Robert Comsol wrote:
I always thought Andrew Probert designed the refit. Anyway, the nacelles look nearly identical to the locomotive, and I hardly think it's a coincidence. I don't know if it was ever acknowledged in print.
If I recall correctly, Matt Jefferies had already done some preliminary work for a new Enterprise
back in the mid-1970's before he embarked on another project (as Paramount couldn't decide whether to greenlight a new Star Trek television series or not).
It started something like this
. If there's enough evidence of an evolution in designing the new nacelles, it could be a coincidence. Of course, Matt Jefferies might have seen this locomotive and subconsciously remembered the design when he started on the new nacelles (it's called cryptomnesia
Indeed, the locomotive looks a lot like the new nacelles, great find!
After PLANET OF THE TITANS was cancelled and they went with PHASE 2 for a couple of months, Jeffries did some moonlighting for TREK while on LITTLE HOUSE, his regular gig. He drew the new Ent with the flat nacelles, which I guess was one of his alternates originally, so the general lines are his.
Then, when Abel took on the effects, Richard Taylor was the art director. He tweaked the Jeffries as mentioned, and had Andy Probert doing the majority of the ship, like variations in windows and rec rooms and torpedo launchers. ST THE MAG has a TMP issue in which there's a Taylor interview where he discusses this.
THE GOD THING had correspondence with Taylor at one point (that's where he got all the storyboards and concept art that I still so dearly covet and dream about getting to see!), too.
I think Taylor retconned some of his thinking ... there's no indication from Magicam or anybody else that the Ent was supposed to be pearlescent or sport the checkerboarding, not until Trumbull came on.
In fact Magicam mentions in STARLOG 27 that the ship was supposed to be almost entirely smooth, and that made it tough on them, but that they ultimately were disappointed with all the surface detail added for TMP, for aesthetic reasons. (then again the same Magicam guys also claim in the AMERICAN CINEMATOGRAPHER issue on TMP that they were provided with NO storyboards, which sounds like utter bullshit to me, since there was Minor and later on Zuberano and lots of other guys drawing all sorts of stuff ... why wouldn't it have gotten to Magicam? Sorry for diversion.)
But Taylor does make this shiny hull idea claim in the ST THE MAG interview, I'm pretty sure of that.
I should check his website (and Trumbull's) to see if there are any additons about TMP. The TMP stuff on Trumbull's has some good images in HQ, not all of which are common.