![]() The inconsistencies during Spock’s first scene – which were shot in broad daylight but painted on a matte implying darkness – are fixed. Part of that work was to broaden the visual palette, especially in some of the key sequences which weren’t fully-realized in ‘79. It also helped to kickstart the reappraisal of the film as something more valuable than the big-budget catastrophe it was treated as. While the runtime was longer, a snappier edit (more or less) helped contextualize some of the choices made back when the film was shooting. They examined the original storyboards, fixed some of the more egregious effects choices and tightened the editing. Fein, post-production supervisor Michael Matessino and visual effects supervisor Daren R. In 1997, Wise, through his company Robert Wise Productions, enlisted the help of producer David C. (There is a rumor, apparently tied to this forum post from 2016 (via Memory Alpha), which suggests that Wise re-cut the film in 1980 to be 12 minutes shorter, but producer David C. Paramount would subsequently produce an even longer cut of the film, letting ABC screen a super-sized, 143-minute TV version which included deleted and unfinished scenes. Length was a problem for the film, a 90-minute TV pilot expanded to more than two hours, bloated with too many special effects shots. Even so, Wise was battered by the process of making it, hand-delivering the prints to the film’s premiere and declaring it to be a rushed, unfinished job. The special effects were eventually completed by the recently-departed Douglas Trumbull and John Dykstra both could point to 2001 and Star Wars as the highlights on their own resumes. He’d won enough Academy Awards that The Motion Picture wouldn’t be in the top ten of his most notable achievements. Wise got his big break as Orson Welles’ editor on Citizen Kane and, more controversially, The Magnificent Ambersons. The Motion Picture was directed by Robert Wise, a footnote in a career that started in 1934 and ran through 2000. Except none of the already-made material was movie quality, and the effects house wasn’t up to the task at hand. ![]() Bosses wanted a slice of that late ‘70s sci-fi movie pie and upgraded the Trek project to a big-budget movie. The pricey show got crunched into a single movie-of-the-week, right until the moment that Star Wars (and Close Encounters) swallowed 1977 whole. ![]() Paramount wanted a new Star Trek TV series, until the money men balked at the cost and potential disinterest from advertisers. You can buy a shelf’s worth of books discussing the troubled production of The Motion Picture, and its creative failures. Update your settings here, then reload the page to see it. This content is not available due to your privacy preferences. ![]()
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