Hey, I never noticed that before....

[Maurice]

In my animation class back in the 70s, our teacher (Richard Protevin), taught us to animate in a stuttering count (God, I can't remember the exact numbers now. It was only 50 years ago! ) Something like two ahead, one back, two ahead, one back... He said it built tension in the viewer. Altho that wasn't necessarily useful for all animation styles, especially if you you were trying to do something cute and friendly. But for his film "Twelve Dancing Penises" it worked well.

The art scene in Greenwich Village in the 70s was a bit of an eye opener to this little suburban NJ boy.

I found a few bits about Protovin.

The New Animators of 1977
RICHARD PROTOVIN‘s films have a naive, story-book quality about them which is definitely not what they’re about. This soft, innocent front, the delicate lines and candy-colored pastels, is an intentional disguise to arouse expectation for a simple story, expectations which he astutely manipulates for very different ends — “to turn things around, to go on the other side of the mirror.” Flamingo Boogy (1974), drawn on paper, starts out in a drive-in movie and ends up in a flock of flamingoes and winged turtles embracing the sun. The ocean itself is drawn into the sun in the mythical epiphany that ends the film. Everything flows and pulsates at the same time, disturbing movement echoing “opposites coming together in a spiritual union.” Heyzeus (1975), reflecting Protovin’s interest in Tantric Yoga, is an orgiastic dance of phallic and vaginal creatures which culminates in the creation of a

Left – Richard Protoviin/self caricature Right – “Flamingo Boogy”​

mysterious bird creature exuding a powerful mystical energy. Like so many experimental animators, Protovin plays on the expectations associated with cartoons, only to turn them upside-down in an unexpected haunting way.

A short film he made with Franklin Backus

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I also found his obituary in the NY Times.

Richard M. Protovin, a painter, film maker and art teacher, died on Dec. 6 at his mother's home in St. Petersburg, Fla. He was 46 years old and lived in Pass-a-Grille Beach, Fla.
He died of AIDS, said Laurie Loeb, an assistant professor in New York University's film and television department.
Mr. Protovin founded and headed the animation department at the Tisch School of the Arts at the university, where he was an associate professor from 1979 to 1988. That year, he moved to Florida and became a professor of animation production and cinema studies at the University of Tampa. His films have been shown as part of the New Directors/New Films series at the Museum of Modern Art in New York City and the Best Short Films series at the Seattle International Film Festival, as well as at festivals in Moscow, Cannes and Venice.
His paintings hang in museums and corporate collections around the world and have been seen in solo shows at the Peter Flannagan Gallery, the Animator's Gallery and the Raimundo Gallery in New York, as well as the Art Center in Turin, Italy.

In addition to his mother, Doris Protovin, he is survived by a sister, Jody, also of St. Petersburg.

 

[Forbin]

I found a few bits about Protovin.


A short film he made with Franklin Backus

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I also found his obituary in the NY Times.

Oh, man, thanks for finding that. He was good guy and quite a character. I was stunned when I saw his obit in Premiere Magazine. I had him for drawing and animation classes. The first words I ever spoke to my now-wife were asking if she knew where his class was .

My favorite memory: the school was so tiny that we had 150 students with parking for 50, so we were always interrupting classes to ask people to move their cars. One day in 1976 we were in the middle of class when someone popped their head in and asked "Does anybody here own the orange Gremlin?" Richard did a devilish grin and said "I am an orange Gremlin!"

 

[Forbin]

And I'll be darned, I found a pic I took of him in action (teaching, that is).

http://www.inpayne.com/temp/richardp.jpg

 

[Maurice]

And I'll be darned, I found a pic I took of him in action (teaching, that is).

http://www.inpayne.com/temp/richardp.jpg

Nice.

 

[Talos IV]

Just noticed that one of Kirk's reaction shots in the teaser of "The City on the Edge of Forever" was lifted from "Dagger of the Mind."

"City" director Joseph Pevney filmed other reaction shots for this scene, so I'm not sure why they needed to re-use one from another episode (by another director, no less).

 

[ZapBrannigan]

Just noticed that one of Kirk's reaction shots in the teaser of "The City on the Edge of Forever" was lifted from "Dagger of the Mind."

"City" director Joseph Pevney filmed other reaction shots for this scene, so I'm not sure why they needed to re-use one from another episode (by another director, no less).

Good catch. I didn't know about that one.

"What are Little Girls Made Of" re-uses a medium shot of Spock in the captain's chair from "The Man Trap." A handsome close-up of Kirk in the captain's chair from "Mudd's Women" (pursuit of Mudd's ship) was seen again in "Balance of Terror" or "Arena," maybe both IIRC.

It was planned from the start that certain types of shots would be good as stock footage. They even say "stock" on the clapper boards sometimes, in the Lincoln Enterprises 35mm work print trims. The most over-familiar one was Sulu looking back over his shoulder while any given thing happens on the main viewing screen. They should have spent the money to shoot alternates for that one, it wouldn't have cost that much.

 

[David cgc]

The most over-familiar one was Sulu looking back over his shoulder while any given thing happens on the main viewing screen.

They even referenced it in the movie!

 

[Phaser Two]

Good catch. I didn't know about that one.

"What are Little Girls Made Of" re-uses a medium shot of Spock in the captain's chair from "The Man Trap." A handsome close-up of Kirk in the captain's chair from "Mudd's Women" (pursuit of Mudd's ship) was seen again in "Balance of Terror" or "Arena," maybe both IIRC.

It was planned from the start that certain types of shots would be good as stock footage. They even say "stock" on the clapper boards sometimes, in the Lincoln Enterprises 35mm work print trims. The most over-familiar one was Sulu looking back over his shoulder while any given thing happens on the main viewing screen. They should have spent the money to shoot alternates for that one, it wouldn't have cost that much.

Truly. And although they did only use that when Sulu was at the helm, the navigator rarely matched up—the shot IIRC was from one of the very early S1 episodes, so the nav station wasn't manned by Chekov.

 

[Methuselah Flint]

Good catch. I didn't know about that one.

"What are Little Girls Made Of" re-uses a medium shot of Spock in the captain's chair from "The Man Trap." A handsome close-up of Kirk in the captain's chair from "Mudd's Women" (pursuit of Mudd's ship) was seen again in "Balance of Terror" or "Arena," maybe both IIRC.

It was planned from the start that certain types of shots would be good as stock footage. They even say "stock" on the clapper boards sometimes, in the Lincoln Enterprises 35mm work print trims. The most over-familiar one was Sulu looking back over his shoulder while any given thing happens on the main viewing screen. They should have spent the money to shoot alternates for that one, it wouldn't have cost that much.

I read somewhere that the shot of Spock was actually shot for "Girls" and re-used for "Trap" as they felt they needed a Captain's Log for the first broadcast episode, rather than a straight beam down opening.

 

[ZapBrannigan]

Truly. And although they did only use that when Sulu was at the helm, the navigator rarely matched up—the shot IIRC was from one of the very early S1 episodes, so the nav station wasn't manned by Chekov.

I don't have the book Inside Star Trek anymore, but Robert Justman recalled directing the Sulu-shoulder scene himself, as purpose-made stock footage. It was done during "The Corbomite Maneuver."

Not exact quotes, but I recall Justman said something like, "Now look back at me, and look nervous."

George said "What am I nervous about?"

"It doesn't matter."

 

[Maurice]

Sometimes in editing you find you want a reaction or whatnot but you don't have coverage with a matching eyelines or whatever, so you look at other footage you have from other scenes or other shows.

Relatedly, a main reason for most of the flopped shots in the series: deliberate choices to fix mismatched eyelines or broken directional continuity (the opening of "The Enemy Within" for instance when they run). When they unflopped shots like this in TOS-R it actually recreated the mistake the original editors were fixing.

 

[Phaser Two]

I don't have the book Inside Star Trek anymore, but Robert Justman recalled directing the Sulu-shoulder scene himself, as purpose-made stock footage. It was done during "The Corbomite Maneuver."

Not exact quotes, but I recall Justman said something like, "Now look back at me, and look nervous."

George said "What am I nervous about?"

"It doesn't matter."

Good memory! I had long forgotten this myself, but Justman did indeed say pretty much exactly that. He also said the shoulder of the navigator belonged to an extra, and that they repeated the process with Koenig when he joined the show. He doesn't mention "Corbomite" specifically but the photo credit does cite that episode. Source: Solow, Herbert F., and Robert H Justman. Inside Star Trek: The Real Story. Pocket Books, 1996, pp. 174-175.

 

[Mytran]

I read somewhere that the shot of Spock was actually shot for "Girls" and re-used for "Trap" as they felt they needed a Captain's Log for the first broadcast episode, rather than a straight beam down opening.

It was probably on another TrekBBS thread, as it was the subject of some discussion a few years ago.
Basically, you are correct: The snippet of Spock used for Man Trap was a bit of unused footage from the scene in Little Girls where Spock talks to Ruk who is impersonated Kirk.

Curiously, the engineering station display was switched off when they filmed Nimoy's actual lines! However, this camera setup appears nowhere else so it has to be this scene.

 

[Just a Bill]

Robert Justman recalled directing the Sulu-shoulder scene himself, as purpose-made stock footage.

I wonder if there came a point where George realized that was the purpose, and said to himself well, I guess this must mean they plan to keep me around for awhile.

Justman ... also said the shoulder of the navigator belonged to an extra, and that they repeated the process with Koenig when he joined the show.

Huh, I'll have to go watch some of those again. I would have sworn that we see the back of Hadley's head multiple times when he's not really in the scene, but maybe this is just a little Mandela effect I've given myself. Or maybe it's from stock shots other than the famous Sulu look-back.

 

[Zycho32]

Huh, I'll have to go watch some of those again. I would have sworn that we see the back of Hadley's head multiple times when he's not really in the scene, but maybe this is just a little Mandela effect I've given myself. Or maybe it's from stock shots other than the famous Sulu look-back.

You saw his head for sure during the Chekov shots. Unless there's a widescreen version I can't access you never saw the extra's head during the Sulu shots.

 

[Doug Otte]

Spock’s Brain…Kirk and the boys beam down to glacial Sigma Draconis 6. Kirk immediately tells the landing party to set suit temperatures to 72 degrees.

You prompted me to watch the episode again. I never noticed it, either. After Kirk's line, Chekov reaches to the back of his belt, apparently to adjust the temperature. But, none of the other characters does so.

Strange that the "72" apparently refers to Fahrenheit, but there are multiple references to the underground facility being hundreds of meters below the surface.

Later on, Chekov warms a rock with his phaser so he and the security detail can stay warm. I guess the suits don't work very well!

 

[Charlie Xmas]

You prompted me to watch the episode again. I never noticed it, either. After Kirk's line, Chekov reaches to the back of his belt, apparently to adjust the temperature. But, none of the other characters does so.

Strange that the "72" apparently refers to Fahrenheit, but there are multiple references to the underground facility being hundreds of meters below the surface.

Later on, Chekov warms a rock with his phaser so he and the security detail can stay warm. I guess the suits don't work very well!

TNG Sulu would have tried and failed to fix them, increasing the episode tension and also allowing TNG Good Kirk to do some Picardian moralizing at Evil Kirk while TNG Scotty technobabbles the transporter back to proper specs.

 

[Just a Bill]

After Kirk's line, Chekov reaches to the back of his belt, apparently to adjust the temperature. But, none of the other characters does so.

Whatchoo talkin' 'bout, Willis?

 

[Doug Otte]

Whatchoo talkin' 'bout, Willis?

How did I miss that? Thanks.

 

[Phaser Two]

Huh, I'll have to go watch some of those again. I would have sworn that we see the back of Hadley's head multiple times when he's not really in the scene, but maybe this is just a little Mandela effect I've given myself. Or maybe it's from stock shots other than the famous Sulu look-back.

Yeah, I believe there's a bit of a three-quarters rear view—from the right side of and behind the captain's chair—that they used a lot, and I think that has Hadley/Blackburn at navigation.