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Star Trek Movies I-X Discuss the first ten big screen outings in this forum!

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Old September 23 2008, 06:54 AM   #31
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Re: "Planet of the Titans" Revisited

David Hughes's book The Greatest Science Fiction Movies Never Made has a chapter about Star Trek, but spends a paltry two pages discussing Kaufman's version, which is a shame, since much of the rest of the chapter is padding about the films that ultimately were made and only one other (Starfleet Academy) that wasn't. My guess is he didn't have any luck getting his hands on any substantial materials related to the project.

I'll summarize what the book says.

After being interviewed by Roddenberry, who liked their take on Captain Kirk, Chris Bryant and Allan G. Scott (who wrote the ultra-creepy Donald Sutherland vehicle Don't Look Now) wrote a treatment for a story called Planet of the Titans, which was delivered in October 1976. As they started working on the script, Kaufman was hired. Kaufman said, "I liked Star Trek because I felt it dealt with mature, adult themes..."

Bryant and Scott found themselves caught between Roddenberry and Kaufman's conflicting ideas of what the film should be, and Paramount's not really knowing what they wanted. Feeling it was "physically impossible" to produce a script that satisfied all parties, they left the project by mutual consent in April 1977. "We begged to be fired."

Kaufman took on the task of writing the script.

The Greatest Sci-Fi Movies Never Made wrote:
Kaufman said "My version was really built around Leonard Nimoy as Spock and Toshiro Mifune as his Klingon nemesis...My idea was to make it less 'cult-ish', and more of an adult movie, dealing with sexuality and wonders rather than oddness; a big science fiction movie, filled with all kinds of questions, particularly about the nature of Spock's [duality]—exploring his humanity and what humanness was. To have Spock and Mifune's character tripping out in outer space. I'm sure the fans would have been upset, but I felt it could really open up a new type of science fiction."
According to the book, on May 8th, 1977, the morning he felt he'd finally cracked the story, Jeff Katzenberg called with the bad news that Paramount had decided to pull the plug...three weeks before Star Wars came out.


Susan Sackett summarizes the plot of the submitted script in "The Making of Star Trek: The Motion Picture". Again, I can't speak to the accuracy of her summary, but here it is in a nutshell; prior to being lightly edited by various hacks for inclusion in various fan press books.

Susan Sackett wrote:
The Making of Star Trek- The Motion Picture, Chapter 3: Sub-Warp Speed p.32–33

Their story opens with the Enterprise racing to rescue the Da Vinci, a Federation ship in trouble. They arrive too late—the Da Vinci has vanished—but they pick up survivors. During the rescue Kirk is subjected to an electrochemical shock to his brain which brings on erratic behavior culminating in his commandeering a shuttle craft toward an invisible planet. He vanishes without a trace and Spock orders the Enterprise home.

Three years later, the Enterprise, refitted, has a new crew. Spock has resigned from Starfleet in disgrace and is on Vulcan purging himself of his human half (a recurrent theme in all scripts, it would seem). The Enterprise, under Captain Gregory Westlake, is ordered to the place where Kirk disappeared. Just as Spock theorized, a planet has been discovered, one that promises to be the mythical "planet of the Titans," the home of a lost race with super technology. The planet is about to be swallowed up into a black hole. Whoever rescues the Titans—Klingons or the Federation—will control the destiny of the universe. The Enterprise makes a detour to Vulcan to pick up Spock, who at first refuses to go, but during his tests on that planet Spock has his own death revealed to him, indicating that he must go with the Enterprise in order to fulfill his destiny. The Enterprise arrives at the now partially visible planet and is trapped by the force fields surrounding it. Facing certain destruction, the Enterprise saucer separates from the Star Drive, allowing the Star Drive to get free, while the saucer crash lands on the planet. The crew finds the surface of the planet to be a wild and inhospitable place with cities encased in walls of fire. Spock is reunited with Kirk, who has existed as a wild man on the planet with other trapped beings. When the landing party finally reaches the rulers of the planet they find they are not the benevolent Titans, but a lower and incredibly dangerous and intelligent life form—the Cygnans. The Titans have long disappeared. In the attempt to escape from the Cygnans, who have transported on board before the ship lifted off and rejoined the Star Drive, Kirk plunges the Enterprise into the black hole to save the Federation from the Cygnans. During the trip through the black hole, the Cygnans are destroyed, and the Enterprise emerges back in orbit around Earth. But it is Earth at the time of the Cro-Magnon man, the dawn of humanity. The ancient Titans, it would seem, were the men of the Enterprise!
I would hazard a guess that the invisible planet is hidden within the "shroud" in McQuarrie's renderings. I'm also guessing the Enterprise saucer might've landed on Vulcan to collect Spock and been caught within the shroud/landed on the titular planet.
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Old September 23 2008, 08:18 AM   #32
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Re: "Planet of the Titans" Revisited

I've never liked the fact the Kirk doesn't appear in the middle of this movie, and I don't think Shatner would either.
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Old September 23 2008, 09:45 AM   #33
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Re: "Planet of the Titans" Revisited

^^^If this Chris Bryant quote from "The Greatest Sc-Fi Movies Never Made" is correct, Kaufman would've been happy to lose the Shat: "Roddenberry kept wanting a big extended Star Trek episode, while Kaufman kept sloping in and saying, 'Well, can't you kill off all these television actors in the first reel so we can start having a proper movie?'" I'm sure he was paraphrasing, but I suspect the sentiment was there.
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Old September 23 2008, 10:11 AM   #34
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Re: "Planet of the Titans" Revisited

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Old September 23 2008, 02:26 PM   #35
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Re: "Planet of the Titans" Revisited

I almost wept upon reading Kaufman's statement about wanting to take ST movies in an adult direction that dealt with big questions and wonders and sexuality, because that's what ST was supposed to be all along. I regret that the studio forced TMP to be G-rated and that the sequels ended up being more in the lowbrow action-adventure vein. I would've loved to instead have an ST film franchise that was acclaimed for its sophisticated, thought-provoking, adult-oriented storytelling.

However, there's a disconnect between Kaufman's stated ambition and the summaries of Kaufman's script. That doesn't sound particularly adult or intelligent at all -- more like a cheesy '70s B-movie.
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Old September 23 2008, 05:28 PM   #36
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Re: "Planet of the Titans" Revisited

Christopher wrote: View Post
I almost wept upon reading Kaufman's statement about wanting to take ST movies in an adult direction that dealt with big questions and wonders and sexuality, because that's what ST was supposed to be all along. I regret that the studio forced TMP to be G-rated and that the sequels ended up being more in the lowbrow action-adventure vein. I would've loved to instead have an ST film franchise that was acclaimed for its sophisticated, thought-provoking, adult-oriented storytelling.

However, there's a disconnect between Kaufman's stated ambition and the summaries of Kaufman's script. That doesn't sound particularly adult or intelligent at all -- more like a cheesy '70s B-movie.
Yep...I totally agree with both parts of your post. He had the right idea, just not the right way to do it.

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Old September 23 2008, 06:04 PM   #37
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Re: "Planet of the Titans" Revisited

It is always nice to see more on ST:POTT around here, but I have to point out here like I did in an earlier thread that the source of the Enterprise redesign was inspired by North American Aviation's XB-70 Valkyire and not Star Wars' Star Destroyer. Hence the "McQuarrieprise" can also be thought of as the "Valkyrieprise".




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Old September 23 2008, 08:48 PM   #38
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Re: "Planet of the Titans" Revisited

Starlock wrote: View Post
It is always nice to see more on ST:POTT around here, but I have to point out here like I did in an earlier thread that the source of the Enterprise redesign was inspired by North American Aviation's XB-70 Valkyire and not Star Wars' Star Destroyer. Hence the "McQuarrieprise" can also be thought of as the "Valkyrieprise".
I love the XB-70 Valkyrie's design, and have several books on it.

On the other hand, while there's a similarity, I have to question the veracity of the statement that the "source of the Enterprise redesign was inspired by" it. Is there factual information to back this up, or is it just logical supposition? I hate to be hard-nosed about this, but I'm trying to get the record straight here (as much as possible), and this project has enough myth and supposition around it without adding to it, so, if you've got a source, I'd love to hear it.

Christopher wrote: View Post
However, there's a disconnect between Kaufman's stated ambition and the summaries of Kaufman's script. That doesn't sound particularly adult or intelligent at all -- more like a cheesy '70s B-movie.
Which script are you referring to? The Bryant & Scott script is the one that Kaufman was hired to direct, which no one could agree on, and which was rejected. That one does sound cheesy from summaries, albeit I hate to judge their work on the basis of post facto summaries by others. Kaufman had his own take on the script—apparently focusing on Spock and the Klingon—which was apparently never completed because Paramount pulled the plug on it. The ONLY summary of Kaufman's version I've ever seen is the one I quoted from "The Greatest Sci-Fi Movies Never Made", and it doesn't give enough detail for anyone to be able to fairly judge it.
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Old September 23 2008, 11:56 PM   #39
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Re: "Planet of the Titans" Revisited

I kind of think of the scott/bryant thing as the raw material, like what they gave Welles before he directed TOUCH OF EVIL. Kaufmann has a tendency to rewrite anyway (anybody who knows William Goldman's take on RIGHT STUFF will get that reference), and his stated intent to explore mythology, and his referring to Olaf Stapledon, both suggest that he was going to do something WITH trek (which may also mean TO it.) Lucas had the same idea when he inquired about buying ST and FLASH GORDON , I'm sure he wouldn't have kept much of the trek or Flashverse at all.

As for the influence, I hadn't heard of the jet, but that is the kind of thing that would appeal to Ken Adam. However I've never seen Adam reference that plane either. maybe when we get the new Adam book, it'll resolve itself (hope hope.)
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Old September 24 2008, 12:45 AM   #40
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Re: "Planet of the Titans" Revisited

trevanian wrote: View Post
I kind of think of the scott/bryant thing as the raw material, like what they gave Welles before he directed TOUCH OF EVIL. Kaufmann has a tendency to rewrite anyway...
Exactly. First draft script are, almost invariably, crap.

...and his stated intent to explore mythology, and his referring to Olaf Stapledon...
To which reference are you referring?

As for the influence, I hadn't heard of the jet, but that is the kind of thing that would appeal to Ken Adam. However I've never seen Adam reference that plane either. maybe when we get the new Adam book, it'll resolve itself (hope hope.)
As to the Adam book, I have it on order! Drooooool!
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Old September 24 2008, 12:53 AM   #41
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Re: "Planet of the Titans" Revisited

I would love to see a book of all the work RA&A did on TMP before they got pulled. From what I've seen it's some amazing stuff.
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Old September 24 2008, 01:03 AM   #42
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Re: "Planet of the Titans" Revisited

hutt359 wrote: View Post
I would love to see a book of all the work RA&A did on TMP before they got pulled. From what I've seen it's some amazing stuff.
What stuff? Concept art?

I think a topic like this one about the ASTRA (aka RA&R) work would be cool, and maybe I'll start one: but, again I don't want this thread to get off topic, and TMP isn't the subject
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Old September 24 2008, 01:10 AM   #43
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Re: "Planet of the Titans" Revisited

DS9Sega wrote: View Post

I'm forced to wonder if Gene might not have used this as a sort of "work from this direction" sort of thing when they were developing the Galaxy-class for TNG cause there's several things on this proto-design that I can see probably getting incorporated later into the Galaxy-class.




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Old September 24 2008, 01:16 AM   #44
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Re: "Planet of the Titans" Revisited

[QUOTE=DS9Sega;2101328]
trevanian wrote: View Post

...and his stated intent to explore mythology, and his referring to Olaf Stapledon...
To which reference are you referring?
He referenced Stapledon's FIRST AND LAST MEN specifically, but whether it was in STARLOG (he was interviewed somewhere between issue 15 and 22 I think) or somewhere else, I'm not sure. Is it possibly contained in Gross' TREK THE LOST YEARS?

He barely mentioned TREK in his original BODY SNATCHERS commentary, does anybody know if he did a new commentary for the newest version of the movie on dvd?

EDIT ADDON LEANDER, I think the similarities have to do with Probert being something of a protege of McQuarrie, and he certainly saw Ralph's art a few times before coming onto TMP, let alone TNG.

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Old September 24 2008, 01:35 AM   #45
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Re: "Planet of the Titans" Revisited

I just found this long quote I'm pasting in below at mania.com/remaking-star-trek-part-5-into-black-hole_article27017.html

. If any attempt to do so seemed likely to happen, it would probably be the one initiated in July of 1976. Jerry Eisenberg was hired as producer, with Phil Kaufman (INVASION OF THE BODY SNATCHERS, THE RIGHT STUFF) directing. Scripting were a pair of English writers named Allan Scott and Chris Bryant, whose credits included DON'T LOOK NOW and JOSEPH ANDREWS. Their experience in science fiction was non-existent, but what they lacked in knowledge, they made up for in enthusiasm, and a willingness to learn.

Harlan Ellison voiced his disbelief over the hiring of these particular writers. 'God knows what they're going to do. I mean, it's insanity to get two English writers who write very toney, European scripts to come in and do what is basically an action-adventure movie. I don't know what pompous aesthetics they're going to throw in. All STAR TREK has ever been is an elaborate shoot 'em up, and confusing it with the BHAGAVAD GITA only muddles its waters. The thing that made some of the TV episodes so unbearable was the pretentiousness.'

Roddenberry didn't agree. 'I'm very excited about some of the ideas they've come up with. The concept that only a science fiction writer can write science fiction motion pictures is ridiculous. Look at me. I came up with STAR TREK, and I was a dramatic writer. I wrote for TV.'

Kaufman, in particular, was thrilled with the prospect of being involved. 'George Lucas is a good friend of mine,' he had told one reporter. 'He told me before he made STAR WARS he'd made inquiries as to whether STAR TREK was available to be bought. I thought George had a great thing going. When I was asked if I would be interested in doing STAR TREK, well...I felt I could go through the roof.

'My agent called me up,' he continued, 'and said, 'What would you like to do?' I said I would like to do a science fiction movie. And he said, 'Well, I'm sure you wouldn't want to do STAR TREK.' I said, 'Wait a second--they're making a movie out of STAR TREK?' He said, 'Yeah, but they're gonna make a 2 or 3 million dollar quickie.' I told him, 'I don't think they really know what they've got there if that's what they're going to do. Let's explore it.' Right away I got a call from Jerry Eisenberg, who had been put in charge. We talked, and I came down and met with him first and then with Gene Roddenberry. In the process of getting involved with the project, I moved it up from being a small project into a $10 million picture.'

In addition to all of this, the original cast had essentially been signed to reprise their original roles, with the exception of Leonard Nimoy, who at the time had refused all interviews pertaining to STAR TREK. William Shatner, however, had no problem in discussing the situation. 'Leonard Nimoy has a beef, and it's a legitimate one,' Shatner said in 1976. 'It's about the merchandising, and it's something that irks me as well. Our faces appear on products all over the country, all over the world, and we've not really been compensated fairly for it. Leonard was walking in London, England. He stopped to look at a billboard. The billboard's divided into three sections. The first section is Leonard's face with the ears--Spock--the ears are drooping. The second section of the billboard has Leonard, with the drooping ears, holding a tankard of ale. The third section has an empty tankard of ale, and Leonard's face, with pointed ears straight up in the air. So Leonard and I have had this battle, with whoever licenses STAR TREK, for a long time. I mean, kids are walking around with my face on their shirts. Occasionally I see a postcard with my face on it. People are exploiting us. So anyway, Leonard goes back to the studio and says, 'There's a demeaning billboard of me out there. Did you guys okay it?' So he goes to his lawyer and tries to sue. Right now Paramount wants Leonard, and Leonard wants fair recompense. It's only reasonable that Paramount meet his demands. Something has happened here. Someone has made a lot of money from the show, and the people who were the show have seen very little of it. I think Leonard is totally in the right.'

While Nimoy would eventually agree to do this attempted resurrection of STAR TREK, the format would again be changed and he would again drop out. As time went on, it seemed as though the problems facing cast and crew were unending, yet despite all this, Roddenberry remained optimistic. 'I'm very pleased with the way the film is going,' he enthused at the time. 'We've just signed Phil Kaufman--who's done many fine films--to direct. Things really began to change around here when the studio shifted its power base and David Picker took charge. He put Jerry Eisenberg in command of the film, and Jerry knows how to deal with the front office quite well. Once these men entered the picture, things began to move quite smoothly.

'It's taking more time than usual to come up with a good script, because we're faced with some unusual problems. This is not just another movie--this is STAR TREK. A lot of people in the business have said to me, 'Hey, it should be easy to do the film. Just do an extended TV episode. You've done lots already; just do it again.' Well, I didn't want to do it that way. A movie is different from a TV show in a lot of ways. For one thing, the audience has made an investment in the film. They've shelled out money for the ticket, as well as for parking, baby-sitters, maybe dinner. They don't want to see a TV show on the screen. They're a captive audience, and they want something special. It's like getting a book and finding out it's lousy. If you've been given it as a present, you figure, gee, since I got it for free, it's no big deal that it's bad. But if you've paid $8.95 for it, you get a little pissed off.

'With the STAR TREK script, we have defined personalities and really can't do anything contrary to the behavior patterns we've already established in the past. We're finding out that it's easier to work from scratch in terms of a storyline, but because all the details of the film are so well known already, it's getting harder and harder to come up with something new. I don't know what we'll finish with at this point, but I'm sure it will be a film that has a lot of entertainment value--action, adventure and a little comedy. I want a 2001.'

Unfortunately, he didn't get it, although it wasn't from a lack of trying. The Scott-Bryant screenplay opens with the Enterprise investigating a distress signal sent from the USS DaVinci. By the time they arrive in that quadrant of space, the other starship is gone. Suddenly, Kirk's brain is struck by electromagnetic waves, which results in erratic behavior and his commandeering a shuttlecraft. He pilots it towards an invisible planet and disappears. Three years later, Spock leads an expedition back to that area of space, and they discover what they believe to be the planet of the Titans, an ancient but highly advanced race that had been thought extinct. Problem is that the planet is being drawn towards a black hole, and it becomes a race against time between the Federation and the Klingons, who are both interested in that particular world. The one who saves the planet will receive the fruits of their knowledge.

On the planet's surface, Spock discovers Kirk, who has been living there as a wild man. However, the captain is restored to normal in short order, and together they discover that the planet is actually populated by the evil Cygnans, a race who have destroyed the Titans. The story concluded with Kirk, in an effort to destroy the hostile Cygnans, ordering the Enterprise into the black hole. As Susan Sackett noted in THE MAKING OF STAR TREK: THE MOTION PICTURE, 'During the trip through the black hole, the Cygnans are destroyed and the Enterprise emerges in orbit around Earth. But it is Earth at the time of the Cro-Magnon man, the dawn of humanity. The ancient Titans, it would seem, were the men of the Enterprise.'

Jon Povill, who had shifted into the background as Gene Roddenberry's assistant, noted the project with interest, though he wasn't convinced it was right for STAR TREK's debut on the movie screen. 'It was an interesting script in a certain sort of way,' Povill explains. 'It was not Star Trek. People would have gone to see it, and it would have done as well as we did with STAR TREK: THE MOTION PICTURE, but it's just as well that it didn't get made. Chris and Alan even felt that it was something that wasn't quite successful. They didn't feel they had brought off a script that was just right. They didn't feel confident about it. Then Phil Kaufman decided that he wanted to take a run at the script. His treatment was, I think, worse than the script. Then the whole thing kind of fell apart.'

It's been over a decade and a half since the Scott-Bryant script had been written, and while Allan Scott cannot recall the specifics of the storyline, he has no trouble remembering his involvement with the proposed film. 'Jerry Eisenberg brought us into the project,' says Scott. 'He was going to be the producer at the time. We came out and met with him and Gene. We talked about it, and I think the only thing we agreed on at the time was that if they were going to make Star Trek as a motion picture, we should try and go forwards as it if were from the television series. Take it into another realm, if you like, into another dimension, and to that end we were talking quite excitedly about a distinguished film director and Phil Kaufman's name came up. We all thought that was a wonderful idea, and we met with him. Phil is a great enthusiast and very knowledgeable about science fiction, and we did a huge amount of reading. We must have read thirty science fiction books of various kinds. At that time we also had that guy from NASA, who was one of the advisors on the project, Jesco von Puttkamer. He was at some of the meetings, and Gene was at all of the meetings.

'We were under instructions at the time,' he adds, the passage of years unclouding a bit, 'that they had no deal with William Shatner, so in fact the first story draft we did eliminated Captain Kirk. It was only a month or six weeks later when we were called and told that Kirk was now aboard and should be one of the lead characters. So all that work was wasted. At that time, Chris and I would sit in a room and talk about story ideas and notions, and talk them through with either Phil or Gene. Without any ill feelings on any part, it became clear to us that there was a divergence of view of how the movie should be made between Gene and Phil. I think Gene was quite right in sticking by not so much the specifics of STAR TREK but general ethics of it. I think Phil was more interested in exploring a wider range of science fiction stories, and yet nonetheless staying faithful to STAR TREK. There was definitely a tugging on the two sides between them. One of the reasons it took us so long to come up with a story was because things like that would change. If we came up with some aspects that pleased Gene, they often didn't please Phil and vice-versa. We were kind of piggies in the middle.'

It's pointed out that in many instances there was a similar situation between Roddenberry and director Robert Wise on STAR TREK: THE MOTION PICTURE. 'I would imagine,' Scott replies earnestly. 'Eventually we got to a stage where we more or less didn't have a story that everybody could agree on, and we were in very short time of our delivery date. Chris and I decided that the best thing we could do was take all the information we had absorbed from everybody, sit down and hammer something out. In fact, we did a fifteen or twenty page story in a three-day time period. I guess amendments were made to that in light of Gene and Phil's recommendations, but already we were at a stage by then that the thing was desperate if we were going to make the movie according to the schedule that was given to us. We made various amendments; we went to the studio with it, and they turned it down.

'We never heard the reasons that it was turned down. I think other political things intervened, and I think the management at Paramount changed as well. I'm almost sure that at that time Michael Eisner came in and David Picker left, and I think that may have been as significant as anything else that may have happened. Our working relationship with Gene was very good and very friendlysimilarly with Phil. The only thing I can remember about the story itself is the ending, and I truly don't remember anything else but the ending. It involved primitive man on Earth, and I guess Spock or the crew of the Enterprise inadvertently introduced primitive man to the concept of fire. As they accelerated away, we realized that they were therefore giving birth to civilization as we know it. That's the only thing I can remember. I know a black hole was very important to the story. I guess it was through the black hole that they ended up in time warp.'

Although there had been a slight feeling of intimidation at the outset, this quickly faded as the writing duo got further involved. 'I think as time wore on, we became less intimidated and much more absorbed in the STAR TREK ethic,' Scott concurs. 'You can't work on that project with Gene and not become involved with it. The difficulty for us was trying to make, as it were, an exploded episode of STAR TREK that had its own justifications in terms of the new scale that was available to it, because much of the show's charm was the fact that it dealt with big and bold ideas on a small budget, and of course the first thing that a movie would do, potentially, was match the budget and scale of the production to the boldness and vigor of the ideas. Of course we spent weeks looking at every episode of STAR TREK, and I would guess that more or less every member of the cast came by and met us.

'We were surprised that it didn't go, because it seemed that it would. It was absolutely a 'go' picture. But it was a very exciting project to be involved with. I'm sorry it didn't work, because we would have enjoyed it even more if it had. We had a lot of fun, and it was really an enjoyable time. I don't feel unhappy about it at all. It was just one of those deals that happens at studios from time to time that fell down the middle.'

Phil Kaufman's reaction to the cancellation of the film was not quite so idealistic. 'We were dealing with important things,' he said. 'Things that George [Lucas] has a smattering of in STAR WARS. We were dealing a lot with Olaf Stapledon. There were chapters in LAST AND FIRST MEN that I was basing STAR TREK on. That was my key thing. Gene and I disagreed on what the nature of a feature film really is. He was still bound by the things that he had been forced into by lack of money and by the fact that those times were not into science fiction the way they are now. Gene has a very set way of looking at things. My feeling always was that he was anchored in a 10-year-old TV show which would not translate for a feature audience ten years later with all that had been done and could potentially be done in a feature scope. For years I had walked around San Francisco with George Lucas talking about what he was doing. I knew what the potential of this kind of stuff was.' Perhaps most shocking to him was the feeling that Paramount canceled the film because of the success of STAR WARS, which was released in May of 1977, and the belief that they had blown their opportunity at the box office. 'They didn't even wait to see what STAR WARS would do,' Kaufman said incredulously. 'I don't think they tried to understand what the phenomenon of STAR TREK was.'

'We considered the project for years,' summed up then Paramount president Barry Diller. 'We've done a number of treatments, scripts, and every time we'd say, 'This isn't good enough.' If we had just gone forward and done it, we might have done it quite well. In this case [the Scott-Bryant-Kaufman version], it was the script. We felt, frankly, that it was a little pretentious. We went to Gene Roddenberry and said, 'Look, you're the person who really understands STAR TREK. We don't. But what we should probably do is return to the original context, a television series.' If you force it as a big 70-millimeter widescreen movie, you go directly against the concept. If you rip STAR TREK off, you'll fail, because the people who like STAR TREK don't just like it. They love it.'
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