[15]:2112 Crews worked in three shifts a day, 24 hours a day, seven days a week. Planet of the Titans also explored the concept of the third eye. [15]:162, Khambatta also faced difficulties during filming. The sequence took three days to shoot. It is the first installment in the Star Trek film series, and stars the cast of the original television series. [70], In 1983, an extended cut premiered on the ABC television network. [104] Scott Bukatman reviewed the film in Ares magazine #1, and commented that "With Star Trek, Roddenberry's trick has been to wear the mask of the humanist as he plays with his Erector set. [15]:202 Douglas Trumbull, a film director with an excellent reputation in Hollywood[33] who had worked on 2001: A Space Odyssey, was the first choice for director of special effects, but declined the offer. 
With Earth saved, Kirk directs Enterprise out to space for future missions. [15]:88 For the science station, two consoles were rigged for hydraulic operation so that they could be rolled into the walls when not in use, but the system was disconnected when the crew discovered it would be easier to move them by hand. Although irked by the rejection, Goldsmith consented to rework his initial ideas. By October 1976, Robert Silverberg had been signed to work on the screenplay along with a second writer, John D. F. Black, whose treatment featured a black hole that threatened to consume all of existence. They are a relief from the stars, and a delight." [15]:210[31] A similar method was used on the Klingon cruiser model, but he made it less well-lit to convey a different look than the clean visuals of the Federationthe cruiser was meant to evoke "an enemy submarine in World War II that's been out at sea for too long". [85] A 4K version of the directors cut was released on the Paramount+ streaming service, and will later release in 2022 on physical media.
[42] The film's soundtrack also provided a debut for the Blaster Beam, an electronic instrument 12 to 15 feet (3.7 to 4.6m) long. 
[15]:165 Due to the requirement that the sun be in a specific location for filming and that the environment be bright enough, production fell behind schedule when it was unseasonably cloudy for three days straight. In doing so, he learns that the entire vessel is V'Ger, a non-biological living machine. At the time Phase II was cancelled a roughly five foot long model of the Enterprise was under construction by Don Loos of Brick Price Movie Miniatures, and models of the dry-dock and V'Ger were under construction as well. The final model was 68 feet (21m) long, built from the rear forward so that the camera crews could shoot footage while the next sections were still being fabricated. [88] The Motion Picture earned $17 million within a week. )[15]:140[9], In the decade between the end of the Star Trek television series and the film, many of the futuristic technologies that appeared on the showelectronic doors that open automatically, talking computers, weapons that stun rather than kill, and personal communication deviceshad become a reality. As Trumbull also felt the Enterprise's lights were ill-suited for his needs, he rewired both models. The tank was designed to be flooded with millions of gallons of water to represent large bodies of water. [15]:149, The greatest amount of technical advice for the production came from the National Aeronautics and Space Administration (NASA), who provided Trek fan Jesco von Puttkamer as advisor to the film. The Vejur spelling for the "intruder's" name was used exclusively in the novel Roddenberry authored, from its first appearance on page 179 of the first paperback edition of the novelization through to the account on the novel's page 241 of Kirk reading the undamaged "V-G-E-R" letters on the fictional "Voyager 6" space probe's nameplate. Weldon prepared an ammonia and acetic acid solution that was touched to Koenig's sleeve, causing it to smoke. [36]:90 Sony's Legacy Recordings released an expanded two-disc edition of the soundtrack on November 10, 1998. [43][44] It was created by musician Craig Huxley, who played a small role in an episode of the original television series. The Klingon cruiser sequence was developed to avoid an opening similar to Star Wars, with one model used for all three seen in the film. Before transmitting all its information, V'Ger insists that the "Creator" come in person to finish the sequence. The seller was convicted of stealing a trade secret, fined $750, and sentenced to two years' probation. Fein attributed the rating change to the more "intense" sound mix that made scenes such as the central part of V'Ger "more menacing". The show was never a hit with network executives, and due to low Nielsen ratings, the show was cancelled after the third season. [47], A soundtrack featuring the film's music was released by Columbia Records in 1979 together with the film debut, and was one of Goldsmith's best-selling scores. Spock takes an unauthorized spacewalk to the vessel's interior and attempts a telepathic mind meld with it. [8][15]:24 The film was postponed until spring (March/April) 1976 while Paramount fielded new scripts for Star Trek II (the working title) from acclaimed writers such as Ray Bradbury, Theodore Sturgeon, and Harlan Ellison. Because the original Vulcan scenes had been photographed with actors speaking English, the "language" needed to lip-sync with the actor's lines. The station control tower was replicated with rear-projection screens to add the people inside. Kirk's unfamiliarity with the ship's new systems increases the tension between him and Decker, who has been temporarily demoted to commander and first officer. [15]:160, Aside from control interfaces, the bridge set was populated with monitors looping animations. [9] A final draft of the third act was approved in late September 1978, but had it not been for a Penthouse interview where NASA director Robert Jastrow said that mechanical forms of life were likely, the ending might not have been approved at all. Despite the delays, Wise refused to shoot more than twelve hours on set, feeling he lost his edge afterwards. Who is the story's hero anyway? As Paramount executives' interest in the film began to wane, Roddenberry, backed by fan letters, applied pressure to the studio. A 2ft model spaceman created for the shot was used in the drydock sequence and Spock's spacewalk.
Different lighting schemes were used to simulate different decks of the ship with the same length of corridor. The first attempts at filming the scene became a nightmare for the crew. Dennis Clark (Comes a Horseman) was invited to rewrite the script and to include Spock, but he disliked Roddenberry, who demanded sole credit. Paramount assigned a studio executive to Trumbull to make sure he would meet the release date,[33] and together with Yuricich the effects team rushed to finish. In March 1978, Paramount assembled the largest press conference held at the studio since the 1950s to announce that Wise would direct a $15 million film adaptation of the original television series. [15]:41 The novel also has a different opening scene to introduce Vejur and Kirk, concentrates in sections on Kirk's struggle with confidence in taking command of the Enterprise again and expands on Ilia and Decker's relationship. Effects artist Richard Yuricich acted as a liaison between Abel and Paramount. [9][31] The models were filmed in multiple passes and composited together in post-production; multiple passes with only the model's lighting running were added to the original pass for the final look. [27], The first new sets (intended for Phase II) were constructed beginning July 25, 1977. [19]:1789[15]:1347 The upswept Vulcan eyebrows needed to be applied hair by hair for proper detail, and it took Nimoy more than two hours to prepare for filmingtwice as long as it had for television. To replace Spock, Roddenberry created a logical Vulcan prodigy named Xon. Canby wrote that the film "owes more to [Trumbull, Dykstra and Michelson] than it does to the director, the writers or even the producer". Gene Siskel felt the film "teeter[ed] towards being a crashing bore" whenever Khambatta was not on screen,[19]:155158and Jack Kroll of Newsweek felt that she had the most memorable entrance in the film. Each oval monitor was a rear-projection screen on which super 8mm and 16mm film sequences looped for each special effect. [82], The film's original theatrical cut was released on Blu-ray Disc in May 2009 to coincide with the new Star Trek feature,[83] packaged with the five following features as the Star Trek: Original Motion Picture Collection. Ramsay and Wise consulted and decided that the film should have a unique audio style; they were particularly concerned to avoid sounds that had become pervasive and clich from repetitive use in other science-fiction movies. Wise and Roddenberry then cracked a breakaway bottle of champagne on the bridge set (with no liquid inside to damage the readied set). More than 500 peopleconsisting of the cast and crew, working members of the space community, and the few "hardcore Trekkies" who could afford the $100 admission pricefilled the museum. [15]:1889, Despite tight security around production, in February 1978 the head of an Orange County, California Star Trek fan group reported to the FBI that a man offered to sell plans of the film set. Prendergast's role was to ensure continuity in wardrobe, actor position, and prop placement. [15]:29 Philip Kaufman signed on to direct and was given a crash course in the series. [10]:234 The slow pacing, extended reaction shots, and lack of action scenes led fans and critics to give the film a variety of nicknames, including The Slow Motion Picture,[8] The Motion Sickness,[76] and Where Nomad [the probe in "The Changeling"] Has Gone Before.[110]. In 2001, Wise oversaw a director's cut for a special DVD release of the film, with remastered audio, tightened and added scenes, and new computer-generated effects. [6]:6870, The planet Vulcan setting was created using a mixture of on-location photography at Minerva Hot Springs in Yellowstone National Park and set recreation. In contrast, almost every action on the Klingon bridge made noise to reflect the aliens' harsh aesthetic[54]:797 While much of the effects were created using digital synthesizers, acoustic recordings were used as well. [6]:57 The shoot dragged on so long that it became a running joke for cast members to try and top each other with wormhole-related puns. Other loops came from Long Beach Hospital, the University of California at San Diego, and experimental computer labs in New Mexico. Feeling it was "physically impossible" to produce a script that satisfied all parties, they left the project by mutual consent on March 18, 1977. The approach of Kirk and Scott to the drydocked Enterprise by shuttle lasted a ponderous five minutes due to the effect shots coming in late and unedited, requiring Goldsmith to maintain interest with a revised and developed cue. That was the problem. In his long association with Star Trek, Phillips produced his 2,000th Spock ear during production of The Motion Picture. [101] Conversely, Arnold felt that the acting of the main cast (Shatner in particular) was poor; "Shatner portrays Kirk as such a supercilious old twit that one rather wishes he'd been left behind that desk", he wrote. [15]:1236 Fletcher designed the Class B uniform as similar to evolved T-shirts, with shoulder boards used to indicate rank and service divisions. On film the engine room appeared hundreds of feet long, but the set was actually only 40 feet (12m) in length. Testing of Enterprise's new systems goes poorly; two officers, including the ship's Vulcan science officer Sonak, are killed by a malfunctioning transporter, and improperly calibrated engines nearly destroy the ship. [15]:163, On January 26, 1979, the film finally wrapped after 125 days. Events such as Enterprise bridge viewscreen activation were kept silent to provide a more comfortable atmosphere. [27] Visitor's badges were created to keep track of guests, and due to the limited number were constantly checked out. [15]:1789 One of Roddenberry's ideas was to have the Vulcans speak their own language. [9] Given his unfamiliarity with the source material Wise relied on the actors, especially Shatner, to ensure that dialogue and characterizations were consistent with the show. [n 1] Weldon was planning on retiring after 42years of effects work, but his wife urged him to take on Star Trek because she thought he did not have enough to do. [55]:144[56]:160 The discussion of a new birth is framed in a reverential way. [19]:17073, Dykstra and Apogee created three models to stand in for the Epsilon 9 station. [87][88] The film beat the 3-day weekend record set by Superman (1978) of $10.4 million[89] in its third weekend (but not its 4-day weekend gross of $13.1 million) and the opening weekend gross of the 1978 reissue of Star Wars of $10.1 million. Should be hired now while he is cheap and humble." Transparencies of the film's sets were inserted behind some windows, and as jokes, some featured Probert, other production staff members, and Mickey Mouse. The disc features a new commentary track by Star Trek authors and contributors Michael and Denise Okuda, Judith and Garfield Reeves-Stevens, and Daren Dochterman. The Motion Picture likewise received technical consultation from NASA, the Jet Propulsion Laboratory at California Institute of Technology, and the Massachusetts Institute of Technology, as well as individuals such as former astronaut Rusty Schweickart and the science fiction writer Isaac Asimov. 
[109] "[Khambatta] is sympathetic enough to make one hope she'll have a chance to show less skin and more hair in future films", Godfrey wrote. [34], The studio had wasted $5 million and a year's worth of time with Abel and Associates,[8] although Abel reportedly gained a new production studio filled with equipment using Paramount's money,[33] and allegedly sold other Paramount-funded equipment. [84] The Motion Picture was remastered in 1080p high definition. [31] Yuricich's previous work had been as Director of Photography for Photographic Effects on Close Encounters, and he and Trumbull reassembled the crew and equipment from the feature, adding more personnel and space. Scenes were rewritten so often it became necessary to note on script pages the hour of the revision. I wanted it to be this beautiful, epic, spectacular sequence that had no dialogue, no story, no plot, everything stops, and let the audience just love the Enterprise. [47][81] Jeremy Conrad of IGN felt that despite the changes, the pacing might still be too slow for some viewers. A plywood base was built on metal platforms to create stone silhouettes, reinforced with chicken wire. The designs were developed by Phillips or from his sketches. [32], After the groundbreaking opticals of Star Wars, The Motion Picture's producers realized the film required similarly high-quality visuals. Kirk wins out, the entity returns to its dimension, and the Enterprise crew resumes their voyages. [86], Star Trek: The Motion Picture opened in the United States and Canada on December 7, 1979, in 857 theaters and set a box office record for the highest opening weekend gross, making $11,926,421 in its first weekend. Even better maybe. As new effects were added, Abel increased their bid by $750,000, and Roddenberry suggested that the effects costs and schedules be reexamined. "Into the V'Ger maw with Douglass Trumbull", "Star Trekking at Apogee with John Dykstra". Before costs could be determined and Weldon could shop for necessary items, he and the other members of the special effects team worked out all possibilities for pulling off the effects in a convincing manner. The crew was dissatisfied with the original four-foot clay model created by the Abel group, which looked like a modernized Nemo's Nautilus submarine. The designer began with the bridge, which had nearly been completed. While on the small screen the ears could be used up to four times, since nicks and tears did not show up on television, Phillips had to create around three pairs a day for Nimoy during filming. [28]:85 The general shape and proportions of the Phase II ship were retained, but the angles, curves and details refined. The set was 24 feet (7.3m) high, decorated with 107 pieces of custom-designed furniture, and packed with 300 people for filming. A variety of field jackets, leisure wear, and spacesuits were also created; as these parts had to be designed and completed before most of the actors' parts had been cast, many roles were filled by considering how well the actors would fit into existing costumes. His list included Edward Anhalt, James Goldman, Francis Ford Coppola, George Lucas, Ernest Lehman, and Robert Bloch. A 6-by-3.5-foot (1.8 by 1.1m) model was used for distance shots, while an isolated 5-by-6-foot (1.5 by 1.8m) panel was used for closer shots. [15]:934, Another large construction task was the V'ger set, referred to by the production staff as "the Coliseum" or "the microwave wok". The same effect was recolored and used for the Klingons and the Enterprise; the aliens' torpedoes glowed red while the "good guys" had blue-colored weaponry.
The paintings were combined with live action after a selected area of the frame was matted out; the blue Earth sky over Yellowstone, for example was replaced with a red-hued Vulcan landscape. Shatner, Nimoy, and Kelley delivered their final lines at 4:50 pm. In addition to cuts in some sequences, 90 new and redesigned computer-generated images were created. [21] When that film folded after three months for Adam and "a month and a half" for McQuarrie,[22] their concepts were shelved, although a handful of them were revisited in later productions. Each final film reel was taken while wet from the film studio and put into a container with other reels, then taken to airplanes waiting on tarmacs. Jumpsuits, serving a more utilitarian function, were the only costumes to have pockets, and were made with a heavyweight spandex that required a special needle to puncture the thick material. From 1976 until the completion of the film Puttkamer provided the writers, producer, and director with memos on everything technical in the script;[15]:1503 the scientist reviewed every line in the script, and was unpaid for his assistance. The first step of preparation involved analyzing the script in the number, duration, and type of effects. [15]:66, Koenig described the state of the script at the start of filming as a three-act screenplay without a third act. When the original contractors for the optical effects proved unable to complete their tasks in time, effects supervisor Douglas Trumbull was asked to meet the film's December 1979 release date. Editor Todd Ramsay and assistants spent principal photography syncing film and audio tracks. [15]:17880 Security swept cars leaving the lots for stolen items; even the principal actors were not spared this inconvenience. In The Motion Picture, meanwhile, Decker is apparently killed in merging with V'Ger, but Kirk wonders if they have seen the creation of a new life form. [15]:1278, For the civilians of San Francisco, Fletcher decided on a greater freedom in dress. [15]:129 As times had changed, the brightly multicolored Starfleet uniforms were revised: the miniskirts worn by women in the original series would now be considered sexist, and Wise and Fletcher deemed the colors garish and working against believability on the big screen. [15]:2045 Offering what Trumbull described as "an almost unlimited budget",[31] in March the studio asked Trumbull if he could get the opticals work completed by December, the release date to which Paramount was financially committed (having accepted advances from exhibitors planning on a Christmas delivery). Persons notes that the result of individual pursuits of fulfillment are damaging or pyrrhic; meaning is only satisfactorily found through interpersonal relationships. Taylor took on the nacelles, and Probert the rest of the ship. The executives consulted Asimov: if the writer decided a sentient machine was plausible, the ending could stay. [15]:2045, Trumbull recalled that Wise "trusted me implicitly" as a fellow director to complete the effects and "fix this for him". The producers got her to agree to wear a thin skin-colored body stocking, but she caught a cold as a result of the shower mist, created by dropping dry ice into warm water and funneling the vapors into the shower by a hidden tube. Shatner noted, for example, that Kirk would say "Mr. Sulu, take the conn", while Nimoy visited Livingston's home each night to discuss the next day's script. Key among these were famed production designer Ken Adam, who said, "I was approached by Gene Roddenberry and we got on like a house on fire"; he was employed to design the film. [101] Time magazine's Richard Schickel wrote that the film consisted of spaceships that "take an unconscionable amount of time to get anywhere, and nothing of dramatic or human interest happens along the way". [106] Martin considered the characters more likable than those in comparable science fiction films. [54]:7989 The crew encountered difficulty in transferring the quarter-inch (0.64cm) tapes used for creating the sounds to the 35mm film used for the final prints; while the film was to be released with Dolby sound, Serafine found it was easier to mix the sounds without regard to format and add the specific format after, during the later transfer to 35mm. [15]:1902, Two weeks later, the entire cast and crew joined with studio executives for a traditional wrap party. The technology was improbable, the science impossible. Fletcher's first task was to create new, less conspicuous uniforms. [61][62] Toys included action figures, ship models, and a variety of watches, phaser mockups and communicators. Paramount fired Abel and Associates on February 22, 1979. [15]:87, The Enterprise engine room was redesigned while keeping consistent with the theory that the interior appearance had to match the corresponding area visible in exterior views of the starship. Magicam also produced the orbital dry dock seen during the Enterprise's first appearance in the film. The main Enterprise model was eight feet long, to a scale of 1/120th scale size, or 1 inch (2.5cm) to 10 feet (3.0m). Wise, Kline, and Abel had been unable to agree on how to photograph the sequence, and the result was a poorly designed and ungainly effect that Trumbull was convinced was disruptive to the plot and would have cost millions to fix. Commander Spock arrives as a replacement science officer, explaining that while on his home world undergoing a ritual to purge himself of emotion, he felt a consciousness that he believes emanates from the cloud, making him unable to complete the ritual because his human half felt an emotional connection to it. Katzenberg called Wise the film's savior, using his experience to (as Shatner recalled) subtly make filming "actor-proof". [84] A 4K Ultra HD Blu-ray of the film was released on September 7, 2021, to commemorate the franchise's 55th anniversary. [15]:162 One scene required the Ilia probe to slice through a steel door in the sickbay; doors made out of paper, corrugated cardboard covered in aluminum foil, and cork were tested before the proper effect was reached. Wise instead wanted Chekov's station to face the Enterprise's main viewer, a difficult request as the set was primarily circular. Roddenberry also provided a large amount of input, sending memos to Ramsay via Wise with ideas for editing.
[54]:796, As all the sound elements such as dubbed lines or background noise came together, they were classified into three divisions: A Effects, B Effects, and C Effects. Roddenberry had known Puttkamer since 1975, when they had been introduced by a mutual friend, the assistant director of Astronautics at the Smithsonian Institution. [15]:1235, In the original series, divisions in ship assignments were denoted by shirt color; for the movie, these color codes were moved to small patches on each person's uniform. [103] Variety, disagreed, calling the film "a search-and-destroy thriller that includes all of the ingredients the TV show's fans thrive on: the philosophical dilemma wrapped in a scenario of mind control, troubles with the space ship, the dependable and understanding Kirk, the ever-logical Spock, and suspenseful take with twist ending". Of the original cast, only Leonard Nimoy stated he would not return. [25] When the script was presented to Michael Eisner, he declared it worthy of a feature film. [5] The Motion Picture was nominated for three Academy Awards: Best Art Direction (Harold Michelson, Joseph R. Jennings, Leon Harris, John Vallone and Linda DeScenna), Best Visual Effects, and Best Original Score. [55]:144, In the television series, little time was spent pondering the fate of the dead. [15]:51 Wise had seen only a few Star Trek episodes, so Paramount gave him about a dozen to watch. The final cost for constructing the sets ran at approximately $1.99million (equivalent to $7,429,880.79 in 2021), not counting additional costs for Phase II fabrication. [69], The Motion Picture was met with mixed reviews from critics;[97] a 2001 retrospective for the BBC described the film as a critical failure. [15]:210, The creation of V'Ger caused problems for the entire production. [15]:13 The first day's shots used 1,650 feet (500m) of film; 420 feet (130m) were considered "good", 1,070 feet (330m) were judged "no good", and 160 feet (49m) were wasted; only one-and-one-eighth pages had been shot. [35], The score for Star Trek: The Motion Picture was predominantly written by Jerry Goldsmith, who later composed the scores for The Final Frontier (which used a new arrangement of the theme from The Motion Picture for its opening credits), First Contact, Insurrection, and Nemesis, as well as the themes to the television series The Next Generation (another rearrangement of the theme from Star Trek: The Motion Picture and fronted with Alexander Courage's "Star Trek Fanfare" intro from The Original Series) and Voyager. Rawlins, production manager Lindsley Parsons Jr., and Katzenberg were all tasked with keeping things moving as fast as possible and keeping the budget under control; every hour on stage cost the production $4000. Cole and Povill rented an oscilloscope for a day and filmed its distortions. Three types of uniforms were fabricated: dress uniforms used for special occasions, Class A uniforms for regular duty, and Class B uniforms as an alternative. If humans can defeat this marvelous machine, it's really not so great, is it? [19]:1647 He added a sealed control room that would protect operators from the powerful forces at work. [20] Roddenberry teamed up with Jon Povill to write a new story that featured the Enterprise crew setting an altered universe right by time travel; like Black's idea, Paramount did not consider it epic enough. Combining the shoes and trousers was difficult, time-consuming, and expensive, as each shoe had to be sewn by hand after being fitted to each principal actor. A second, 20-inch (51cm) model of the ship was used for long shots. For the 2009 film, see, "ST I" redirects here. Citing his experience, Kirk uses his authority to take command of the ship, angering Captain Willard Decker, who has been overseeing the refit as its new commanding officer. [10]:2401 While the performance of The Motion Picture convinced the studio to back a (cheaper) sequel, Roddenberry was forced out of its creative control. As the intended start of filming in late spring 1978 approached, it was clear a new start date was needed. Shay, Don (August 1980). The new phaser was entirely self-contained, with its own circuitry, batteries, and four blinking lights. Instead of having the ship completely dark save for viewports, Trumbull devised a system of self-illumination; he pictured the ship as something like an oceanliner, "a grand lady of the seas at night". The red, black, and gold brocade was woven with real gold and silver wrapped around silk thread; the resulting costume was used for a background Betelgeusean ambassador and, at a price of $10,000 for the fabric alone, was the most expensive costume ever worn by a Hollywood extra. William Ware Theiss, the designer who created the original television series costumes, was too busy to work on the film. [55]:144 While V'Ger is a machine of near omnipotence, according to Robert Asa, the film (along with its successor, Star Trek V: The Final Frontier) "implicitly protest[s] against classical theism". [72] This version was released on VHS and LaserDisc by Paramount in 1983. The space between the transporter platform and the operators was filled with complex machinery, and cinematographer Richard Kline added eerie lighting for atmosphere. [15]:129[19]:1778 Fletcher also recycled suedes from The Ten Commandments for other costumes.
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