Question: What city did Ben-Hur sail to at the beginning of the story?

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Ben-Hur, Esther, and Malluch sail to Rome, where they decided to build an underground church.

It is the first installment in theand stars the cast of the original television series. In the film, set in the 2270s, a mysterious and immensely powerful alien cloud known as approaches Earth, destroying everything in its path. Admiral assumes command of the recently refitted Starshipto lead it on a mission to save the planet and determine V 'Ger 's origins.

When the original television series was canceled in 1969, Roddenberry lobbied to continue the franchise through a feature film. The success of the series in convinced the studio to begin work on the film in 1975.

Instead, Paramount planned on returning the franchise to its roots, with a new television series titled. Filming began that August and concluded the following January. Constant revisions to the story and the shooting script continued to the extent of hourly script updates on shooting dates. The Enterprise was modified inside and out, costume designer provided new uniforms, and production designer fabricated new sets. When the original contractors for the optical effects proved unable to complete their tasks in time, effects supervisor was asked to meet the film's December 1979 release date.

Wise took the just-completed film to its Washington, D. Released in North America on December 7, 1979, Star Trek: The Motion Picture received mixed reviews, many of which faulted it for a lack of action scenes and over-reliance on special effects. Roddenberry was forced out of creative control for the sequel, 1982.

What city did Ben-Hur sail to at the beginning of the story?

In 2001, Wise oversaw a director's cut for a special release of the film, with remastered audio, tightened and added scenes, and new. The cloud easily destroys three warships and Epsilon Nine on its course.

On Earth, the starship is undergoing a major refit; its former commanding officer,has been promoted to Admiral. Citing his experience, Kirk uses his authority to take command of the ship, angering Captainwho has been overseeing the refit as its new commanding officer.

Testing of Enterprise 's new systems goes poorly; two officers, including the ship's science officerare killed by a malfunctioningand improperly calibrated engines nearly destroy the ship.

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. Commander 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.

Enterprise intercepts the energy cloud and is attacked by an alien vessel within. A probe appears on the bridge, attacks Spock, and abducts the navigator.

Decker is distraught over the loss of Ilia, with whom he had a romantic history, and becomes troubled as he attempts to extract information from the doppelgänger, which has Ilia's memories and feelings buried inside. Spock takes an unauthorized spacewalk to the vessel's interior and attempts a telepathic with it.

In doing so, he learns that the entire vessel is V'Ger, a non-biological living machine. At the center of the massive ship, V'Ger is revealed to bea 20th-century Earth space probe believed lost in a black hole. The damaged probe was found by an alien race of living machines that interpreted its programming as instructions to learn all that can be learned and return that information to its creator.

The machines upgraded the probe to fulfill its mission, and on its journey, the probe gathered so much knowledge that it achieved sentience. Spock discovers that V'Ger lacks the ability to give itself a purpose other than its original mission; having learned everything it could on its journey home, it finds its existence meaningless.

Everyone realizes humans are the Creator. Decker offers himself to V'Ger; he merges with the Ilia probe and V'Ger, creating a new life form that disappears into space. With Earth saved, Kirk directs Enterprise out to space for future missions.

Clockwise from far left: director Robert Wise: Collins, Barrett, Nimoy, Doohan, Shatner, Kelley, Whitney, Nichols, Koenig, producer Gene Roddenberry, Takei, and Khambatta. These and other publicity shots were taken after screen tests for the actors on August 3, 1978. Nimoy had been dissatisfied with unpaid royalties from Star Trek and did not intend to reprise the role, so Spock was left out of the screenplay. Nimoy was dissatisfied with the script, and his meeting with Katzenberg led to an agreement that the final script would need Nimoy's approval.

Financial issues notwithstanding, Nimoy said he was comfortable with being identified as Spock because it had a positive impact on his fame. Kelley had reservations about the script, feeling that the characters and relationships from the series were not in place. Along with Shatner and Nimoy, Kelley lobbied for greater characterization, but their opinions were What city did Ben-Hur sail to at the beginning of the story? ignored.

Doohan created the distinctive Klingon vocabulary heard in the film. Linguist later developed a fully realized based on the actor's made-up words. Koenig noted that the expected sense of camaraderie and euphoria at being assembled for screen tests at the start of the picture was nonexistent. Khambatta was originally cast in the role when The Motion Picture was a television pilot.

He is temporarily demoted to Commander and First Officer when Kirk What city did Ben-Hur sail to at the beginning of the story? command of the Enterprise. Kelley's dressing room was next to Collins', and the older What city did Ben-Hur sail to at the beginning of the story? became his mentor for the production. Other actors from the television series who returned included asa doctor aboard the Enterprise, and asformerly one of Kirk's yeomen.

The show was never a hit with network executives, and due to lowthe show was cancelled after the third season. After the show's cancellation, owner hoped to recoup their production losses by selling the syndication rights.

The show developed aand rumors of reviving the franchise began. The movie was to have been set before the television series, showing how the crew of the Enterprise met.

By June 30, he had produced what he considered an acceptable script, but studio executives disagreed. This first draft,: 62 featured a grounded Admiral Kirk assembling the old crew on the refitted Enterprise to clash with a godlike entity many miles across, hurtling towards Earth. The object turns out to be a super-advanced computer, the remains of a scheming race who were cast out of their dimension.

Kirk wins out, the entity returns to its dimension, and the Enterprise crew resumes their voyages. The basic premise and scenes such as a transporter accident and Spock's Vulcan ritual were discarded, but later returned to the script. Ellison's story had a snake-like alien race tampering with Earth's history to create a kindred race; Kirk reunites with his old crew, but they are faced with the dilemma of killing off the reptilian race in Earth's prehistory just to maintain humanity's dominance.

When Ellison presented his idea, an executive suggested that Ellison read and include the into his story, which enraged the writer because he knew Maya did not exist at the dawn of time. By October 1976, had been signed to work on the screenplay along with a second writer,whose treatment featured a that threatened to consume all of existence. Roddenberry teamed up with 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.

The original Star Trek cast—who had agreed to appear in the new movie, with contracts as-yet unsigned pending script approval—grew anxious about the constant delays, and pragmatically accepted other acting offers while Roddenberry worked with Paramount. The studio decided to turn the project over to the television division, reasoning that since the roots of the franchise lay in television, the writers would be able to develop the right script. A number of screenwriters offered up ideas that were summarily rejected.

As Paramount executives' interest in the film began to wane, Roddenberry, backed by fan letters, applied pressure to the studio. Povill was tasked with finding more writers to develop a script. His list included,and. Will be a big shot some day. Should be hired now while he is cheap and humble.

Early work was promising, and by the fall of 1976, the project was building momentum. During this time, fans organized a mail campaign that flooded the White House with letters, influencing to rechristen the Constitution the: 30 and Roddenberry and most of the Star Trek cast were present for its rollout. On October 8, 1976, Bryant and Scott delivered a 20-page treatment,which executivesand liked.

In it, Kirk and his crew encounter beings they believe to be the mythical and travel back millions of years in time, accidentally teaching early man to. Planet of the Titans also explored the concept of the. With the studio's acceptance of this treatment, Roddenberry immediately stopped work on other projects to refocus on Star Trek, and the screenwriters and Isenberg were deluged with grateful fan mail.

Isenberg began scouting filming locations and hired designers and illustrators. Adam hired artistfresh off the yet to be released. Barry Diller had grown concerned by the direction Star Trek had taken in Planet of the Titans, and suggested to Roddenberry that it was time to take the franchise back to its roots as a television series. Diller planned on a new Star Trek series forming the cornerstone for. Though Paramount was loath to abandon its work on the film, Roddenberry wanted to bring many of the production staff from the original series to work on the new show, titled.

Of the original cast, only Leonard Nimoy stated he would not return. To replace Spock, Roddenberry created a logical Vulcan prodigy named Xon.

Since Xon was too young to fill the role of first officer, Roddenberry developed Commander William Decker, and later added Ilia. When the script was presented to Michael Eisner, he declared it worthy of a feature film.

At the same time, the success of showed Paramount that Star Wars' success at the box office could be repeated. Cast and crew who had been hired that Monday were laid off by Friday, and construction came to a halt. Production was moved to What city did Ben-Hur sail to at the beginning of the story? 1978 so that the necessary scripts, sets, and wardrobe could be upgraded. Eisner announced that Academy Award-winning director would direct a film adaptation of the television series titled Star Trek—The Motion Picture.

Dennis Clark was invited to rewrite the script and to include Spock, but he disliked Roddenberry, who demanded sole credit. Livingston returned as writer, and though he also found Roddenberry unreasonable, Wise and Katzenberg convinced him to continue rewriting the script throughout production. As the intended start of filming in late spring 1978 approached, it was clear a new start date was needed. Time was of the essence; Paramount was worried that their science fiction film would appear at the tail end of a cycle, now that every major studio had such a film in the works.

Here's this gigantic machine that's a million years further advanced than we are. Now, how the hell can we possibly deal with this? As the story developed, everything worked until the very end. How do you resolve this thing? If humans can defeat this marvelous machine, it's really not so great, is it? Or if it really is great, will we like those humans who do defeat it?

Who is the story's hero anyway? We experimented with all kinds of approaches. We always ended up against a blank wall. Because of likely changes, actors were at first told to not memorize the last third of the script, which received constant input from actors and producers.

Scenes were rewritten so often it became necessary to note on script pages the hour of the revision. Povill credited Nimoy with the single tear scene, and the discussion of V'Ger's need to evolve. Much of the rewriting had to do with the relationships of Kirk and Spock, Decker and Ilia, and the Enterprise and V 'ger.

The fabrication was supervised byan art director involved in the original television series, special-effects expert Jim Rugg, and former Trek designeron loan as consultant from. The designer began with the bridge, which had nearly been completed. Michelson first removed Chekov's new weapons station, a semicircular plastic bubble grafted onto one side of the bridge wall. Wise instead wanted Chekov's station to face the Enterprise 's main viewer, a difficult request as the set was primarily circular.

Production illustrator created a new look for the station using a flat edge in the corner of the set. Minor built a central bubble for the ceiling to give the bridge a human touch. Ostensibly, the bubble functioned as a piece of sophisticated equipment designed to inform the captain of the ship's attitude. Most of the bridge consoles, designed by Lee Cole, remained from the scrapped television series. Cole remained on the motion picture production and was responsible for much of the visual artwork created.

It was necessary for all the main cast to be familiar with control sequences at their stations as each panel was activated by touch via heat-sensitive plates.

Each oval monitor was a rear-projection screen on which super 8 mm and 16 mm film sequences looped for each special effect. Stowmar's footage was exhausted only a few weeks into filming, and it became clear that new monitor films would be needed faster than an outside supplier could deliver them. Cole, Minor, and another production designer,worked together with Povill to devise faster ways of shooting new footage.

Cole and What city did Ben-Hur sail to at the beginning of the story? rented an for a day and filmed its distortions. Other loops came from Long Beach Hospital, the University of California at San Diego, and experimental computer labs in New Mexico. In all, over 200 pieces of monitor footage were created and cataloged into a seven-page listing.

To create the illusion of depth and long visible distances, the art department staff worked on designs that would utilize ; : 88 set designer Lewis Splittgerber considered the engine room the most difficult set to realize. On film the engine room appeared hundreds of feet long, but the set was actually only 40 feet 12 m in length. To achieve the proper look, the floor slanted upward and narrowed, while small actors three, four, and five feet in height were used as extras to give the appearance of being far from the camera.

Backings Company created these paintings; similar backings were used to extend the length of ship hallways and the set. To move away from that look, Michelson created a new, bent and angular design. Roddenberry and Wise agreed with Michelson that in 300 years, lighting did not need to be overhead, so they had the lighting radiate upward from the floor.

Different lighting schemes were used to simulate different decks of the ship with the same length of corridor. Aluminum panels on the walls outside Kirk's and Ilia's quarters were covered with an orange to represent the living area of the ship.

For the redesign Michelson felt that the transporter should look and feel more powerful. The space between the transporter platform and the operators was filled with complex machinery, and cinematographer Richard Kline added eerie lighting for atmosphere. The recreation deck occupied an entire sound-stage, dwarfing the small room built for the planned television series; this was the largest interior in the film.

The set was 24 feet 7. Below a large viewing screen on one end of the set was a series of art panels containing illustrations of previous ships bearing the name Enterprise. This is an intriguing idea. It also has publicity advantages if properly released at the right time.

I'll leave it to you where you want it on the vessel.

West Side Story (1961 film)

The set was designed and fabricated in four and a half weeks, and was filmable from all angles; parts of the set were designed to pull away for better camera access at the center.

Throughout production Star Trek used 11 of Paramount's 32 sound stages, more than any other film done there at the time. To save money, construction coordinator Gene Kelley struck sets with his own crew immediately after filming, lest Paramount charge the production to have the sets dismantled. The nacelles themselves were completely changed to less cylindrical shapes and designed to feature glowing grilles on the sides.

Likewise, an orbiting dry-dock, space office complex, and V'Ger had been designed by artist Mike Minor. Concept artist helped refine the redesign. Taylor took on the nacelles, and Probert the rest of the ship. Instead of standard fiberglass used for older models, the new Enterprise was constructed with lightweight plastics, weighing 85 pounds 39 kg. The biggest design issue was making sure that the connective dorsal neck and twin warp nacelle struts were strong enough so that no part of the ship model would sag, bend, or quiver when the model What city did Ben-Hur sail to at the beginning of the story?

being moved, which was accomplished via an arc-welded aluminum skeleton. The completed model could be supported at one of five possible points as each photographic angle required.

A second, 20-inch 51 cm model of the ship was used for long shots. Transparencies of the film's sets were inserted behind some windows, and as jokes, some featured Probert, other production staff members, and. Magicam also produced the orbital dry dock seen during the Enterprise 's first appearance in the film. Measuring 4 ft × 10 ft × 6 ft 1. The creation of V'Ger caused problems for the entire production. The crew was dissatisfied with the original four-foot clay model created by the Abel group, which looked like a modernized Nemo's submarine.

Industrial designer was hired to visualize a new version of the mammoth craft. Mead created a machine that contained organic elements based on input from Wise, Roddenberry, and the effects leads. The final model was 68 feet 21 m long, built from the rear forward so that the camera crews could shoot footage while the next sections were still being fabricated.

The model was built out of a plethora of materials—wood, foam, macramé, Styrofoam cups, incandescent, neon and strobe lights. Rubin's philosophy as property master was that nearly every actor or extra ought to have something in their hands. As such, Rubin devised and fabricated about 350 props for the film, 55 of which were used in the San Francisco tram scene alone. The only prop that remained from the original television series was Uhura's wireless earpiece, which Nichols requested on the first day of shooting and all the production crew save those who had worked on the television show had forgotten about.

The new phaser was entirely self-contained, with its own circuitry, batteries, and four blinking lights. A total of 15 of the devices were made for the film. The communicators What city did Ben-Hur sail to at the beginning of the story?

radically altered, as by the 1970s the micro-miniaturization of electronics convinced Roddenberry that the bulky handheld devices of the television series were no longer believable. A wrist-based design was decided upon, with the provision that it look far different from the watch had been using since the 1930s. Most of the props were made from plastic, as Rubin thought that in the future man-made materials would be used almost exclusively.

Insteadconsidered one of American theater's most successful costume and scenic designers, was selected to design the new uniforms, suits, and robes for the production. Fletcher eschewed man-made synthetics for natural materials, finding that these fabrics sewed better and lasted longer. Wise deemed the original multicolored uniforms too garish, and Fletcher believed that the brightness of these old designs would work against believability when seen on the wide screen—the designer's first task was to create new, less conspicuous uniforms.

The Starfleet delta symbol, which previously indicated duty branches, was standardized and superimposed over a circle of color indicating area of service. The blue color of previous uniforms was discarded, for fear they might interfere with the blue screens used for optical effects. 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.

The Class A designs were double-stitched in and featured gold braid designating rank. It was felt that the traditional four gold sleeve stripes for the captain's rank was too blatantly militaristic.

You Cannot Kill an Idea

Povill had to send out a memo to Fletcher with the modified stripe rank system, as the designer continued to get the 20th and 23rd centuries confused. Each costume had the shoes built into the pant leg to further the futuristic look. An Italian shoemaker decorated by the Italian government for making shoes was tasked with creating the futuristic footwear.

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. There were difficulties in communication, as the shoemaker spoke limited English and occasionally confused shoe orders due to similar-sounding names. 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.

Much of the materials for these casual clothes were found in the old storerooms at Paramount, where a large amount of unused or forgotten silks, crepes, and leathers lay in storage. One bolt of material had been handpicked by Cecil DeMille in 1939, and was in perfect condition. He and his staff were responsible for fifty masks and makeup for the aliens seen in the film.

The designs were developed by Phillips himself or else off Fletcher's sketches. In his long association with Star Trek Phillips produced his 2,000th Spock ear during production of The Motion Picture. Each ear was made of latex and other ingredients blended together in a kitchen mixer, then baked for six hours.

Though Phillips had saved the original television series casts used for making the appliances, Nimoy's ears had grown in the decade since and new molds had to be fabricated.

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. Khambatta's head had to be freshly shaved each day, then given an application of makeup to reduce glare from the hot set lights. Khambatta had no qualms about shaving her head at first, but began worrying if her hair would grow back properly. Roddenberry proposed insuring Khambatta's hair after the actress voiced her concerns, believing it would be good publicity.

Instead, Khambatta visited the Georgette Klinger Skin Care Salon in Beverly Hills, where the studio footed the bill for the recommended six facials and scalp treatments during the course of production, as well as a daily scalp treatment routine of cleansing bars, brilliantine lotion, conditioner, makeup remover, and cleansing lotion.

Collins described Khambatta as very patient and professional while her scalp was shaved and treated for up to two hours each day.

What city did Ben-Hur sail to at the beginning of the story?

Khambatta spent six months following the regimen, her hair eventually regrew without issue, though she kept her shaven locks after production had ended. Roddenberry had insisted that the technology aboard the Enterprise be grounded in established science and scientific theories. The Motion Picture likewise received technical consultation fromthe atand theas well as individuals such as former astronaut and the science fiction writer. Roddenberry had known Puttkamer since 1975, when they had been introduced by a mutual friend, the assistant director of Astronautics at the.

From 1976 until the completion of the film Puttkamer provided the writers, producer, and director with memos on everything technical in the script; : 150—3 the scientist reviewed every line in the script, and was unpaid for his assistance.

I loved it, but it's a fairy tale of princes and knights in another galaxy. The technology was improbable, the science impossible. The executives consulted Asimov: if the writer decided a sentient machine was plausible, the ending could stay. A few small ceremonies were performed before photography began; Roddenberry gave Wise his baseball cap, a gift from the captain of the. Wise and Roddenberry then cracked a breakaway bottle of champagne on the bridge set with no liquid inside to damage the readied set.

The scene planned was the chaotic mess aboard the Enterprise bridge as the crew readies the ship for space travel; Wise directed 15 takes into the late afternoon before he was content with the scene.

Weldon was planning on retiring after 42 years of effects work, but his wife urged him to take on Star Trek because she thought he did not have enough to do.

The first step of preparation involved analyzing the script in the number, duration, and type of effects. 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.

Working from sketch artist Maurice Zuberano's concepts, Wise would judge if they were on the right track. Kline and Michelson would then discuss the look they wanted along with Weldon, if effects were involved. Each sequence was then storyboarded and left to Kline to execute. It's a way of everybody being on the same wavelength. The bridge, for example, was lit with a low density of light to make the console monitors display better.

It was hard to frame shots so that reflections of the crew in monitors or light spilling through floor grilles were not seen in the final print. Prendergast's role was to ensure continuity in wardrobe, actor position, and prop placement. Any changes in dialogue or ad-libbed lines were similarly written down. Assistant director Danny McCauley was responsible for collaborating with unit production manager Phil Rawlins to finalize shooting orders and assigning extras.

Rawlins, production manager Lindsley Parsons Jr. Visitor's badges were created to keep track of guests, and due to the limited number were constantly checked out. Visitors included the press, fan leaders, friends of the cast and crew, and actors such as, and.

By August 9, the production was already a full day behind schedule. Despite the delays, Wise refused to shoot more than twelve hours on set, feeling he lost his edge afterwards. 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.

Gautreaux was among the actors who had not worked with a before. Wise had to explain to actors where to look and how to react to things they could not see while filming. While the bridge scenes were shot early, trouble with filming the transporter room scene delayed further work.

Crew working on the transporter platform found their footwear melting on the lighted grid while shooting tests. The footage for the scene was filmed two ways; first, at the standard 24 frames per second, and then at the faster 48 frames; the normal footage was a back-up if the slow-motion effect produced by the faster frame speed did not turn out as planned.

The scene was finally completed on August 24, while the transporter scenes were being filmed at the same time on the same soundstage. The planet Vulcan setting was created using a mixture of on-location photography at Minerva Hot Springs in and set recreation. Securing permission for filming the scenes was difficult in the middle of the summer tourist season, but the Parks Department acquiesced so long as the crew remained on the boardwalks to prevent damage to geological formations.

Zuberano, who had helped select the site for the shoot, traveled to Yellowstone and returned with a number of photos. Minor also made a trip and returned to create a large painting depicting how the scene might look. In consultations with Michelson, the crew decided to use miniatures in the foreground to create the Vulcan temples, combined with the real hot springs in the background.

In the film, the bottom third of the frames were composed of miniature stairs, rocks, bits of red glass and a Vulcan statue. The center of the frame contained Nimoy's shots and the park setting, while the final third of the frame was filled with a matte painting. On August 8, the day after production began at Paramount, an 11-person second unit left for Yellowstone. The sequence took three days to shoot.

The tank was designed to be flooded with millions of gallons of water to represent large bodies of water. Minor set up miniatures on the tank's floor before construction and made sure that the shadows that fell on Spock at Yellowstone could be properly recreated.

A plywood base was built on metal platforms to create stone silhouettes, reinforced with chicken wire. Polyurethane foam was sprayed over the framework under the supervision of the Los Angeles Fire Department. The bottom part of the statue miniature was represented by a 16-foot-high 4. To recreate the appearance of the swirling eddies of water in the real Yellowstone, a combination of evaporated milk, white poster paint, and water was poured into the set's pools.

The pressure of the steam channeled into the pools through hidden tubing causes enough movement in the whirlpools to duplicate the location footage. Any further scenes to recreate Vulcan would be impossible, as the set was immediately torn down to serve as a parking lot for the remainder of the summer. Weldon hid steel wool inside the console What city did Ben-Hur sail to at the beginning of the story? attached an to What city did Ben-Hur sail to at the beginning of the story?

by remote control when the actor pulled a wire. The welder was designed to create a spark instead of actually welding, causing the steel wool to burn and make sparks; so effective was the setup that the cast members were continually startled by the flare-ups, resulting in additional takes.

These effects were executed by several of Weldon's assistants. The crew built a circular track that had the same shape as the corridor and suspended the antigravity prop on four small wires that connected to the track. The wires were treated with a special acid that oxidized the metal; the reaction tarnished the wires to a dull gray that would not show up in the deep blue corridor lighting.

Cargo boxes were made out of light balsa wood so that fine wires could be used as support. Koenig learned that rather than being released in 14 days after his scenes were completed, his last day would be on October 26—eight weeks later than expected.

A piece of aluminum foil What city did Ben-Hur sail to at the beginning What city did Ben-Hur sail to at the beginning of the story? the story? placed around Koenig's arm, covered by a protective pad and then hidden by the uniform sleeve.

Weldon prepared an ammonia and acetic acid solution that was touched to Koenig's sleeve, causing it to smoke. Difficulties resulted in the scene being shot ten times; it was especially uncomfortable for the actor, whose arm was slightly burned when some of the What city did Ben-Hur sail to at the beginning of the story? leaked through to his arm. She refused to appear nude as called for in the script during the Ilia probe's appearance.

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. Khambatta had to leave the location repeatedly to avoid. The illuminated button in the hollow of the probe's throat was a 12-volt light bulb that Khambatta could turn on and off via hidden wires; the bulb's heat eventually caused a slight burn.

Shatner, Nimoy, and Kelley delivered their final lines at 4:50 pm. Before the crew could go home, a final shot had to be filmed—the climactic fusing of Decker and V'Ger. The script prescribed a heavy emphasis on lighting, with spiraling and blinding white lights.

Collins was covered in tiny dabs of cotton glued to his jacket; these highlights were designed to create a body halo. Helicopter lights, 4,000-watt lamps and wind machines were used to create the effect of Decker's fusion with the living machine. The first attempts at filming the scene became a nightmare for the crew.

The extreme lighting caused normally invisible dust particles in the air to be illuminated, creating the appearance that the actors were caught in a blizzard. During the retakes throughout the week the crew mopped and dusted the set constantly, and it required later technical work to eliminate the dust in the final print. Four hundred people attended the gathering, which spilled over into two restaurants in Beverly Hills.

While much of the crew readied for post-production, Wise and Roddenberry were grateful for the opportunity to take a short vacation from the motion picture before returning to work. I wanted everybody to buy into the beauty of space, and the beauty of their mission, and the beauty of the Enterprise itself, and just have everybody get out of their way and let What city did Ben-Hur sail to at the beginning of the story? What city did Ben-Hur sail to at the beginning of the story?, which is something I really learned with and 2001: Stop talking for a while, and let it all flow.

Editor Todd Ramsay and assistants spent principal photography syncing film and audio tracks. The resulting rough cuts were used to formulate plans for sound effects, music, and optical effects that would be added later. Roddenberry also provided a large amount of input, sending memos to Ramsay via Wise with ideas for editing. Ramsay tried to cut as much unnecessary footage as he could as long as the film's character and story development were not damaged.

Douglas Trumbull was given the task of finishing The Motion Picture 's opticals in time for a December 1979 release date. After the groundbreaking opticals of Star Wars, The Motion Picture 's producers realized the film required similarly high-quality visuals. Trumbull was busy on Close Encounters, and was tired of being ignored as What city did Ben-Hur sail to at the beginning of the story?

director and having to churn out special effects for someone else's production; after completing the effects work, Trumbull planned on launching his own feature using a new film process. The next choice,was similarly wrapped up in other projects.

The scope and size of the effects grew after the television movie became The Motion Picture. A year into the production, millions of dollars had been spent but almost no usable footage had been created; : 4 Abel and Associates was not experienced in motion picture production and the steep learning curve worried the producers.

Effects artist acted as a liaison between Abel and Paramount. To speed up the work, Abel passed off miniature and matte painting tasks to Yuricich. Despite being relieved of nearly half the effects work, it became clear by early 1979 that Abel and Associates would not be able to complete the remainder on time.

Because of Trumbull's disinterest in only working on special effects, he reportedly received a six-figure salary and the chance to direct his own film. Creative differences grew between Abel and Associates and the Paramount production team; : 204 Wise reportedly became angry during a viewing of Abel's completed effects, of which the studio decided only one was usable. Paramount fired Abel and Associates on February 22, 1979. Trumbull had completed Close Encounters but his plan for a full feature had been canceled by Paramount, possibly as punishment for passing on Star Trek.

Trumbull was confident that he could get the work done without a loss of quality despite a reputation for missing deadlines because of his perfectionism. Paramount assigned a studio executive to Trumbull to make sure he would meet the release date, and together with Yuricich the effects team rushed to finish. 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.

Time, not money, was the main issue; Trumbull had to deliver in nine months as many effects as in Star Wars or Close Encounters combined, which had taken years to complete. In the original feature the cloud was created by Trumbull's team, while the subcontracted Apogee under Dykstra created the bolt weapon. The Klingon cruiser's lighting was so dim that there was no way to make them bright enough on film. As Trumbull also felt the Enterprise 's lights were ill-suited for his needs, he rewired both models.

He thought that Enterprise should self-illuminate when traveling years from any source of light. 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. 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.

While the team planned on compositing multiple passes to provide physical movement to the cloud shots, Trumbull felt that it detracted from the sense of scale, and so small animations were subtly introduced in the final product. V'Ger's destruction of the ships was created using scanning lasers, with the multiple laser passes composited onto What city did Ben-Hur sail to at the beginning of the story? moving model to create the final effect. Its two pages of script needed 45 different shots—averaging one a day—for the travel pod containing Kirk to make its flight from the space office complex to the docking ring.

Double shifts around the clock were required to finish the effect on time. The station control tower was replicated with rear-projection screens to add the people inside.

A 2 ft model spaceman created for the shot was used in the drydock sequence and Spock's spacewalk. Unique destruction effects for the station had to be discarded due to time constraints. V'Ger itself was filmed in a hazy, smoky room, in part to convey depth and also to hide the parts of the ship still under construction.

The multiple passes were largely based on guesswork, as every single available camera was in use and the effects had to be generated without the aid of a bluescreen. 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.

More than 100 such paintings were used. The Spock spacewalk sequence, for example, was radically changed from the Abel version. The original plan was for Kirk to follow Spock in a spacesuit and come under attack from a mass of sensor-type organisms. Spock would save his friend, and the two would proceed through V'ger. 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.

Instead, he recommended a stripped-down sequence that omitted Kirk entirely and would be simple and easy to shoot; : 8 Robert McCall, known for designing the original posters to 2001, provided Trumbull with concept art to inform the new event.

Each final was taken while wet from the and put into a container with other reels, then taken to airplanes waiting on tarmacs. When Wise signed on to direct, Paramount asked the director if he had any objection to using Goldsmith. Goldsmith was influenced by the style of the romantic, sweeping.

It is, to me, like the Old West, we're up in the universe. Goldsmith's initial bombastic main theme reminded Ramsay and Wise of sailing ships. Unable to articulate what he felt was wrong with the piece, Wise recommended writing an entirely different piece.

Although irked by the rejection, Goldsmith consented to rework his initial ideas. The rewriting of the theme required changes to several sequences Goldsmith had scored without writing a main title piece. 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.

Star Trek and were the only feature films to use an overture from the end of 1979 until 2000 with 's. Much of the recording equipment used to create the movie's intricately complicated sound effects was, at the time, extremely cutting-edge. The film's soundtrack also provided a debut for thean electronic instrument 12 to 15 feet 3. It was created by musicianwho played a small role in an episode of the original television series.

Goldsmith heard it and immediately decided to use it for V'Ger's cues. Several state-of-the-art synthesizers were used as musical instruments, notably the,and. An enormous pipe organ first plays the V'Ger theme on the Enterprise 's approach, a literal indication of the machine's power. A soundtrack featuring the film's music was released by in 1979 together with the film debut, and was one of Goldsmith's best-selling scores. The album added an additional 21 minutes of music to supplement the original track list, and was resequenced to reflect the story line of the film.

In 2012, the score was released yet again via La-La Land Records in association with Sony Music. The score to Star Trek: The Motion Picture went on to garner Goldsmith nominations for theand awards.

It is often regarded as one of the composer's greatest scores, and was also one of the 's 250 nominated scores for their. Given access to state-of-the-art audio equipment, Serafine saw the picture as the chance to modernize outdated motion picture sound techniques with digital technology. Owing to background noise such as camera operation, much of the ambient noise or dialogue captured on set was unusable; it was Serafine's job to create or recreate sounds to mix back into the scenes.

A Effects were synthesized or acoustic sounds that were important and integral to the picture—the sound of V'Ger's weapon partly done with the instrument for example, or Spock's mind meld, as well as transporters, explosions, and the warp speed sound effect. B Effects consisted of minor sounds such as the clicks of switches, beeps or chimes. C Effects were subliminal sounds that What city did Ben-Hur sail to at the beginning of the story?

moods—crowd chatter and ambient noise. 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 cliché from repetitive use in other science-fiction movies.

Events such as Enterprise bridge viewscreen activation were kept silent to provide a more comfortable atmosphere. In contrast, almost every action on the Klingon bridge made noise to reflect the aliens' harsh aesthetic : 797 While much of the effects were created using digital synthesizers, acoustic recordings were used as well.

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. Toys included action figures, ship models, and a variety of watches, phaser mockups and communicators. The marketing was part of a coordinated approach by Paramount and its parent conglomerate to create a sustained Star Trek product line. Owing to the rush to complete the film, The Motion Picture was never screened before test audiences, something Wise later regretted.

The director carried the fresh print of the film to the world premiere, held at the K-B MacArthur Theater in Washington, D. Roddenberry, Wise, and the principal cast attended the function, which also served as an invitational benefit for the scholarship and youth education fund of the National Space Club.

While thousands of fans were expected to attend, rain reduced fan turnout to around 300. The premiere was followed by a black-tie reception at the. The film was the first major Hollywood adaptation of a television series that had been off the air for nearly a decade to retain its original principal cast. It added roughly 12 minutes to the film.

The added footage was largely unfinished, and cobbled together for the network premiere; Wise had not wanted some of the footage to be included in the final cut of the film. Two members of Wise's production company, David C. The production team used the original script, surviving sequence storyboards, memos, and the director's recollections.

In addition to cuts in some sequences, 90 new and redesigned were created. Care was taken that the effects meshed seamlessly with the old footage.

The edition runs 136 minutes, about four minutes longer than the original release. Included among the special features are the deleted scenes which had been part of the television cut. Aside from the effects, the soundtrack was remixed. Ambient noise such as the buzz of bridge controls were added to enhance certain scenes. Goldsmith had always suspected that some overly long cues could be shortened, so he made the cues repetitive.

The Director's Edition was far better received by critics than the original 1979 release, with some considering the edit to have subsequently turned the film into one of the series' best. Jeremy Conrad of felt that despite the changes, the pacing might still be too slow for some viewers. The film's original theatrical cut was released on Disc in May 2009 to coincide with the new feature, packaged with the five following features as the Star Trek: Original Motion Picture Collection.

The Motion Picture was remastered in. All six films in the set have 7. The disc features a new commentary track by Star Trek authors and contributors and, and. The original theatrical cut was also released with the four Next Generation movies as the Star Trek: Stardate Collection. On July 7, 2021, the official Star Trek website announced What city did Ben-Hur sail to at the beginning of the story? the Director's Edition's long-rumored restoration had indeed begun, and would take approximately six to eight months, after which it would be available exclusively on in 4K, and on April 5, 2022.

The Motion Picture was nominated for three : Best Art Direction,andBest Visual Effects, and Best Original Score. In the United States, the film sold the most tickets of any film in the franchise until 2009and it remains the highest-grossing film of the franchise worldwide adjusted for inflation, but Paramount considered its gross disappointing compared to expectations and marketing. Gautreaux believed that Roddenberry had not wanted Wise as director but Paramount wanted his experience, and that the two powerful men's differing visions hurt the film.

The studio faulted Roddenberry's script rewrites and creative direction for the plodding pace and disappointing gross. With the successful revival of the Star Trek brand on the big screen setting an example, Hollywood increasingly turned to 1960s television series for material.

The film holds a 49% rating on based on 47 contemporary and modern reviews. The scale of the television series arrested his vision at a comfortable and still interesting level, but the new film has finally removed the mask. McCoy is as feisty as ever, and James Doohan as Scotty still splutters about his engineering woes. At a basic level, their exchanges are those of an odd assortment of grumpy, middle-aged men bickering about office politics.

They are a relief from the stars, and a delight. Martin considered the characters more likable than those in comparable science fiction films. Stephen Collins and Persis Khambatta were more favorably received. Many critics felt that the special effects overshadowed other elements of the film. Livingston felt that Trumbull and Dykstra's work on the film was not as impressive as on Star What city did Ben-Hur sail to at the beginning of the story? and Close Encounters due to the limited amount of production time.

Chekov's Enterprise: A Personal Journal of the Making of Star Trek-the Motion Picture. The Greatest Science Fiction Movies Never Made. From Sawdust to Stardust: The Biography of DeForest Kelley.

The Art of Star Trek. The Art of Ralph McQuarrie. Ken Adam Designs the Movies: James Bond and Beyond.

What city did Ben-Hur sail to at the beginning of the story?

The Music of Star Trek. Keyboard Magazine Presents Vintage Synthesizers: Pioneering Designers, Groundbreaking Instruments, Collecting Tips, Mutants of Technology. Star Trek: The Human Frontier. The Religions Of Star Trek. In McLaren, Darcee; Jennifer Porter eds. Star Trek and Sacred Ground: Explorations of Star Trek, Religion, and American Culture. New York City: Pocket Books. I am Captain James T. Was Ilia really this incredibly sensuous?

Raleigh, North Carolina: 89 : 63. Adaptations: from text to screen, screen to text. Star Trek: The What city did Ben-Hur sail to at the beginning of the story? Site. Star Trek: The LaserDisc Site. Retrieved November 15, 2021 — via.

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