantastic.

Thank you Jean-Baptiste,

As always your article is very helpful to understand the new edition.

The Spanish language has disappeared of the web. I hope your book is at least translated into Spanish …

Thanks for your comment Mel!

Yes, I stopped the Spanish site many years ago because I had no one to translate the articles. So I have no one to translate the book into Spanish.

Congratulations to all concerned at La-La Land records for bringing into the world this momentous remastered edition of Star Trek II: The Wrath of Khan. It is impossible to overstate the importance of this score in the canon of works by James Horner. The commission was pivotal to the composer’s career, an opportunity for a budding talent who only two years earlier had put his foot tentatively on the bottom rung of the film music ladder at Roger Corman’s New World Pictures. Star Trek II was an unexpected ticket to the big time, a chance for Horner to catapult himself to the top of the professional ladder. Only a man of consummate ability and musical genius would have been equal to this challenge, but Horner seized the opportunity with both hands, announcing himself by delivery of a photon torpedo into the unsuspecting Hollywood of 1982 as a force to be reckoned with, and remaining at the forefront of the film scoring business for the rest of his life. The unabridged treatment of the Star Trek II score presented by La-La Records shows exactly how he achieved this incredible feat, making this double cd set a landmark release not only for James Horner fans but for all serious students of film music. Star Trek II is perhaps the score most closely aligned to James Horner’s personality: the music exudes a sense of fearlessness and debonair confidence, and is definitely game for a big adventure, qualities reflective of what was happening on screen for sure, but also mirroring James Horner the man, a creative dynamo with ideas pouring out of him, nowhere better encapsulated than on the famous ‘Enterprise Clears Moorings’. The music of Star Trek II is a sort of common ancestor to all James Horner scores: the DNA of this masterpiece is to be found in some measure in everything he subsequently recorded, another reason why this special edition of the soundtrack is essential listening for all who love great film music and wish to broaden their knowledge of the subject. The freshness and immediacy of the score is a revelation. In terms of sound quality, those a La-La Records who have produced this tour de force have fashioned a sonic gem that has the aural impact of an exciting new release rather than the faded veneer of archival material dating back nearly forty years. The authoritative booklet by Deniz Cordell that guides us through the score is given added weight by none other than Sara Horner. On page 5 Sara tells us that James and his dad sat and listened to things and ‘they played four-handed piano all the time’. It is simply amazing for Sara to share such a poignant memory, demonstrating how a few words about James Horner can say so much. The highly successful rebooted Star Trek movies, comprising Star Trek (2009), Star Trek Into The Darkness (2013) and Star Trek Beyond (2016) have each taken on a new role as live concert events. However, the magic of La-La Land’s latest tribute to the lasting legacy of James Horner places front and centre the fact that Star Trek II is the gold standard of Star Trek films, for which James Horner composed the definitive Star Trek score. With that in mind, I suggest that the people behind the live concert franchise have missed a trick, but perhaps now with the release of the remastered edition of the Star Trek II score they may be inspired with the realisation that Star Trek II is the live concert event that fans around the world are waiting for. To finish, I recommend one and all to boldly go to the cd player right now and connect with the remastered edition of Star Trek II. Even Khan himself would be compelled to set his wrath aside for a couple of hours, swept away by the timeless majesty of James Horner’s great music.

Leave a Comment Cancel Reply

Your email address will not be published. Required fields are marked *

• May 9, 2024 | Star Trek Franchise Wins Peabody Award
• May 9, 2024 | Recap/Review: ‘Star Trek: Discovery’ Gets Cool Under Pressure In “Erigah”
• May 8, 2024 | Chris Pine Talks “Big F-ing Deal” Landing Kirk Role; Surprised ‘Star Trek 4’ Has Another New Screenwriter
• May 8, 2024 | Star Trek’s Michelle Yeoh To Star In ‘Blade Runner 2099’ Series
• May 7, 2024 | Crowdfunded ‘Space Command: Redemption’ Released, Features Star Trek’s Doug Jones, Robert Picardo & More

FSM Releasing Complete Soundtrack For Star Trek II: The Wrath of Khan

| July 20, 2009 | By: John Tenuto 155 comments so far

Star Trek II: The Expanded Soundtrack Originally released in 1982, and owing to the limitations of space on cassettes and LPs at the time, the TWOK soundtrack featured about 44:50 minutes of music. As they have done with previous releases such as the amazing 8CD Superman box set, Film Score Monthly/Screen Archives Entertainment have now greatly enhanced the TWOK music offering with an expanded edition of the score. With 23 tracks, the expanded edition of TWOK includes 76:58 minutes of music, featuring all the previously unreleased music available. Fans will be able to hear some of Horner’s beautiful music (made all the amazing considering he was only 28 years old at the time) for the first time on CD.

The  filmscoremonthly.com website has this description:

Star Trek II was released on LP by Atlantic Records in a 45-minute program issued on CD by GNP/Crescendo (long out of print). Although the album program featured the score’s highlights, fans have long clamored for a complete-score presentation—adding such important cues as the mind-control sequences involving Chekov and Capt. Terrell being possessed by alien eels, the revelation of the Genesis Cave, the final battle between the Enterprise and Reliant, and Spock’s death and funeral ("Amazing Grace"). FSM delivers in cooperation with Rhino Entertainment (who administer the Atlantic Records catalog) and Paramount Pictures (owners of the Star Trek film franchise)—remastering the complete score from Dan Wallin’s 1982 three-track film mixes, stored in the Paramount vaults in sterling sound quality.

Rare music from a Trek classic Two of the more exciting offerings are the music from the scene where Spock sacrifices himself for the crew ("Spock (dies)") and the amazing battle music of "Enterprise Attacks Reliant." The expanded edition also includes the one selection not composed by Horner. The music for "The Genesis Project" was actually composed by Craig Huxley. Astute fans may remember that Huxley, now a Grammy and Emmy award winning musician, played Peter Kirk (nephew to Captain Kirk in "Operation Annihilate!") and Tommy Starnes ("And the Children Shall Lead"). He is also the inventor of the "blaster beam" instrument which was the voice of V’Ger in Jerry Goldsmith’s music for Star Trek: The Motion Picture . There are also bonus tracks, including "Amazing Grace" and the original epilogue and end credits music. As many fans know, the scene with Spock’s photon casing on Genesis was added to the film after completion. This necessitated new music and reediting of the film. The TWOK bonus track includes the version of the music as it originally would have played if this scene was not added to the feature film.

The soundtrack also includes an extensive and detailed 28-page program booklet, with many rare photos (some supplied by myself, with director Meyer’s permission, from my collection of photos from the amazing "The Papers of Nicholas Meyer Collection" from the University of Iowa) and liner notes from Jeff Bond, Lukas Kendall, and Alexander Kaplan. Here is an exclusive look at a sample page from the booklet.

Get the Extended TWOK Soundtrack now The soundtrack costs $19.95 is available now, online only. You can purchase (and listen to clips) at filmscoremonthly.com . [note: this Soundtrack is not a ‘limited edition’ so if you have trouble getting to their site today, don’t worry]

You can also pick it up at the Screen Archives Entertainment booth at SDCC, booth #429.

FSM and SA also have a special deal where you can save $5 if you order this and other select science fiction soundtracks and spend more than $50. Details at ScreenArchives.com .

TRACK LISTING (listen to clips at filmscoremonthly.com ) 1. Main Title 3:06 2. Surprise on Ceti Alpha V 0:45 3. Khan’s Pets 4:19 4. The Eels of Ceti Alpha V/Kirk in Space Shuttle 3:53 5. Enterprise Clears Moorings 3:33 6. Chekov Lies 0:40 7. Spock 1:12 8. Kirk Takes Command/He Tasks Me 2:07 9. Genesis Project (Composed and Performed by Craig Huxley) 3:16 10. Surprise Attack 5:07 11. Kirk’s Explosive Reply 4:01 12. Inside Regula I 1:35 13. Brainwashed 1:24 14. Captain Terrell’s Death 1:58 15. Buried Alive 0:57 16. The Genesis Cave 1:09 17. Battle in the Mutara Nebula 8:07 18. Enterprise Attacks Reliant 1:29 19. Genesis Countdown 6:34 20. Spock (Dies) 1:53 21. Amazing Grace 1:26 22. Epilogue/End Title 8:41 Bonus Track 23. Epilogue (original version)/End Title 7:29

MORE on the TWOK Extended Soundtrack to come TrekMovie will soon have a review of the new TWOK Extended Soundtrack, along with an interview about the project from FSM’s Lukas Kendall.

thats jut FREAKEN INCREDIBLE !!!!!! I can’t believe it ! I’m a huge collector of Star Trek Soundtracks and this just MADE MY DAY !

Bah. I’m so sorry, but this is my dream soundtrack! I even made my own cover artwork for what I would have done with the soundtrack a couple of years ago.

http://trekbbs.com/showpost.php?p=2708667&postcount=7

Frak! Gotta have it!

YYYYYYYEEEEEEEEEESSSSSSSSSSS!!!!!!!!!!!!!!!!!!!!!

Will it end up on iTunes?

Hi Everyone, and thanks for your great comments. As far as I know there are no plans to put the soundtrack on itunes, because of the way the rights are jointly with Atlantic Records and Paramount Pictures; I suppose they could work it out, but we only have physical CD rights. Thanks!

Could there be more to come?

ST III through VI expanded editions would be most welcome!

(ST V would be VERY nice…yes, VERY nice, indeed)

Okay, someone has to do it …

KHAAAAAANNNNNNNN !!!!!!!!!!!!!!!!!!!

I am definately getting this. I’ve been wishing for this for as long as I’ve had the (superb) GNP Crescendo CD.

This score was one of those that introduced me to soundtracks, and is one of my all-time favorites.

it will not be on itunes

A rep from LaLa Land Records said on the Film Score Monthly message board that a Trek soundtrack boxset is impossible because the rights are owned by five or six different companies (Sony, Atlantic, GNP Crescendo, Epic, MCA, etc.) but individual releases would be possible. And as we’ve seen today, that’s true! Personally, I can’t wait for Trek III and V (fingers crossed).

Very, very exciting…

I, too, would love to see expanded editions of the subsequent films.

I can’t wait for this. Now we need Star Trek 3 as well, since it is a companion to 2.

Trek III is a must for them to do, now that they have Trek II.

These scores go together like Kirk and Spock.

I’d love to find some of the extended First Contact score while we’re at it. The scene where the Phoenix goes to warp is some of the most exciting Trek film music not released on the soundtrack.

SPOCK DIES?!! WHAT!! SPOILERS!!! Oh, can’t wait to get it.. Hope we can get the other movies, too.

Ordered as ordered! I can’t wait!

Now, if they’d only expand ST:TMP with “Red Alert” and “Kirk Lost”. Why those were left off the official release, who knows?

Or what about the score that played during the crews recreation of V’Ger destroying the klingon ships on the recreation deck and the ultimate V’Ger reveal for the Director’s Edition?

Oh, right. That too.

Well, at least they’re out there…somewhere :D

Wishlisted. I’ll have to wait until August to actually order it (payday).

Wow… I remember copying the “Amazing Grace” cue to the end of my Star Trek II cassette tape when I was in college, because one of my wingmates had his VCR audio piped through his stereo and could record it for me. You have to remember that in 1984, that was the coolest thing ever.

(In fact, I still have the tape.)

Will be nice to pick up the entire soundtrack now. The artwork looks great!

Awesome…just ordered it.

I have it on Vinyl sitting next to me right now. A cherished B-Day present from a close friend.

Finally! One of the best ST scores finally gets the treatment it deserves. So ordering it.

Wow. This is one of the greats. Horner was only 28. Friggin’ incredible piece of work. I’m buying this puppy for sure.

And I second the motion for a TSFS expanded set as well. They are very much companion pieces.

YEEEEEHAAAAWWWWWW!!!!

I’ve been waiting for this ever since the “official” TMP score was released back in 2001.

Hey, FSM, any possibility of releasing all of The Motion Picture’s soundtrack officially?

KHAN FOR THE……*sighs* u get the idea

Excellent! I’ve wanted this one for AGES! Finally – and they ship to Canada cheaper than Amazon!!! Already ordered. . .

Most impressive. I shall have it.

BOUGHT! Always wanted the rest of those cues. Excellent day for Trekkies!

Just ordered it. the best trek movie EVER gets its due. Horner’s soundtrack is the best of the best.

#22 Marvin — people younger than us don’t understand how cool that was. I used to do the same thing to listen to different sections of the music. For a while, the only place to get the Trek II soundtrack was on a cassette at a convention (where I got mine). I think it was over 15 years before we got the trek II and trek III soundtracks on CD. Good times.

Ordered. Can’t wait. What a great year for Trek. :)

Can someone speak knowledgeably about the portion of the TWOK soundtrack used when we see the camera sweep from Enterprise over the dead moonlet to reveal Reliant (It’s been awhile, but I think this is just after Kirk reveals that they’re only stuck for a couple hours and it’s before the later battles). My observation is that this became THE basis for bad guy incidental music over the next two decades, sci-fi and otherwise. Thoughts, comments, passing of pretentious gas?

(on the above list, I would think it would fit between 16 & 17)

What? No commentary from someone who had absolutely nothing to do with the movie or other movies and tv shows!? Definitely a buy for me!

Wow! He was only twenty-eight? Amazing film score!

Oh brother. I can see it now. Trek fan invites date home after dinner (yeah right a date) and says let me put on some mood music. Date leaves at warp 9.

What’s with that cover they always use for Wrath of Khan items now? The poster art with the Space station shooting at the Enterprise? Could they not use the original one sheet poster?

I still have the LP

Just ordered it! FINALLY, the Amazing Grace cut, I always wondered why it was not included on the LP.

35 – That was the Main Title / Kirk’s theme, mixing into Khan’s theme, and it was part of Battle in the Mutara Nebula, which was on the original GNP / Atlantic release.

Khan’s theme is more of a vengeful sounding cue with low brass, and was heard at least as early as Surprise Attack, and in slowed down form in Khan’s Pets, which accompanies the sequence where Khan takes off his one glove, and chekov recognises him.

Those two themes, plus Spock’s theme (a sweeping theme that became the main title theme for Star Trek III) are the 3 major themes for this score.

Gimmie! gimmie! Gimmie!

I believe it is the Enterprise shooting at the Space Station actually. I should know, I have one of those posters hanging behind me at work.

Joseph Chapes

SWEET!! Do it for TSFS also, please!!!

About goddamn time. Star Trek III next, kindly.

Am I the only one reading far too much into this?

Re-Releasing of all the Original Series movies, complete with a rerendering and ‘touching up’ of the visual FX and now the release of the expanded soundtrack…

Now to me, it seems Paramount are trying to make damn sure the newbie fans know who Kahn is?

YES YES YES!!!

ST:III NEXT PLEASE!!!!!!!!!!!!!!!!

Soundtrack Information

Star Trek II: The Wrath of Khan - Vinyl Edition

Release Date: January 13, 2016

Format: Vinyl

• Star Trek II: The Wrath of Khan (1982)
• James Horner

Purchase Soundtrack

• Official Site

Track Listing

Related albums.

Star Trek II: The Wrath of Khan - Remastered Limited Edition of 10,000 Units La-La Land Records (LLLCD1582)

Released: August 17, 2021

Format: CD (133 min)

Star Trek II: The Wrath of Khan - Expanded Edition Retrograde (FSM-80128-2)

Released: July 20, 2009

Format: CD (75 min)

Star Trek II: The Wrath of Khan GNP Crescendo (GNPD 8022)

Released: 1982

Formats: CD, Digital, Cassette, Vinyl (45 min)

James Horner - The Classics Sony Classical

Released: August 10, 2018

Formats: CD, Digital, Vinyl (64 min)

Star Trek: 50th Anniversary Collection Limited Edition of 3,000 Units La-La Land Records

Released: November 29, 2016

The Music Of James Horner Silva Screen Records, Ltd. (SILCD1351)

Released: May 30, 2011

Formats: CD, Digital (148 min)

Film Music Masterworks: James Horner Silva Screen Records, Ltd. (SILCD 2004)

Released: 2006

Format: CD (56 min)

The Star Trek Album Silva America

Released: 2003

Titanic - The Essential James Horner Film Music Collection Silva America (SSD 1089)

Released: August 18, 1998

Formats: CD, Digital (114 min)

Star Trek - The Astral Symphony Paramount Pictures

Released: October 1, 1991

Formats: CD, Cassette (72 min)

Star Tracks II Telarc (CD 80146)

Released: October 25, 1990

Format: CD (54 min)

From the Manufacturer

• Click stars to rate.

If any information appears to be missing from this page, contact us and let us know!

• CDs & Vinyl
• Soundtracks

Image Unavailable

• Sorry, this item is not available in
• Image not available
• To view this video download Flash Player

Star Trek II: The Wrath of Khan (Newly Expanded Edition)

• Paperback from $15.00 1 Used from $15.00

Customers who viewed this item also viewed

Product details

• Package Dimensions ‏ : ‎ 5.55 x 4.97 x 0.54 inches; 2.83 ounces
• Manufacturer ‏ : ‎ Paramount / Retrograde / Film Score
• Date First Available ‏ : ‎ July 20, 2009
• Label ‏ : ‎ Paramount / Retrograde / Film Score
• ASIN ‏ : ‎ B002IAPHK8
• Number of discs ‏ : ‎ 1
• #8,724 in Soundtracks (CDs & Vinyl)

Customer reviews

Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.

Reviews with images

• Sort reviews by Top reviews Most recent Top reviews

Top reviews from the United States

There was a problem filtering reviews right now. please try again later..

Top reviews from other countries

• Amazon Newsletter
• About Amazon
• Accessibility
• Sustainability
• Press Center
• Investor Relations
• Amazon Devices
• Amazon Science
• Sell on Amazon
• Sell apps on Amazon
• Supply to Amazon
• Protect & Build Your Brand
• Become an Affiliate
• Become a Delivery Driver
• Start a Package Delivery Business
• Advertise Your Products
• Self-Publish with Us
• Become an Amazon Hub Partner
• › See More Ways to Make Money
• Amazon Visa
• Amazon Store Card
• Amazon Secured Card
• Amazon Business Card
• Shop with Points
• Credit Card Marketplace
• Reload Your Balance
• Amazon Currency Converter
• Your Account
• Your Orders
• Shipping Rates & Policies
• Amazon Prime
• Returns & Replacements
• Manage Your Content and Devices
• Recalls and Product Safety Alerts
• Conditions of Use
• Privacy Notice
• Consumer Health Data Privacy Disclosure
• Your Ads Privacy Choices

Screen Rant

Star trek is officially redefining what "where no one has gone before" actually means.

Your changes have been saved

Email Is sent

Please verify your email address.

You’ve reached your account maximum for followed topics.

Star Trek Already Confirmed Its Real Final Frontier (& It's Not Space)

Tmnt officially debuts donatello's children, with their own matching names, x-men's havok to lead new government-sponsored x-factor team, confirming his place as the worst summers brother.

• The iconic catchphrase "where no one has gone before" gets an epic new meaning in Star Trek #19, by Jackson Lanzing, Collin Kelly and Megan Levens.
• Captain Sisko and his crew are heading into the Pleroma, Star Trek's newly revealed "realm of the gods," prompting Doctor Crusher to call it "where no one has gone before."
• One of Star Trek's key tenets is that humanity can evolve and transcend, and the journey to the Pleroma is the first step in this quest.

For generations of Star Trek fans, the catchphrase “where no one has gone before” has been an iconic call to adventure, but now it has taken on a whole new meaning. In Star Trek #19, the crew of the Theseus is heading to the Pleroma, a mysterious new realm that promises great adventure–and great peril. As they prepare for the hazardous journey, the franchise’s catchphrase takes on new layers.

Star Trek #19 is written by Jackson Lanzing and Collin Kelly and drawn by Megan Levens. T’Lir, the enigmatic Vulcan, has been revealed to be the last of the Organians and has charged Sisko and company with a new mission: travel to the Pleroma and help fix the damage Kahless has caused. Sisko is wary of the Pleroma, having been forbidden to travel there by the Prophets.

He discusses the impending journey with Doctor Crusher, and she refers to the Pleroma as “where no one has gone before.”

For Over 60 Years, Star Trek's Opening Monologue Has Perfectly Set the Show's Tone

It has undergone several changes over the years.

The catchphrase “where no one has gone before” is one of the most memorable in pop culture. Part of a larger opening monologue, the phrase has undergone a few alterations. When Star Trek premiered in 1966, the line read: “where no man has gone before.” When Star Trek: The Next Generation debuted in 1987, it was updated to the much better and more inclusive “where no one has gone before.” This has since become, with a few exceptions, the standard across the franchise, still recited in both the Abrams Kelvin-timeline movies and Strange New Worlds.

In the pilot episode of Star Trek: Enterprise , it was revealed Zefram Cochrane coined the phrase "where no man has gone before."

Star Trek is a story of exploration and discovery, and this catchphrase perfectly sums up this philosophy. Every week, the crews of the various Star Trek shows encounter bizarre alien life forms and awe-inspiring stellar phenomena. Ships like the Enterprise, Voyager or Discovery expanded the frontiers of knowledge while keeping the galaxy safe. Star Trek’s opening monologs set the tone perfectly for the incredible stories that follow. Now, on the eve of one of the biggest discoveries in galactic history, it is taking on a new meaning.

Star Trek often proclaims that it is about humanity's destiny among the final frontier, but what if that doesn't actually refer to space travel?

Star Trek Is About More Than Just Exploring Space--It's About Exploring the Human Heart Too

The pleroma may hold the key to humanity's evolution.

Yet, Star Trek is more than just stories of the exploration of space, but also expanding the potential of humanity . In addition to featuring a future where strife and war have been eliminated, the franchise has shown humanity has great potential, something Q alluded to in the Star Trek: The Next Generation episode “All Good Things.” Humanity will one day be like gods, and the Theseus’ journey to the Pleroma is the first step along the way. The Pleroma opens new possibilities in the Star Trek franchise, giving new meaning to “where no one has gone before.”

Star Trek #19 is on sale now from IDW Publishing!

Jessica Harrop Promoted to Executive Director of Sandbox Films (EXCLUSIVE)

By Brent Lang

Executive Editor

• ‘Pam & Tommy’ Stars Sebastian Stan and Lily James Reuniting on ‘Let the Evil Go West’ 10 hours ago
• Will Cannes Rebound After Hollywood Strikes Overshadowed Last Year’s Market? 12 hours ago
• Jessica Harrop Promoted to Executive Director of Sandbox Films (EXCLUSIVE) 12 hours ago

Sandbox Films  has promoted  Jessica Harrop  to executive director of the company. In her new role, she will lead in strategic planning, editorial decision-making and the building of new partnerships and initiatives at the nonfiction studio. 

Popular on Variety

In addition, Sam Lazar Riviello has been named head of operations and events at the company.

“It is an exhilarating moment for Sandbox Films!” Riviello said in a statement. “Under Jessica’s astute stewardship, we’re cultivating more dynamic partnerships, empowering the independent documentary community with resources driven by their needs, and delivering awe-inspiring science documentaries to audiences worldwide — all while upholding the exceptional standards that define our studio.”

Under Harrop’s leadership, Sandbox will be expanding its Sundance Institute Sandbox Fund to increase its granting pool to $500,000 per year. Since its inception, the fund has seen a 500% increase in the number of project submissions from all around the globe. This program expansion will allow the Sundance Institute Documentary Film Program (DFP) and Sandbox Films teams to award more sizable grants and support a larger number of artists.

Sandbox will also be growing its initiatives to bring scientists and filmmakers together in a new Sandbox Salon series. The series will consist of intimate gatherings thrown at the new Sandbox offices and will center around discussions of challenging and thought-provoking scientific questions. These Salons will expand upon the annual Camp Sandbox retreat which takes place every fall, bringing 15 scientists and 15 filmmakers together for a long weekend of idea sharing. 

Sandbox Films is an editorially independent subsidiary of the Simons Foundation in New York City. Simons Foundation President David Spergel says: “Sandbox Films is an important part of our science, society and culture portfolio.  We aim to transform people’s relationship with science and a great film can change our connection to the world around us. We are excited for Jessica to take on this new role. She has been an integral part of the growth of the company, and we look forward to its many continued successes.”

In addition to expanded initiatives, Sandbox Films will continue to elevate its existing and upcoming film slate. The studio currently has approximately 20 films in development and production, collaborating with artists from all over the world, including co-productions with A24 and Darren Aronofsky’s Protozoa. Upcoming productions also include a new shorts series in partnership with NYTimes Op-Docs, to be announced soon. 

Additional upcoming releases include the Sundance film “Nocturnes,” which will be released theatrically later this year after winning the Special Jury prize for World Documentary Craft at Sundance and the WWF Hellas Award at Thessaloniki. Also to be released this year is “Confessions of a Good Samaritan,” directed by award-winning filmmaker Penny Lane, which had its world premiere at the 2023 SXSW Film & TV Festival.

Sandbox will continue to run its operations from the New York headquarters.

More From Our Brands

How to order flowers online, according to a top floral designer, drew barrymore’s bucolic hamptons retreat can be yours for $8.4 million, wnba taps delta airlines as charter flights this season, the best loofahs and body scrubbers, according to dermatologists, grey’s recap: did history repeat itself in the worst possible way, verify it's you, please log in.