why wasnt TOS referenced more visually in 1-6?

[Push The Button]

We did eventually get to see some TOS-era hardware again in Relics, Trials and Tribble-ations and In A Mirror, Darkly. The Reliant in TWOK should have been shown in pre-refit configuration with cylindrical nacelles and the red racing stripes, but still with the updated interiors, this would have better conveyed that she was an older ship that was routinely handed a lot of less-than-glamorous assignments. The color scheme and brighter lighting on Reliant's bridge definitely had a TOS vibe to it, compared to Enterprise's interiors, which were much darker.

 

[Lee]

I don't see how that could be true, since Joseph didn't design any of the props or sets seen on TOS.

Yes. I guess I'm not explaining it very well. Whatever it was I read was suggesting that Roddenberry was very put out that Joseph was making money on Roddenberry's work product (I suppose Roddenberry felt proprietary about the ship and prop and costume designs even though Roddenberry didn't design them himself). Therefore, when it came time to start work on the film, Roddenberry was not thrilled at the idea of further promoting the designs which in Roddenberry's mind Joseph had appropriated from Roddenberry, even though Joseph hadn't worked on TOS. I have no idea if any of this is true, but I did read it, perhaps it was in a long interview with Joseph's daughter.

 

[Lee]

Okay, I found where I had read what I posted about above. It was indeed in the interview with Joseph's daughter, Karen Dick. The quote below is from Question 19 of the interview.

Dick: [...] Now stay with me here, 'cause this is the most Important Part of this whole interview. If you follow the FJ Timeline through 1975 and 1976, Paramount rejects script after script from GR and others, while FJ's Plans and Manual climb the bestseller lists to astronomical heights. GR's head must have been ready to explode. Then, if you read further, Paramount starts to court FJ as a consultant for the movie but FJ declines any involvement. At that point, Paramount and GR have the same problem. Because of the aborted Lincoln Enterprises deal to publish the Plans and the Tech Manual in 1973, and because Lou Mindling of Paramount allowed FJ to copyright the Manual in his own name in 1975, neither GR nor Paramount owns the rights to FJ's original work (such as the Star Fleet space station, the Dreadnought and other ship designs, the UFP "two faces and starfield" logo, etc.). [The rest of this paragraph is pure speculation, but I don't think I'm too far off the mark.] GR doesn't want to use FJ's designs because he feels he has had little control over their creation and no control over their publication, and he'll be damned if he'll pay royalties to an outsider for stuff spun off from the universe he created. Further, FJ has proven difficult to deal with in other encounters (Planet Earth) and GR doesn't want to go through that again. Paramount desperately wants FJ to be involved with the movie because FJ's work is so enormously popular, but FJ is not being a "team player" and agreeing to be a consultant or a writer on the project. If FJ is not going to be directly involved so they can exploit his name in their publicity, then Paramount doesn't want to pay him royalties, either.
After that point, everything in the movies was either designed to directly contradict FJ's work, or to modify designs or concepts first put forward by FJ to make them just different enough that FJ could not claim copyright infringement (especially the UFP logo you mention in Q12). In retrospect, knowing what a "control freak" GR was about the series and the movies (as documented in many written accounts), none of this is a surprise to me.

 

[BillJ]

Okay, I found where I had read what I posted about above. It was indeed in the interview with Joseph's daughter, Karen Dick. The quote below is from Question 19 of the interview.

Doesn't make much sense, since they acknowledge Joseph's work audibly during the Epsilon IX comm chatter.

 

[Captain Clark Terrell]

We did eventually get to see some TOS-era hardware again in Relics, Trials and Tribble-ations and In A Mirror, Darkly. The Reliant in TWOK should have been shown in pre-refit configuration with cylindrical nacelles and the red racing stripes, but still with the updated interiors, this would have better conveyed that she was an older ship that was routinely handed a lot of less-than-glamorous assignments. The color scheme and brighter lighting on Reliant's bridge definitely had a TOS vibe to it, compared to Enterprise's interiors, which were much darker.

Except that Bennett/Meyer approached TWOK as though there had never been a refit; thus, Reliant's design was intended to be its original design. It's interior clearly wasn't as nice as that of the Enterprise, with the outdated color scheme and lack of upholstery on the bridge chairs.

 

[drt]

Okay, I found where I had read what I posted about above. It was indeed in the interview with Joseph's daughter, Karen Dick. The quote below is from Question 19 of the interview.

She just sounds bitter to me, FJ didn't own the rights for 95% of the stuff as it was just copied out of Star Trek, and his "original" stuff was pretty superfluous. TMP was completely different looking because GR had been handed a great big pile of money to spend.

 

[Lee]

She just sounds bitter to me, FJ didn't own the rights for 95% of the stuff as it was just copied out of Star Trek, and his "original" stuff was pretty superfluous. TMP was completely different looking because GR had been handed a great big pile of money to spend.

I don't know -- in that quote and also in the whole interview, she seems pretty even-handed. She readily admits that her father was a novice in Hollywood politics and didn't always respond to situations in a way that would have benefited his own interests. She herself says she's speculating about some of it, so perhaps she's wrong, but since she was near the center of the events while they happened, I feel like she probably has a better idea than we do of what people's motivations were.