Fein, post-production supervisor Michael Matessino and visual effects supervisor Daren R. In 1997, Wise, through his company Robert Wise Productions, enlisted the help of producer David C. (There is a rumor, apparently tied to this forum post from 2016 (via Memory Alpha), which suggests that Wise re-cut the film in 1980 to be 12 minutes shorter, but producer David C. Paramount would subsequently produce an even longer cut of the film, letting ABC screen a super-sized, 143-minute TV version which included deleted and unfinished scenes. Length was a problem for the film, a 90-minute TV pilot expanded to more than two hours, bloated with too many special effects shots. Even so, Wise was battered by the process of making it, hand-delivering the prints to the film’s premiere and declaring it to be a rushed, unfinished job. The special effects were eventually completed by the recently-departed Douglas Trumbull and John Dykstra both could point to 2001 and Star Wars as the highlights on their own resumes. ![]() He’d won enough Academy Awards that The Motion Picture wouldn’t be in the top ten of his most notable achievements. ![]() Wise got his big break as Orson Welles’ editor on Citizen Kane and, more controversially, The Magnificent Ambersons. The Motion Picture was directed by Robert Wise, a footnote in a career that started in 1934 and ran through 2000. Except none of the already-made material was movie quality, and the effects house wasn’t up to the task at hand. ![]() Bosses wanted a slice of that late ‘70s sci-fi movie pie and upgraded the Trek project to a big-budget movie. The pricey show got crunched into a single movie-of-the-week, right until the moment that Star Wars (and Close Encounters) swallowed 1977 whole. Paramount wanted a new Star Trek TV series, until the money men balked at the cost and potential disinterest from advertisers. You can buy a shelf’s worth of books discussing the troubled production of The Motion Picture, and its creative failures.
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