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現実世界
(制作視点での記事)
劇場版スタートレック
Star Trek: The Motion Picture
公開日: 1979年12月7日
  スタートレック映画全13 作中1作目
全エピソード通算729 中102番目
The Motion Picture artwork
脚本
ハロルド・リビングストン

ストーリー
アレン・ダーン・フォスター

監督
ロバート・ワイズ

プロデュース
ジーン・ロッデンベリー
宇宙暦
7410.2

西暦
2273年


あらすじ[]

 2273年、強大な破壊力を持つ巨大な雲状の物体が地球に接近する。惑星連邦は改修作業を終えたUSSエンタープライズ(NCC-1701)に迎撃を命じ、カーク少将が指揮官に任命された。エンタープライズは雲の中心に向かうが、巨大な機械生命体ヴィジャーアイリーア大尉の外見をコピーしたプローブをエンタープライズに送り込んでくる。アイリーア・プローブとともにヴィジャーの内部に侵入したカーク達は、ヴィジャーが1990年代に地球から打ち上げられたヴォイジャー6号が進化したものだと知る。未知の機械生命体に改造され、地球に戻ってきたのだ。カークがヴィジャーに任務が完了したことを伝えると、新たな生命体となったヴィジャーは地球から去っていった。

背景[]

設定年代[]

 本作の設定年代をめぐっては多少の論争がある。マイケル・オクダが書いた公式の『Star Trek Encyclopedia』では『劇場版スタートレック』は2271年の出来事とされており、それがファイブ・イヤー・ミッション完了の二年半後であるとも書かれている。これはカークに対するデッカーのセリフ「あなたは二年半全く乗艦していない」("not logged a single star-hour in the last two and a half years")と、スコッティに対するカークのセリフ「二年半の地上任務で、多少勘は鈍ってるかも知らんが」("Well, two and a half years as Chief of Starfleet Operations may have made me a bit stale")に基づいている。このことはエンタープライズがドライドックに戻ってからこの映画の始まりまでの間に少なくとも二年半の時間が経ったということを意味する。

 オクダ自身はファイブ・イヤー・ミッションを2264年から2269年(テレビ放映の300年後)としている。しかしながら、多くのファンは『まんが宇宙大作戦』が2269年後期から2270年初期の出来事と考えており、さらには、(エンサイクロペディアの最終版が出版された後の2001年に放映された)『VOY:断絶するQ』でカークのファイブ・イヤー・ミッションが2270年に完了したと述べられている。これに従えば、(2270年のどの時点でエンタープライズが帰還したかに依るが)劇場版スタートレックは2272年2273年の出来事ということになる。

 また、ロッデンベリーは自身による小説版で二年半という言及をしている上、スポックがクルーを離れてから2.8年(ヴァルカンの暦で9シーズン)というさらに厳密な値を与えている。もしもミッション終了からの時間が二年半きっかりだったなら、スコッティらはたった12ヶ月で新しいエンタープライズのデザインを決定し(スコッティとデッカーが述べたように)18ヶ月で改装を行ったことになる。2.8年なら、デザインの時間は16ヶ月となる。

 こういったこと全てをふまえて、Pocket Booksは2006年版年表『Voyages of Imagination』で公式に本作を2273年に設定した。

 他の視点から言うと、2278年で既に『カーンの逆襲』以降のタイプの制服が使われているため、本作は遅くともそれより前の出来事となる。(TNG:恐怖の宇宙時間連続体

制作の歴史[]

While strictly speaking the production of Star Trek: The Motion Picture officially spanned the time period of December 1977 through November 1979, its history, as an attempt to bring back Star Trek as a live-action production, stretched as far back as 1967, and as such these attempts were intertwined, especially if one considered the players involved, with some elements originating from those early attempts, the atheist theme in particular, surviving long enough to turn up in edited form in the final production. This was especially true for the Star Trek: Phase II television movie, series, -project, which directly preceded The Motion Picture, as much of the groundwork for The Motion Picture was laid during the pre-production of that project. Therefore, in order to fully appreciate the efforts that went into the production of The Motion Picture, a full overview of the live-action revitalization history is warranted.

Late 1967 – June 1976: Early revitalization attempts[]

  • Late 1967年: Gene Roddenberry, Associate Producer Gregg Peters and Leonard McCoy Performer DeForest Kelley discuss among themselves in the former RKO commissary, the possibility of doing a Star Trek motion picture on a number of occasions, intended as a filler for the production hiatus between the second and third season of the regular Original Series. Being the earliest recorded notion of a motion picture, the idea is nixed however, or as Kelley has put it, "Who would ever think of making a motion picture out of a television show?" As it turns out, the series proper soon finds itself fighting for survival, threatened by cancellation. (Return to Tomorrow - The Filming of Star Trek: The Motion Picture, pp. 3, 5)
  • 22年June月1972日: D.C. Fontana writes in to the fanzine Star-Borne about the possibility of a theatrical film. In her letter she writes, "Paramount… [is] enormously impressed by the quantity (and quality) of fan mail they continue to receive. The possibility seems to be slowly developing of a Star Trek feature movie for theatrical release, aimed at becoming the new Star Trek television pilot… on the network front, NBC still expresses great interest in doing Star Trek in some form. Both NBC and Paramount continue to receive a great deal of mail and have had to assign secretaries for the sole job of answering it." テンプレート:OrionPress While it does not lead to a live-action production at the time, the notion does eventually entice NBC to commission まんが宇宙大作戦.
  • 1973年: With the help of his former Desilu boss Herbert F. Solow, Gene Roddenberry first approaches Paramount with an idea for a feature film, tentatively called "The Cattlemen". On this occasion, Solow actually repeats his exact same role when he took Roddenberry to NBC to pitch The Original Series back in 1964. The idea is based on the story outline called "A Question of Cannibalism", one of the twenty-five earliest Star Trek story outlines developed in 1964 as back-up for the original pilot episode "The Cage". Then Paramount President, Frank Yablans, envisioning a high-tech space film potentially grossing US$30 million years before Star Wars, is interested. However, very much aware of Roddenberry's Original Series reputation and of his utter failure as producer to control the antics of director Roger Vadim for the 1971 film Pretty Maids All in a Row in particular (which caused the movie to run over-time and over-budget), Yablans emphatically refuses to have him serve as producer, only willing to hire him as writer. Through his attorney Leonard Maizlish, Roddenberry counters with demanding a hitherto near-unprecedented US$100,000 writer's fee, which Yablans dismisses as unacceptable and subsequently trashes the entire proposition. Solow is later told by two Paramount attorneys, "He lost the deal arguing over nickels. Nickels!" (Inside Star Trek: The Real Story, 2nd ed, pp 420-421)
    Despite the failure of the negotiations, Yablans' interest in producing high-tech science fiction is piqued nevertheless and to this end he facilitates and provide the funding for the establishment of two Paramount visual effects subsidiaries, Douglas Trumbull's Future General Corporation (FGC) and Carey Melcher's Magicam, Inc, one year later. Unfortunately, his immediate successors, Barry Diller and Michael Eisener, have zero affinity with science fiction and with visual effects in particular, and try to shut down FGC immediately upon their ascent, which will come back to haunt the production.
  • Early Autumn 1974年: Entirely independent from Roddenberry, Arthur Barron, Paramount's then chief financial officer (of all people, considering that it was predominantly financial executives who pushed for the cancellation of the Original Series back in 1967) and bypassing Yablans, approaches the highest top executive, Gulf+Western President Charles Bluhdorn, with the idea of turning Star Trek into a movie. Having completely reversed his stance when he acquired Desilu in 1967, Bluhdorn by now has become enamored with Star Trek due to its huge and unexpected success in syndication and has embraced Star Trek as something of a pet project. (The Keys to the Kingdom, Chapter 5)
  • テンプレート:M: Bluhdorn instructs freshly-appointed Paramount President Barry Diller (having just replaced Yablans, who was "invited" to leave after failing to show respect for his boss and who, incidentally, had failed to inform Bluhdorn of Roddenberry's prior overtures) to turn the idea into a project. Not particularly interested in doing Star Trek in any format whatsoever and, by any standard, a formidable executive himself, Diller nevertheless does not want to antagonize his new boss and his new-found infatuation with Star Trek by refusing and approaches Roddenberry for the project. However, still smarting over Yablans' rejection the year previously, Roddenberry has somehow become aware of Bluhdorn's interest and, on instigation of his attorney Maizlish, decides to play studio politics by holding out on Diller for the better part of half a year. Diller plays along – for now. (The Keys to the Kingdom, Chapters 2, 5; Return to Tomorrow, pp. 9, 48) Much to his detriment, Roddenberry will later find out that Diller has a long memory and is by no means a man with whom to be trifled.
  • 12年March月1975日: Roddenberry signs a contract with Paramount to do a Star Trek movie with a US$3 million budget. (Star Trek - Where No One Has Gone Before, p. 62)
  • テンプレート:M: Roddenberry returns to the office he occupied during the production of the Original Series and writes a script called The God Thing, start of principal photography projected for the fall of 1975. By then the budget is increased to US$5 million. (Star Trek Phase II: The Lost Series, p. 16; [1]) William Shatner, who is purely by coincidence at the studio for unrelated business, chances upon Roddenberry and is on the occasion given a beat-for-beat expose on the story outline of The God Thing, which he will later recall in his memoirs. Shatner's own 1989 film, スタートレック5:新たなる未知へ, would feature very similar atheistic themes akin to The God Thing, angering Roddenberry, who is convinced that Shatner stole his story, also dutifully recorded by Shatner in his memoirs. (Star Trek Movie Memories, 1995, pp. pp. 46-49, 289-291)
  • 30年June月1975日: First draft of The God Thing script is submitted to the studio by Roddenberry. (The Making of Star Trek: The Motion Picture, p. 23)
  • テンプレート:M: The script for The God Thing is rejected by Diller. (The Lost Series, p. 16)
  • テンプレート:M: Roddenberry, now with input from Jon Povill, starts a new story and script outline for a movie, tentatively called "Star Trek II", with a new production start that is moved up to 15 July 1976, again moved up to January 1977 at a later point. (The Making of, p. 25)
  • テンプレート:M: The studio toys with the idea to turn "Star Trek II" into a television series and a relieved Diller dumps the property in the lap of the recently appointed (by him) Michael Eisner. Then-television department head Eisner, misinformed by industry peers, at first does not believe in the viability of a science fiction proposition like Star Trek and now wants to cancel the project altogether, yet his colleague Jeffrey Katzenberg, who, as a former Trekkie, is very much aware of the fan convention phenomenon surrounding the Original Series, believes in the potential, and convinces Eisner to push ahead with the development, also being subtly reminded by Diller of their boss' interest in Star Trek. (Decades later, in 2002, Eisner nearly makes the same error in judgment with Disney's Pirates of the Caribbean franchise.) [2] Eisner now commissions new story outlines for which numerous Writers Guild of America authors are approached to turn in story pitches for episodes, including noted science fiction authors like John D.F. Black (producer on the Original Series and writer of its episode The Naked Time), Robert Silverberg, the aforementioned Harlan Ellison, Ray Bradbury, and Theodore Sturgeon. (The Lost Series, pp. 16-17)
    Ellison, only involved in the production during this period, later recalls on Tom Snyder's Tomorrow Show how his and Roddenberry's story ideas are met by Eisner. Idea after idea is rejected, including ones about time-travel, Adam and Eve, dinosaurs (a treatment of Bradbury's classic short story "A Sound of Thunder" and met with Eisner's remark "It's gotta be bigger!"), and one in which the Enterprise finds God –the real one – to which Eisner responds after a brief pause, "Not big enough." (The Making of, p. 25; Star Trek - Where No One Has Gone Before, pp. 63-64; [3])
  • テンプレート:M: All story outlines are rejected and the property, now rapidly becoming something of a hot potato, is bounced back to the motion picture department of the studio, again the responsibility of a slightly dismayed Diller. (The Making of, p. 25)

July 1976 – May 1977: Star Trek: Planet of the Titans[]

  • テンプレート:M: Gene Roddenberry assumes the producer role for a new Star Trek movie project, Star Trek: Planet of Titans, to be produced in Great Britain. (The Star Trek Compendium, 4th ed., p. 151)
  • テンプレート:M: Roddenberry's company Lincoln Enterprises relaunches the first "official" fanzine, Inside Star Trek, now as "Star Trektennial News" and continuing the numbering where the source publication had left off when it ended its first run upon the cancellation of the Original Series. Express intent of the relaunch is to keep fandom abreast of the live-action revitalization attempts, starting with the above mentioned Star Trek II, and engender as much public awareness as possible. This is not entirely a benevolent effort on Roddenberry's part, as the magazine is also as a public platform for self-promotion through numerous interviews, serving as counterbalance to studio policies in regard to his person, and to which end he has assigned his longtime personal assistant, Susan Sackett, to serve as one of the two editors. The publication will run for another thirteen issues over the next three years, regaining its original title along the way and ceasing publication prior to the premiere of The Motion Picture. [4]
  • 22年June月1976日: Jon Povill tenders a proposal list of possible directors. The list includes names of later renowned directors such as Francis Ford Coppola, Steven Spielberg, and George Lucas, who at the time are still at the start of their careers. More established names include William Friedkin, George Roy Hill, and Robert Wise. None of the directors are available, though. (The Making of, p. 29)
  • 1年July月1976日: Jerry Isenberg is appointed executive producer for the project by the studio for the express purpose to keep Roddenberry's eccentricities in check, and it is he who brings in British writers Chris Bryant and Allan Scott for the script treatment, who will start their work in September. Povill is now appointed assistant producer to Isenberg. Though initially appointed as the film's producer, Roddenberry is after the hiring of Philip Kaufman as director shortly afterwards, effectively sidelined on the insistence of Diller, which marks the first time that the Star Trek creator is purposely left out of a production entirely, though Povill keeps him clandestinely abreast of the production by continuously consulting with him. (The Lost Series, p. 17; The Making of, p. 27) Diller, who by no means has forgotten his affront two years earlier, is not done with Roddenberry yet, not by a long shot.
  • 6年October月1976日: Paramount accepts the script treatment and gives the green light to write the full script. Concurrently a movie budget is set at US$7.5 million. Illustrators Ken Adam and Ralph McQuarrie are subsequently brought in as concept artists. (The Lost Series, p. 17)
  • 1年March月1977日: The final Planet of the Titans script is submitted by Bryant and Scott. (The Lost Series, p. 19)
  • テンプレート:M: The script is rejected by the studio, and Kaufman, hired previously as director, immediately embarks on a rewrite without any input whatsoever from Roddenberry. (The Lost Series, p. 19)
  • 8年May月1977日: Kaufman's rewrite too, is rejected by the studio and Planet of Titans, by that time budgeted at US$10 million, is permanently cancelled and the property is once again bounced back to Eisner's television department. (The Lost Series, p. 19)

May 1977 – November 1977: Star Trek: Phase II[]

  • 25年May月1977日: Star Wars premieres. Considered by the studio as a fluke at first, the ultimately resounding success of this movie plays an important role in a series of decisions by studio executives regarding the Star Trek production. (Star Trek: 45 Years of Designing the Future, et al.)
  • Late テンプレート:M: Even before the series is announced, Roddenberry, together with Povill, who has rejoined him as story editor, starts writing the Star Trek II Writer's/Director's Guide, otherwise known as the "Writer's Bible", dubbed after the similar internal document already used for the Original Series. The new guide is actually an updated rewrite of the original. Aside from Roddenberry and Povill, Robert Goodwin and Harold Livingston, upon being hired, make substantial contributions to the guide as well. (The Lost Series, pp. 83-103)
  • 10年June月1977日: The television series Star Trek: Phase II is officially announced as the flagship for Paramount's newly conceived fourth television network, to be called "Paramount Television Service", by studio President Barry Diller, with a two-hour television movie as the series pilot, reset at a budget of US$3.2 million, and slated for a February 1978 broadcast with principal photography to start on 28 November 1977. Roddenberry is again to serve as the executive producer. Officially, the series was to be called Star Trek II. Eisner continues to be the primary studio overseer of Star Trek, but is reinforced with Jeffrey Katzenberger, who Diller transfers from the marketing department by promoting him to the newly-conceived title for the new web, Head of Programming. (The Keys to the Kingdom, 2000, Chapter 6; The Lost Series, pp. 21-22, 49; The Making of, p. 34)
  • テンプレート:M: Robert Goodwin and Harold Livingston are brought in as producers to form the nucleus of the production team, Goodwin as operations manager and Livingston for story and script development. Goodwin fulfills for the production the role Robert Justman had on the Original Series. Actually, Justman has been approached for the position by Roddenberry, but overruled by the studio; he subsequently does not return Justman's calls when the latter reports for work. Justman will later claim that if he had been there, some of the mistakes in the making of the film could have been avoided. (Inside Star Trek: The Real Story, p. 432) Neither Goodwin or Livingston are either solicited by Roddenberry or even wanted by him, but are brought in by the studio nonetheless, essentially a repetitive move of what Diller had already ordained for Planet of the Titans a year earlier. Diller and Eisner, like their television predecessors, become increasingly alarmed by Roddenberry's reasserting character flaw of stubbornly adhering to storylines he himself (and nobody else) has conceived. Most ironically, Roddenberry is starting to mimic Vadim's behavior, which has caused himself so much trouble six years earlier. Livingston in particular is to serve as a counterbalance to Roddenberry's stubbornness. But while the executives are, for the time being, shielded from his obtuseness, Livingston almost immediately finds himself at loggerheads with Roddenberry, resulting in a continuous series of increasingly vicious battles over story outline and script rewrites and re-rewrites, often performed surreptitiously by Roddenberry. The ongoing creative battle lasts for almost two years and proves to be particularly detrimental to the production, aside from entirely destroying the relationship between the two men. (Star Trek Movie Memories, 1995, pp. 67, et al.)
    Subsequently, the senior staff of the art department, responsible for the visual look of the production, is filled. Initially, Original Series veteran Matt Jefferies is offered the position, but he declines tenure, agreeing only to serve on a temporary basis as a technical consultant. In his stead he recommends another veteran, Joe Jennings, his assistant on the second season of the Original Series, and who is appointed art director. Jefferies immediately starts the redesign work of his Original Series creations, the bridge of the Enterprise and the ship itself, whereas Jennings starts design work on the other sets. (The Lost Series, pp. 23-26)
    Concurrently that month, Roddenberry's assistant, Susan Sackett, starts her series of "Star Trek Reports" for Starlog magazine, in which she keeps readership appraised about the progress of the Star Trek live-action production, starting in issue 6. The reports run through issue 29, 1979, and are to be the starting point for her book The Making of Star Trek: The Motion Picture, the writing she embarks upon directly pursuant to her "Reports" and finished a month before The Motion Picture is completed. She eventually appears in the The Motion Picture recreation deck scene as an Enterprise science division crewmember alongside a multitude of other Star Trek fans.
  • テンプレート:M: Hiring of creative production staff continues unabated, and in this month Jenning's art department is beefed out with Set Designer Lew Splittsberger, Graphic Artist Lee Cole, and Assistant Art Director John Cartwright. A noticeable addition to the production staff is another Original Series veteran, William Ware Theiss, reprising his role as costume designer. (The Lost Series, pp. 28-29)
  • Late July 1977: Diller's superior, Gulf+Western President Bluhdorn, pulls the plug on Paramount's plans for a fourth television network due to lack of advertiser interest, informed as such by his subordinate Mel Harris. The Phase II project is upheld however, in order not to lose the US$500,000 already incurred in development costs – for all previous revitalization attempts – as well as not to lose several hundreds of thousand more due to "pay-or-play" commitments to contracted cast. Yet, Phase II is now no longer a television series pilot, but a medium-sized stand-alone television movie, reset at a budget of US$8 million. Both Eisner and Katzenberger – who will be reinforced by Lindsley Parsons, Jr. the subsequent month – stay on, now promoted to President, and Vice-President of Production in Features, respectively. (The Lost Series, pp. 34, 69; Return to Tomorrow, pp. 25-26)
    USS Enterprise bridge set construction start for Phase II

    Early stage of the Enterprise bridge set construction

  • 25年July月1977日: Alan Dean Foster is contracted to write the story for the pilot episode of Phase II, with an option to write the teleplay as well. (The Lost Series, p. 31) The bridge set construction is started on this day on Paramount Stage 9, for which yet another Original Series veteran was brought aboard on recommendation of Jefferies, Special Effects Artist Jim Rugg. (The Making of, p. 36)
  • 31年July月1977日: Alan Dean Foster, with input from Goodwin, submits a story treatment for Phase II, entitled "In Thy Image", which was actually in part based on a story called "Robot's Return" written for Roddenberry's television series Genesis II, which had not been picked up after its pilot episode. (The Lost Series, pp. 31, 33; テンプレート:OrionPress)
    The sentient robot theme does not sit well with some of the highest and more conservative corporate executives for religious as well as scientifically believability reasons, and for over a year they resist the theme. It is for this specific reason that Isaac Asimov is brought in as an additional science consultant later on in the production. Despite his reassurances, and even though that by that time it has been too late to alter the story, their fears are only allayed when Penthouse magazine, of all publications, publishes an interview in their October 1978 issue (incidentally, also featuring a Leonard Nimoy interview) with NASA's director of their Institute of Space Studies, Robert Jastrow, in which he broaches the subject favorably. (Return to Tomorrow, p. 193; Star Trek: The Complete Unauthorized History, p. 101) This will solicit an acerbic response from Asimov himself, after he had spent weeks trying to do the same to no avail, "There it was in Penthouse, in black and white, so the studio figured, "It must be true, OK, go ahead with your ending." (Star Trek: The Complete Unauthorized History, p. 101)
  • 3年August月1977日: Other set construction is started as well; Stage 8 is assigned for the planetary sets, Stage 9 for the Enterprise sets, and Stage 10 as a backup set for what Goodwin calls "swing sets". NASA scientist Jesco von Puttkamer is for the first time mentioned in an internal memo from Goodwin as a technical consultant. Von Puttkamer, a Star Trek fan and later to receive an official credit as "Special Science Advisor", will continue to provide his services well into the production of the Motion Picture. Von Puttkamer is for the production what Harvey P. Lynn had been for the Original Series. (The Making of, pp. 36-37)
  • 9年August月1977日: Another Original Series veteran, Mike Minor, is interviewed for the position of (Production) Illustrator, and subsequently signed on recommendation by Jennings, who had been Minor's mentor at the start of the latter's career. A few days earlier, Robert McCall was interviewed for the position, but was passed over in favor of Minor. McCall is yet to work on the Star Trek production, nearly two years later. (The Making of, p. 37)
  • テンプレート:M: Harold Livingston starts work on the adaptation of the "In Thy Image" treatment into a motion picture screenplay.
  • 12年August月1977日: The new Star Trek II Writer's/Director's Guide is completed and distributed. (The Making of, p. 39)
  • Late August 1977: Robert Collins is hired as director for "In Thy Image". The casting process is started up immediately for which casting directors Pat Harris and Marcia Kleinman, under the auspices of Head of Casting Hoyt Bowers, are the primary responsible staffers. (The Lost Series, pp. 40, 355)
  • Early テンプレート:M: Magicam, Inc, a Paramount subsidiary, is contracted for the visual effects of Phase II, including the construction of the studio models. They have outbid Original Series visual effects company Howard Anderson Company, with whom Goodwin was also engaged in detailed negotiations during the previous month. (The Making of, p. 37) In order to alleviate work pressure on Magicam's model shop, headed by Jim Dow, Brick Price Movie Miniatures is subcontracted for the build of the new Enterprise model, based on the redesign by Jefferies, Jennings, and Minor. Price brought along NASA technician Don Loos as its lead model maker. Price also starts the design and construction of props. (Starlog, issue 27, p. 26; The Lost Series, p. 27) Additionally, Magicam subcontracts Gregory Jein for the build of the three-foot D7-class studio model, using the actual Original Series model, on loan from the Smithsonian National Air and Space Museum, as a template. The Klingon vessel is at the time endowed with the designation Koro-class heavy cruiser. (The Lost Series, p. 64) This was Jein's very first official Star Trek assignment, but not his last by a long shot, as, firstly, he was not done with this production yet, and secondly, he was to provide the franchise with a plethora of models for later Star Trek live-action incarnations. テンプレート:DrexFiles To oversee the effects production, relative newcomer in the motion picture industry, having just turned 30, Paul Rabwin is appointed in the vital role of post-production supervisor. As his title already suggests, he will be responsible for all post-production aspects of the production and his role is comparable to the one Bill Heath, and more specifically Edward K. Milkis, had on the Original Series.
  • 12年September月1977日: William Shatner is signed to reprise his role as Captain James T. Kirk, after lengthy negotiations that started in July. (The Lost Series, p. 43)
  • 26年September月1977日: David Gautreaux is cast in the role of Xon. However, his casting becomes somewhat unhinged for a while as Majel Barrett, recast as Christine Chapel, raises some objections. Barrett, unaware that both the series concept and the character of Spock were already dropped, and fearing that the Original Series "unrequited love of Chapel for Spock" plot line will not play well against an actor as young as Gautreux, requests an older actor against whom to play. A new test screening is called with both Gautreux and an older British actor in mid-October, but the older actor's performance is "absolutely abominable" and Gautreux is definitively reaffirmed by the third week of October. (The Lost Series, pp. 53-54)
  • 21年October月1977日: Livingston turns in his completed screenplay, seventeen days overdue. (The Lost Series, p. 50) However, on this day the decision is internally made by the studio to upgrade Phase II from a television movie to a full-blown theatrical motion picture production. The only people who know of this decision at that moment are Bluhdorn – who ordained the upgrade that day from high above, quite literally as lore would have it, since he was reportedly inflight aboard a plane when he made the downstairs call by radio (The Toys That Made Us) – , Diller, Eisner, Katzenberg, Roddenberry, Livingston, Collins, Goodwin, von Puttkamer, and David Gautreaux, who happens to come by to sign his contract, becoming the first cast member to be aware of the upgrade decision. Roddenberry and Collins are subsequently sent on a fact-finding mission to the established visual effects houses, but return with the sobering report that the visual effects the studio executives have in mind for the upgrade cannot be produced for less than US$9-$10 million. First contacts laid with visual effects company Robert Abel & Associates (RA&A). (Movie Memories, pp. 77-78, 83; テンプレート:STTM; Return to Tomorrow, p. 42)
  • 22年October月1977日: In a lengthy expose to hundreds of Star Trek fan clubs, Gene Roddenberry publicly announces what was already known for quite some time in production circles, that Leonard Nimoy will not reprise his role as Spock, finally confirming the rumors that have abounded for months. Negotiations with Nimoy had actually already been conducted since the 1975 The God Thing project, but by July it has become abundantly clear that Nimoy emphatically declined the rigors of a weekly television show. It is for this reason that the Xon and Commander Decker characters, dividing between them the part Spock played on the Original Series, are conceived for the new series. (The Making of, p. 39)
    Persis Khambatta screen tests for her role as Ilia

    An unidentified actress (t) and Khambatta's (b) screen test on 27 October

  • 27年October月1977日: Persis Khambatta and an unidentified actress hold their screen tests for the part of Ilia. Neither actress require their heads shaven yet on this occasion; instead they wear bald caps. Khambatta is the one who is signed the following day. (The Lost Series, p. 54)
  • 7年November月1977日: Gene Roddenberry completes a second draft rewrite of Harold Livingston's original first draft. The script mostly follows Harold Livingston's original draft, although several action scenes were removed and replaced with character moments and scenes of future Earth. This draft also has the first scene of Decker merging with V'Ger, although Ilia survives the adventure. (Star Trek II: In Thy Image, Second Draft) Michael Eisner reads both drafts and concludes the second draft is a step back. Robert Collins attempts to "blend" the scripts together in December, but also fails to get the script accepted. (The Lost Series, p. 60)
  • 11年November月1977日: The upgrade decision is made formal for the upper echelons by the studio, and the budget, mainly due to Roddenberry's fact-finding mission, is initially set at US$15 million by studio CEO Michael Eisner, but is by March 1978 already upped to US$18 million. Katzenberg and Parsons are reinforced with colleague Don Simpson. (The Making of, pp. 47, 85; The Lost Series, pp. 69, 75)
  • 16年November月1977日: Close Encounters of the Third Kind premieres and is attended by several people involved with the Star Trek production. In their minds, the impressive visual effects by FGC strongly reinforces the upgrade decision made by the executives and producers. Michael Eisner, conveniently forgetting that he had wanted to liquidate FGC and withdraw from science fiction entirely less than two years prior, is reported to have shouted, while raising his hands toward the screen, "Jesus Christ, this could have been us!!!" Over the next couple of days, Gene Roddenberry and Robert Collins screen this, as well as the Star Wars movie, several times over to get a feel of what they want their movie to look like. (Movie Memories, pp. 78, 83) The phenomenal テンプレート:Imdb of Close Encounters, produced at US$19 million and grossing US$303 million worldwide, further reinforces the validity of the upgrade decision in the mind of the studio executives. At the same time however, it will also become one of the sources of their chagrin over the performance of The Motion Picture later on.
  • 21年November月1977日: The executive upgrade decision is disseminated through the lower production echelons, and production on Phase II is suspended in order to ascertain the requirements for a motion picture production, save for the construction of the studio models. The start on the new production is moved up to March or April 1978 in order to make the necessary upgrade changes to scripts, sets, wardrobes, production assets, etc. Production crew such as make-up artists, hair dressers, cameramen, stand-in performers, set dressers, and the like, just hired that week, are immediately fired. Veterans Matt Jefferies and Jim Rugg by that time had already left the production earlier that month, the former to return to his regular job. (The Making of, p. 47; Return to Tomorrow, p. 46)

December 1977 – December 1979: Star Trek: The Motion Picture[]

  • 1年December月1977日: Post-production Supervisor Paul Rabwin, together with Roddenberry and Director Collins, inspect the studio models to see if they hold up in big-screen resolution. With them are Robert Abel and Richard Taylor of RA&A to help them out with the analysis. Both men realize they do not. After Rabwin submits a findings memo five days later, construction on the models is now halted too. (The Lost Series, pp. 69, 72)
  • テンプレート:M: Writers are still blissfully unaware of the upgrade and episode scripts keep pouring in right until January. Povill, Livingston, and Roddenberry (who publicly keeps up the ruse in Star Trektennial News magazine, issue 24 of November/December) intentionally keep them in the dark by continuing to annotate their work. However, gossip columnist Rona Barrett does blow the whistle in her テンプレート:Wt December issue tabloid, with her largely correct report that Phase II has been halted and that Roddenberry is offered an opportunity to make a theatrical movie. The studio goes on record vehemently denying the supposition, only willing to concede that the premiere has been postponed from February to Autumn 1978, and that the projected series is expanded from thirteen to between fifteen and twenty-two episodes. (The Lost Series, p. 67)
  • 12年December月1977日: Rabwin also inspects the sets and deems them salvageable, albeit with additional upgrading and detailing. To this end he has Director Collins and Cameraman Bruce Logan start shooting test footage and lens tests of the sets on this date, (including, among others, the engineering set), but now with anamorphic lenses, required for wide-screen movies, to get a feel of how these sets will translate on theater screens. Shooting of this test footage continues throughout this and the subsequent week. (The Lost Series, pp. 67, 73, color inset)
  • 30年December月1977日: Due to ever-increasing creative differences with Roddenberry, causing the relationship between the two men to sour considerably, Producer Harold Livingston decides to leave the Star Trek production after turning in his last report, effective immediately. (The Lost Series, p. 73) With RA&A set for the visual effects, Paul Rabwin too has left the production to pursue other ventures.
  • Early テンプレート:M: RA&A, who have tendered a bid of US$4 million, is signed for the visual effects for what is now Star Trek: The Motion Picture. Its namesake, Robert Abel, is the main responsible effects producer/director, whereas Taylor will serve as effects designer. [5] Brick Price Movie Miniatures is released from the production (Jein had already left after completion of his one assignment). It is now definitively decided to discard all the, in various states of completion, Phase II models and start all over again, with RA&A being responsible for the necessary redesigns. To this end Robert Abel establishes a subsidiary art department company, ASTRA, responsible for all art work and design. Aside from his visual effects duties, Richard Taylor is to serve as its Art Director, working on par with Paramount's Art Department, headed by Jennings. Magicam, released from the visual effects production, is retained as a studio model shop only, and it is they who are to build the models. From the start, there is strife and conflict between the two art departments as ASTRA is perceived, by Jennings and Minor in particular, as performing a power-grab by aggressively trying to assert total creative control over the entire concept production. (The Making of, p. 202; Star Trek: Creating the Enterprise, 1st ed, p. 46; Return to Tomorrow, pp. 71-72)
  • 5年January月1978日: In a budget allocation memo, Goodwin allows for a salary allotment for Leonard Nimoy as Spock, indicating that the production staff at least now considers Spock as instrumental for the new movie. Studio executives though, for reasons mentioned below, still hold out. (The Lost Series, p. 65)
  • Early テンプレート:M: While awaiting the redesigns, Magicam, upon receipt of Taylor's blueprints, specifying the new movie dimensions, starts model construction with the build of the new Klingon battle cruiser studio model. The early start is facilitated by the fact that the basic design of the model is to remain unchanged. Magicam's Chris Ross is appointed lead modeler on the construction. (American Cinematographer, February 1980, p. 153)
  • Robert Abel directing test footage of the Enterprise bridge

    Abel directing the bridge set test footage

    February 1978: Life returns to the abandoned and near-complete bridge set on Stage 9, as RA&A shoots test footage in order to ascertain visual effects requirements, with extras still clad in Original Series/Phase II uniforms. To this end, an internal document, "Enterprise" Flight Manual, intended to instruct the stage effects technicians on wiring up all of the work station's control panel backlits, working switches and indicator lights as well as giving performers basic button-pushing lessons, is distributed among the various departments that month, prior to shooting. The manual was a few months later updated to reflect the design changes that were implemented after April. (The Lost Series, pp. 78, 104-108) A fourth draft the of script is completed. (Star Trek: The Motion Picture, Revised Draft)
  • USS Enterprise aluminum frame studied by Chris Crump

    Crumb supervising the start of the Enterprise model build

    Late February 1978: Even though redesign work has just started up, construction is started on the new "hero model", the refit Enterprise as well. This early start is made possible due to the fact that Roddenberry emphatically vetoes any notion of the radical redesign Taylor has in mind, ordaining that the lines as set by Jefferies are to be observed. Magicam's Chris Crump, is appointed lead modeler on the build. (テンプレート:STTM; Starlog, issue 27, p. 29) Nevertheless, due to the fact that redesigned elements are continuously added, at first by Taylor and Probert and subsequently by Douglas Trumbull, the model will not be completed for another fourteen months. (The Making of, p. 207)
  • Early テンプレート:M: After negotiations that lasted for two months, Robert Wise is signed on as director and producer. He was already suggested by Jon Povill as one of the possible directors to direct Planet of the Titans back in 1976. Wise's unwillingness to share producer credit with "that kid in jeans", causes Robert Goodwin (who was thirty at the time) to leave the production in disgust. Phase II director, Robert Collins, too is released from the production. Povill is officially promoted from story editor to associate producer. As it will turn out, Wise is only to officially receive a director's credit, and not one as producer. That credit is reserved for Roddenberry only, even though his influence is considerably curtailed by the studio, after Wise comes aboard, who essentially takes over as the primary overseer of the production. However, thoroughly fed up with ASTRA and their attempts to grab total power, Art Director Joe Jennings quits the production in disgust, leaving the Paramount art department without a head. (The Lost Series, p. 76; Return to Tomorrow, pp. 71-72)
  • March 1978: One of the first things Wise does is replace William Theiss, considering his costume designs sub-par, calling them "pajamas". Wise brings Robert Fletcher aboard as the new costume designer. (Movie Memories, p. 102; The Lost Series, p. 62) Wise also brings along his regular production illustrator of many years, Maurice Zuberano, who is primarily tasked with the re-imagining of what is to become V'ger. (The Making of, pp. 81-82)
    Yet, as far as the Star Trek fan base is concerned, Wise's most important contribution this month is to bring back Leonard Nimoy as Spock. Wise, who in turn is enticed by his wife Millicent and her father, ardent Trekkies (which Wise himself is not) to do so, only accepts the assignment on the condition that Spock is brought back. Aside from the officially given reason that Nimoy does not want to commit to the rigors of a weekly show, there is an unofficial reason as well; Nimoy has, since the end of the Original Series, been involved in a conflict with the studio over residual amenities of the use of his likeness on merchandise, for which neither he, nor any of his co-stars, ever received any financial compensation in the form of royalties. Up to that point the studio has steadfastly refused to give in, with Michael Eisner at first still not convinced of the necessity for the Spock character. "Who gives a fuck what this guy with the ears does? Just make the movie! Who could understand why anyone cared about Star Trek? We would watch the TV episodes – they were the dumbest things you ever saw.", Eisner exclaims to Wise. (The Keys to the Kingdom, Chapter 6) But now, on Wise's insistence, the studio caves and the conflict, which had dragged on for a decade, is resolved within a week with a "check for a reportedly substantial figure", and Nimoy is signed on. It is Jeffrey Katzenberg, running interference for the studio and Nimoy, who is instrumental in both convincing Eisner and resolving the conflict. The deal is advantageous for Shatner as well, since he and Nimoy had years earlier, during The Original Series, entered into a mutual "favored-nation clause" covenant, which stipulated that, simply put, what the one got so did the other, and the compensation they receive, charged against the movie, adds yet another undue element to its cost. (Movie Memories, pp. 86-94, 244)
    Millicent was rewarded for her input with a cameo as one of the Enterprise crewmembers gathered for the briefing scene on the recreation deck of the refit Enterprise, where she appeared alongside a multitude of other Star Trek fans. Wise's only child, son Rob Wise, will also serve on the movie as assistant cameramen, as is his nephew, Doug Wise, as assistant director. An important change this month is Wise's addition of Richard H. Kline as director of photography, responsible for the principal photography. Kline thereby replaces Bruce Logan as such, who is made the main responsible cinematographer for the second-unit photography. (The Making of, pp. 79, 186)
  • 25年March月1978日: The royalties conflict now resolved (when Nimoy received the settlement check the previous day), a long, first time meeting is held at his house with Katzenberg, Roddenberry (with whom Nimoy has a by now very strained relationship, due to the fact that Roddenberry had refused to side with Nimoy on the royalties conflict), and Wise to discuss the script. Nimoy expresses trepidations for his character, as the script does not yet allow for the Spock character, and is not reassured with Roddenberry's ideas for the character. Ultimately though, Nimoy decides to put his trust in Wise, not Roddenberry, when he decides over the weekend to commit to the movie, also realizing that if he declined that he has to answer for the rest of his life questions with remarks like "I didn't like the script", "I hated Gene", or "I was angry at the studio". (Movie Memories, pp. 91-94) His trust in Wise will prove to be justified, as Wise later on in the production, bypassing Roddenberry, arranges to have both him and Shatner be given script input.
  • 27年March月1978日: Leonard Nimoy is finally signed for the movie. (Star Trek: The Complete Unauthorized History, p. 101) As soon as he is confirmed, a frantic series of yet another round of rewrites is started to get the Spock character into the movie. This however, has ramifications for the Xon character, as he is now dropped as a principal character, and indeed, even the Decker character, which is not yet cast, is in doubt. Struck definitively during the summer months as a principal character, for which he will receive US$35,000 in September as play-or-pay compensation, Gautreaux is offered the consolation role of Commander Branch. (The Lost Series, p. 77; Movie Memories, pp. 111-112)
  • 28年March月1978日: Star Trek: The Motion Picture is announced to the public at Paramount Pictures in the largest press conference held since Cecil B. DeMille's announcement of his 1923 silent movie, テンプレート:Wt. (The Making of, pp. 50-51)
  • Late テンプレート:M: Harold "Hal" Michelson is brought in by Director Wise as production designer, to fill the place vacated by Joe Jennings as head of the art department. Michelson is responsible to perform redesigns on the Phase II sets in their various states of completion for their motion picture use. Unlike Jennings, most of the art department staff has stayed on, including the equally critical Minor. A new staff member is Production Illustrator Rick Sternbach, a future Star Trek alumnus, while remaining uncredited for The Motion Picture. (The Making of, pp. 85, 87)
  • 1年April月1978日: A noticeable addition to ASTRA on this date is future Star Trek alumnus, Andrew Probert, who is to assist Taylor with the redesign work as production illustrator, most notably that of the Phase II Enterprise. He is brought in on recommendation of his former mentor Ralph McQuarrie, who was originally approached for the position, but who had to decline due to the fact that he has already committed to the second Star Wars installment. (Return to Tomorrow, p. 65)
  • テンプレート:M: Forced by the studio to dine on ashes, Gene Roddenberry begs Livingston to return as script development has hit a brick wall. Livingston only agrees to do so after a meeting with Wise and additionally secured guarantees from studio executives Michael Eisner and Jefferey Katzenberg, specifying his own working conditions and that he is to have as little as possible to do with Roddenberry. (The Lost Series, p. 76)
  • テンプレート:M: RA&A, feeling compelled to do so by ever-increasing studio demands, ups their original bid for the visual effects with US$750,000, the first raise of many. (The Making of, p. 203)
  • 17年May月1978日: Another draft of the script is released, titled Star Trek: The Motion Picture likely written by Dennis Clark. The script comes with a preface (possibly by Harold Livingston) saying that the script will have more extensive rewrites coming, but that the sets and action will mostly stay the same. (Star Trek: The Motion Picture, Revised Draft)
  • D7 test shot for Phase II

    D7, aka Koro-class, model test footage, Taylor deemed unsuitable for theatrical release

    Mid-テンプレート:M: Brick Price Movie Miniatures, previously released from the Star Trek production, is now signed for (mostly) hand-held prop manufacturing, three weeks before the start of principal photography, though they were never to receive an official credit for it. (Starlog, issue 20, p. 71) Officially contracted until January 1979, and employing twenty staffers at the height of the company's involvement, their stay becomes extended well into October with a reduced staff, as a result of all the tumult surrounding the production. (Return to Tomorrow, pp. 223 & 319) The Klingon D7-class model is the first studio model completed and delivered for filming. Test footage is shot of the model, but Taylor decides that the model needs additional detailing and reverts the model back to Magicam/ASTRA for rework. (Starlog, issue 27, p. 29; American Cinematographer, February 1980, p. 179)
  • 19年July月1978日: Shooting script.
  • 24年July月1978日: In a memo, Roddenberry informs the studio that RA&A has made an additional US$220,700 request for the visual effects. Sensing that problems are brewing, Roddenberry advises the studio to appoint liaisons between RA&A and the studio. Michael Eisner immediately responds by appointing Richard Yuricich (as of yet unpaid) to the production and concurrently instructing studio executives Katzenberg and Lindsey Parsons, Jr. to spend more of their time on the project. On the recommendation of Yuricich, several former Close Encounter visual effects staffers, including effects cameraman Dave Stewart, are brought in to reinforce RA&A's team. (The Making of, pp. 203-204; Return to Tomorrow, p. 174)
  • 25年July月1978日: After nearly a full year, the role of Captain Decker is still to be filled when a final round of cast interviews is held. The continuous script rewrites, resulting in perpetual changes in the characterization of Decker – even going as far as considering whether or not the character is needed at all for the movie – are in no small measure contributing to the arduous process of filling the role. Nine actors are interviewed this day; aside from Stephen Collins, Andrew Robinson is also interviewed for the role. (The Making of, p. 104)
  • Fred Phillips shaving Persis Khambatta

    Phillips working on Khambatta

    26年July月1978日: Make-up artist Fred Phillips shaves Persis Khambatta's head in preparation for her role. (The Making of, p. 6) The act is recorded and later included in the documentary The Making of Star Trek: The Motion Picture and in the special feature "A Bold New Enterprise" on the 2001 Star Trek: The Motion Picture (The Director's Edition) DVD release.
  • 1年August月1978日: Stephen Collins is signed for the role of Decker. Decker is the final primary character to be cast. (The Making of, p. 6)
  • Robert Wise directing the actors on the set of the Enterprise bridge

    Wise directing his actors on the bridge set

    7年August月1978日: Principal photography begins with Scene 64 featuring Sulu and Chekov and taking place on the bridge set on Stage 9, where the camera pans the set, right before Admiral Kirk's arrival, is the first scene filmed. William Shatner and Nichelle Nichols are on hand to shoot their respective Kirk and Uhura scenes later that day. The cast find their new Starfleet uniforms, newly designed by Robert Fletcher, uncomfortable to wear and generally dislike them. Heeding the performers' complaints, Fletcher will completely redesign the uniforms for the subsequent movie outings. Due to fatigue, a close-up on Shatner's face is postponed to the following day, constituting already the very first shooting schedule delay. Photography is started without the benefit of a completed script, which is still lacking an ending. Writing and re-writing of script drafts will continue unabated over the course of the subsequent months. (The Making of, pp. 1-7, 57; Movie Memories, pp. 102, 104)
  • 8年August月1978日: The second-unit film crew moves to Yellowstone Park and starts filming the planet Vulcan sequence. Director Wise joins them shortly, and the sequence takes three days to film. RA&A liaison Joe Viskocil is onsite as visual effects coordinator in order to ascertain the nature and extent of the effects RA&A is to add in post-production. Not present is performer Nimoy, who will shoot his Spock sequences in October. (The Making of, p. 173)
  • Early テンプレート:M: Production hits another brick wall with Act Three, scene 335-336, in which the crew cajoles the Ilia-probe into letting them meet V'ger in person. An exhausted Roddenberry, who believes himself free from Livingston (as the latter had shortly before resigned for a third time), experiences a severe case of writer's block, as his scene rewrites grow from bad to worse. William Shatner and Leonard Nimoy come up with a solution: the "child treatment" of the Ilia-probe, as a way out of the gridlock, and present it to director Wise, who endorses the solution. The three men subsequently present it to Roddenberry, who erupts in a full-blown rage over the perceived infringement on his script rights.
    However, unbeknownst to Roddenberry, Wise, by now thoroughly fed up with Roddenberry, has solicited the help of Jeffrey Katzenberg. A few days earlier, Katzenberg had rehired Livingston, who on that occasion had demanded and secured a substantial raise, and is awaiting Wise's cue. During the (by now) very charged meeting, Wise arranges to get Katzenberg on the phone and the latter informs Roddenberry that Livingston has now executive creative powers. Roddenberry is essentially released from the production and his presence is from here on end only required for public relations events, and is ordered to begin writing the novelization of the movie, which he is contractually obligated to do. For the latter he is to attend subsequent script meetings until its completion, but now only as an observer, not as a participant. (Movie Memories, 1995, pp. 105-111)
  • 16年October月1978日: The crew gathering sequence for Kirk's mission briefing on the just completed recreation deck set on Stage 8 is shot. Assembled are three hundred extras of which one hundred males and twenty-five females are notable Star Trek fans, like Bjo Trimble and Denise Tathwell; the others are Screen Extras Guild performers, with an additional number of production staff affiliates like Susan Sackett and Millicent Wise. The shooting concludes the following day and the extras are released with a few exceptions for an additional shot on the overhead catwalk. (Starlog, issue 32, pp. 57-58)
  • 24年October月1978日: Second unit filming of still outstanding segments of the wormhole sequence; first unit filming of outstanding Vulcan segments with Nimoy on the Vulcan set in the B Tank. A late afternoon meeting is held between Wise, Livingston, Nimoy, and Shatner in which the latter two formally gain script approval rights. (Starlog, issue 32, p. 58)
  • 7年November月1978日: Walter Koenig reports that he is informed that the budget is now no longer fixed and that it currently stands at a reportedly US$24 million, but that it is a "departure point, not a final reckoning". (Starlog, issue 32, p. 58)
  • 8年November月1978日: Yet another script meeting for the still unscripted Act Three ending is held between Livingston, Wise, Nimoy, and Shatner, with Roddenberry attending, and filming is suspended that day. Recently famed by his role on Mork and Mindy, comedian Robin Williams tours the sound stage on his bicycle, explaining to the cast that he is a big fan of the show and is invited in onto the bridge of the Enterprise. According to Walter Koenig, "his wide-eyed admiration not withstanding, his squeaky-voiced reaction to all the buttons and panels is, "Hmmmm, microwave!"" (Starlog, issue 32, p. 60) The role of Berlinghoff Rasmussen on the Next Generation will later be explicitly written for him, though Williams will be unable to do the part.
  • 24年November月1978日: Walter Koenig finishes his Chekov sequences and is released from the production. His subsequent presence will only be required for promotional and public relations purposes. Koenig has kept a detailed journal during his involvement during the production, and immediately starts transforming it into his book, Chekov's Enterprise, released shortly after the premiere of the movie in February 1980. (Starlog, issue 32, p. 61)
  • 29年November月1978日: The completed and final script draft is distributed at last, with only a mere two months left on principal photography. (The Making of, p. 57) This is the テンプレート:St-minutiae, but it, like previous versions, is antedated to 19 July 1978, the date of the first script draft distribution, for copyright legality reasons.
  • Late テンプレート:M: Magicam delivers the hero "Enterprise" studio model to Astra's Seward St. filming facility. Model painter Olsen followed suit to finish up upon his work. (Return to Tomorrow, p. 276)
  • Late テンプレート:M: By Christmas, the situation with RA&A is spiraling out of control and creative and financial conflicts between the company and the studio intensify to the breaking point. Douglas Trumbull, who only one year earlier had turned down the visual effects assignment, is brought in as an unpaid technical consultant. Trumbull, who by then has a very strained relationship with the studio, only agreed to do so as a courtesy to his old friend Bob Wise, who personally requested his input. (The Making of, p. 203) A particular bone of contention on that specific occasion is the perceived lack of acceptable studio model photography, resulting in RA&A/Astra, completely denied access to them from here on end, being entirely pulled from the studio model photography. The model photography is for the time being reverted to Paramount's own cinematographer Bill Millar, a former Trumbull-associate through FGC, even though he has at that point in time nowhere near the facilities necessary to provide studio model effects photography in any format whatsoever. (New West magazine, 26 March 1979, p. 62)
  • 26年January月1979日: Principal photography ends, with scene 391, the "V'ger fusion" scene between Decker and the Ilia-probe, the very last scene shot. Originally scheduled to finish on 31 October 1978 (shortly thereafter revised to 22 December), principal photography as initially budgeted is three months overdue. At US$4,000 a day for stage time, this means an additional over budget cost of roughly US$250,000 for principal photography alone. Three second unit scenes though, for which the principal cast was not needed, the San Fransisco air tram station, the Klingon bridge, and the Epsilon IX bridge sequences still remain outstanding, as are the visual effects sequences. These sequences will be shot throughout the spring and summer, the visual effect ones extending well into the autumn of 1979. (The Making of, pp. 7, 188, 191-193)
  • 10年February月1979日: The traditional "wrap party" celebrating the end of principal photography is held at Liu's Chinese Restaurant and Chez Moi Disco on 140 South Rodeo Drive, Beverly Hills, and is open to everyone involved with the Motion Picture and their retinue. (The Making of, p. 195)
  • Mid-テンプレート:M: Behind-the-scenes information is leaked. The head of a local fan club alerts the studio that he is offered stolen set construction blueprints and the studio calls in the FBI. The FBI is able to arrest the culprit, who is thereafter convicted on 24 August, given two years' probation, and fined US$750 for selling stolen trade secrets. Studio security is tightened considerably due to the incident. (New West magazine, 26 March 1979, p. 60; Return to Tomorrow, p. 175)
  • 20年February月1979日: Studio executives and producers come calling to size up the visual effects situation at Robert Abel & Associates. The company reportedly had only a single completed effects shot to show for all the time and money spent, already four million dollars over budget at sixteen million dollars by December 1978, and of which US$11 million was actually already spent. (The Keys to the Kingdom, Chapter 6; New West magazine, 26 March 1979, pp. 62-63)
  • 22年February月1979日: In an acrimonious atmosphere, Abel is fired and his company released, effective immediately, starting a frantic search for a replacement, as the studio now unexpectedly finds itself extremely pressured for time since the release date for the movie is immutable, due to the fact that the studio is financially committed by having accepted the $35 million payment guarantees from exhibitors planning for the 7 December 1979 release. This becomes critical, as rumors are already spreading that the production is in trouble, and theater owners start to back down on their commitments. (The Special Effects of Trek, pp. 29, 31; The Making of, pp. 204-205) Realizing that effects production has to virtually start over from scratch, the now-strapped for cash studio initiates Dawn Steel's merchandising fund drive to cover a new visual effects budget set at US$10 million. (The Making of, p. 204).
  • Early テンプレート:M: Douglas Trumbull's visual effects company, Future General Corporation (FGC), is signed for the visual effects. Both his and co-founder Richard Yuricich's participation in the production now becomes formal. Having initially been forced to surrender his equipment to RA&A, Trumbull now returns the favor, aside from getting back the equipment, by usurping several of Abel's key staffers, among others Robert Swarthe, Scott Farrar, and Tom Barron, not few of them, ironically, hired by RA&A in the first place when the studio started to close down FGC earlier, but now rejoining the latter. Yuricich, now credited as "Producer of Effects", is tasked with re-initializing FGC by reassembling the team and finding new, suitable filming facilities. Barron acquires on this occasion several pieces of equipment which are not to be used anymore. Acting upon a hunch, he stores them away for a few years, and they will become the foundation of later regular Star Trek motion control photography supplier Image G. (Return to Tomorrow, p. 374; テンプレート:STTM) Trumbull also establishes on this occasion a subsidiary company of FGC, the Entertainment Effects Group (EEG) which replaces ASTRA as art department. Andrew Probert is one of the very few ex-ASTRA employees retained by Trumbull, who has him work on the interior re-design of the Klingon battle cruiser bridge, discarding the one previously done by Jennings. Concurrently, EEG will serve as the legal entity, responsible for the handling of the studio models during filming. To this end, several Magicam model makers transfer to the new company to insure the proper handling of the models. Unlike FGC, EEG will survive the production of the Motion Picture to become the renowned 1980s-1990s visual effects company Boss Film Studios. Trumbull also subcontracts John Dykstra's Apogee, Inc. in order to divide the workload. (see above)
  • March 1979: While devising the visual effects shots, Trumbull brings in Robert McCall, with whom he had already worked before on 2001: A Space Odyssey and where the two men became close friends, as production illustrator in order to help out with visualizing the various V'ger scenes. Much of what McCall, who had been passed over for Mike Minor nearly two years earlier, will conceive is indeed translated onto the screen by Trumbull. (テンプレート:STTM) Another noticeable new addition to EEG is artist Matthew Yuricich, brother of Richard and whose work Trumbull is already acquainted with, when both men were working together two years earlier on Close Encounters of the Third Kind. Yuricich will create all the matte paintings for the movie. During this month, the San Fransisco air tram station sequence is filmed on the combined stages 12 and 14. William Shatner has to return for this sequence. Shatner is the only principal cast member who has to return to the production after principal photography had wrapped. (The Making of, p. 193) The tram station sets are subsequently struck to make room for the other two remaining scenes, yet to be filmed, which however suffer yet another round of delays. This is due to the fact that the Klingon bridge set is still in the process of being redesigned by Trumbull and Probert, and for whose construction Trumbull has brought in Art Director John Vallone. (Return to Tomorrow, p. 346)
  • 19年March月1979日: Paramount Pictures' design patent application for Andrew Probert's re-design of the Constitution II級 studio model is filed.
  • 26年March月1979日: Due to the information leak the previous month, reporter Jeffrey Kaye is able to publicly divulge the big reveal that V'ger is actually a Voyager probe in the 26 March issue of New West magazine. (p. 60) Not only that, but Kaye's "Abel Neglex Trex Effex" article also provides a detailed, and largely correct, account of the circumstances under which RA&A is released from the production, serving for the next quarter of a century as the only verifiable and available source of said circumstances.
  • Don Simpson and Michael Eisner in Life magazine, April 1979

    Simpson (l) and Eisner making their appearance in Life magazine

    Early テンプレート:M: Renowned monthly Life magazine runs its "The New Hollywood Hotshot Baby Moguls are taking over the Dream Factory" feature article (pp. 34-45) in its April issue. In it, a photograph is featured of Don Simpson and Michael Eisner striking a laidback pose on the Enterprise bridge set with the caption that they are "confident that their $20 million movie epic based on the TV series will be the next Star Wars". Seemingly contradicting the rumor mill, stirred up by Kaye's article in New West the previous month, the upbeat caption belies the panic that is actually felt at the studio at the time of the article's publication.
  • 10年April月1979日: Paramount Pictures' design patent applications for Robert Fletcher's designs of the Starfleet uniforms, belt buckle, and Starfleet breast-worn insignia, as well as Dick Rubin's designs for the redesigned phaser, wrist communicator, and tricorder are filed.
  • 13年April月1979日: Paramount Pictures' design patent application for Andrew Probert's designs of the long range shuttle model is filed.
  • テンプレート:M: The refit-Enterprise model is just about finished and ready for delivery for filming when a studio staffer, wanting to impress his female guest during an illegal visit, turns on the lighting of the model incorrectly and destroys the circuitry in the saucer section. The subsequent repairs by Magicam delays delivery of the model by nearly two months. (Star Trek: Creating the Enterprise, 1st ed, p. 55)
  • 7年May月1979日: Paramount Pictures' design patent applications for Andrew Probert's designs of the long range shuttle model, shuttle portion, and the Klingon K't'inga-class are filed.
  • テンプレート:M: the re-initialization of FGC is completed and effects photography is started by the company with only six months remaining before the premiere. (Return to Tomorrow, p. 411)
  • 18年June月1979日: With the Klingon bridge set completed, shooting starts this day for the Klingon scenes (Scenes 3-21, 23-25) with Mark Lenard playing the Klingon captain, joined by eight or nine stuntmen playing the other Klingons on the bridge. Robert Wise takes on the directorial chores himself and brings back the former Phase II Director of Photography Bruce Logan, as Richard Kline has already left the production for another project. Filming takes a little over a week, after which the set is immediately struck to make room for the last outstanding live-action scene, the Epsilon IX monitor room scene (Scenes 24-27, 91). Having been around since Phase II, David Gautreaux finally gets to shoot his screen time in his consolation role as Commander Branch. Joining him on the set as an Epsilon IX crew member is Harold Livingston's secretary, Michele Ameen Billy, who has three lines. Filmed back-to-back, this scene, shot in little under a week, finally wraps up live-action shooting. (Return to Tomorrow, pp. 375-378)
  • Early テンプレート:M: Greg Jein returns to the Star Trek production when Trumbull, as EEG, tasks him with the construction of several detail miniatures for Spock's spacewalk inside V'ger. (Cinefex, issue 2, pp. 42-45)
  • 4年July月1979日: Mishap continues to bedevil the Enterprise model. The filming of the model has just started, when during one of the very rare days off during this period, the fourth of July holiday on Wednesday, an air conditioning unit on the set springs a leak, and drips water on the model, severely damaging the bridge module of the model. EEG model makers Mark Stetson, Kris Gregg, and Ron Gress (the former two ex-Magicam employees) have to pull all-nighters for four days to repair the damage, straining the visual effects production schedule even further. (Star Trek: Creating the Enterprise, 1st ed, pp. 55-56)
  • Lisa Morton working on the V'ger interior section models

    Morton working on one of the interior V'ger model sections

    Late July 1979: Jein receives an additional commission, as Trumbull is struck with the realization that no work has been done yet on the interior studio models of V'ger. With interior shots photography by FGC slated to commence in three to four weeks time, Jein shanghais a veritable "army" of twenty to thirty friends and acquaintances, many of whom are aspiring studio model makers he had met over the previous years in the movie memorabilia and science fiction convention circuit. Among them are Lisa Morton, Don Pennington, and, most notably, Bill George of future ILM fame. These three staffers will later be reacquainted with the franchise. (Cinefex, issue 2, pp. 42-45)
  • 31年July月1979日: In order to cover legal liabilities for the staff he brings along, Jein needs to form his own company, Gregory Jein, Inc. [6] The new company is also formally subordinated to EEG.
  • 1年August月1979日: Pocket Books Star Trek: The Motion Picture Stardate Calendar 1980
  • 1年November月1979日: Wanderer Books Star Trek: The Motion Picture The USS Enterprise Bridge Punch-Out Book
  • 29年November月1979日: Last visual effects shot is completed. (Cinefex, issue 1, p. 4)
  • 30年November月1979日: Wanderer Books Star Trek: The Motion Picture Peel-Off Graphics Book
  • 1年December月1979日: A first completed rough cut is screened at the studio. Present at the screening are Director Wise, producers, studio executives, and several invited Star Trek alumni, old and new, which include Original Series veterans Matt Jefferies and John Dwyer. Gene Roddenberry is not invited. Over the next couple of days, Wise trims a further ten minutes from the cut. (Movie Memories, p. 123; テンプレート:Bl)
  • Early テンプレート:M: Douglas Trumbull is hospitalized for ten days due to nervous exhaustion, diagnosed with ulcers and a hiatal hernia. (Star Trek: The Motion Picture - The Director's Edition (DVD); audio commentary; テンプレート:Imdb)
  • December 1979:
    • Pocket Books: novelization.
    • The documentary The Making of Star Trek: The Motion Picture, a specialty promotional tool, is shown nationwide at public venues, such as train stations.
    • Marvel Comics Super Special #15 (comic adaptation).
    • Soundtrack LP record release.
    • Pocket Books Star Trek Spaceflight Chronology release.
    • Wallaby Books Star Trek: The Motion Picture - The Official USS Enterprise Officer's Date Book (1980) desk calendar release.
    • View-Master adaptation.
    • Topps: Star Trek: The Motion Picture trading card set.
    • Fast-food corporation McDonald's: start of its The Motion Picture-themed "Happy Meal" campaign.
    • South Bend Electronics: electronic USS Enterprise
  • 5年December月1979日: Post-production work is finally finished and the final master print of the movie is delivered for the reproduction of distribution prints. (Cinefex, issue 1, p. 4)
  • 6年December月1979日: Washington, DC world premiere. Regretting he has not been able to hold a screening before test audiences, Robert Wise himself rushes the fresh print by plane to the K-B MacArthur Theater for its premiere, where it is loaded into the projector one minute before its announced screening. Guests were, for the occasion, presented with a twenty-page movie program. (Variety, 24 December 2001, p. 21; The Keys to the Kingdom, Chapter 6)
  • 7年December月1979日: US theatrical premiere. For the timely distribution of the 2,000 prints, the studio has to charter a fleet of private planes. (The Keys to the Kingdom, Chapter 6; Movie Memories, p. 123)
  • 13年December月1979日: Sydney, Australia, theatrical premiere at the Paramount Theatre.
  • 15年December月1979日: UK theatrical premiere at the Empire Theatre, Leicester Square in London.
  • 21年December月1979日: Melbourne, Australia, and Ireland theatrical premieres. Sydney, Australia, general release.

1980年代[]

  • 1980年:
    • Pocket Books Photostory adaptation.
    • Wallaby Books Star Trek: The Motion Picture Blueprints.
    • The Mind's Eye Press USS Enterprise cutaway poster.
    • Citadel Miniatures gaming figurines.
  • 1年January月1980日: Australia theatrical general release.
  • 17年January月1980日: Argentina (as Viaje a las estrellas: La película) theatrical premiere.
  • テンプレート:M: Pocket Books Chekov's Enterprise (book).
  • テンプレート:M: Wallaby Books The Making of Star Trek: The Motion Picture. The writing completed before the movie premiered, author Susan Sackett has added a provisionary end credit roll for the movie in her book (pp. 217-221), which differed from that as ultimately featured (See: below). While cast and primary production staff were featured as projected, there were some noticeable differences; several title descriptions were changed and especially amongst production staffers there were inclusions that were previously not considered whereas others that were initially, were now excluded. A very noticeable example of the latter, was future Star Trek alumnus Rick Sternbach, who now missed out on an official credit for the Motion Picture as a consequence.
  • 3年March月1980日: Paramount Pictures' patent application tender for Richard Foy's designs of the typeface fonts for the movie are filed.
  • 18年March月1980日: Spain (as Star Trek – La película) and Brazil (as Jornada nas Estrelas: O Filme) theatrical premieres.
  • 19年March月1980日: France (as Star Trek, le film) theatrical premiere.
  • 21年March月1980日: Portugal (as O Caminho das Estrelas) theatrical premiere.
  • 27年March月1980日: West Germany (as Star Trek: Der Film) theatrical premiere.
  • 28年March月1980日: Finland (as Star Trek: Avaruusmatka) theatrical premiere.
  • 2年April月1980日: Sweden theatrical premiere.
  • 7年April月1980日: Norway and Denmark premieres.
  • 17年April月1980日: Brazil (as Jornada nas Estrelas: O Filme) theatrical premiere.
  • テンプレート:M: Marvel TOS #1 (comic reprint 1 of 3).
  • テンプレート:M: Marvel TOS #2 "V'ger" (comic reprint 2 of 3).
  • テンプレート:M: Marvel TOS #3 "Evolutions" (comic reprint 3 of 3).
  • 19年June月1980日: Netherlands theatrical premiere.
  • Summer 1980: Work is started at the studio to transfer the theatrical master onto masters for commercial home media market releases as well as for television broadcasts. A contemporary studio editor stated in 2016, "I mastered the "director's cut" for Paramount in 1980, and it was never commercially released. Wise cut the film down to 110 minutes, and the assistant editor on the picture told me he was livid when the studio overruled him and cut 12 minutes of the V'Ger VFX sequence back into the film. Wise was smart enough to know it dragged the film down, and he was right. But because the film had gone so grossly over budget, the studio was determined to see "all their money up on the screen," so it went out at 132 minutes." [7] The 132 minutes version this staffer referred to was the one intended for ABC Television Network. While this staffer has preferred to remain anonymous, he has credited a contemporary studio co-worker for doing the home media format masters of the television version, "95% of the work was done by my old pal Pat Kennedy (who did the lion's share of that transfer), though I did correct quite a few of the additional bits for the expanded version shown on NBC. At the time (around 1982), I asked the Paramount exec why they wouldn't finish the obviously-incomplete VFX, but he kind of shrugged and said nobody wanted to spend the money. Eventually, they did fix them [for the 2001 Director's Edition]." [8]
  • 5年July月1980日: Japan theatrical premiere.
  • テンプレート:M: US video tape releases (VHS and Betamax formats), with a Super 8 release following suit.
  • 25年October月1980日: Taiwan theatrical premiere.
  • 25年November月1980日: Paramount Pictures' patent application for Robert Fletcher's Starfleet uniforms is confirmed as patent number テンプレート:Patent.
  • 1981年:
    • US LaserDisc.
    • UK LaserDisc.
  • 22年March月1981日: Capacitance Electronic Disc (CED).
  • 31年March月1981日: Paramount Pictures' patent application for Robert Fletcher's belt buckle is confirmed as patent number テンプレート:Patent.
  • テンプレート:M: UK video release (VHS and Betamax formats).
  • 2年May月1981日: Pay TV premiere on SelecTV in Marina Del Rey, California, USA.
  • 14年July月1981日: Paramount Pictures' patent application for Andrew Probert's designs of the long range shuttle model is confirmed as patent number テンプレート:Patent.
  • 21年July月1981日: Paramount Pictures' patent application for Dick Rubin's redesign of the phaser, called a "toy weapon" on the application, is confirmed as patent number テンプレート:Patent.
  • 25年August月1981日: Paramount Pictures' patent application for Dick Rubin's design of the wrist communicator, called a "toy communicator" on the application, is confirmed as patent number テンプレート:Patent.
  • 1年September月1981日: Paramount Pictures' patent application for Dick Rubin's redesign of the tricorder, called a "toy console" on the application, is confirmed as patent number テンプレート:Patent.
  • 4年September月1981日: Iceland theatrical premiere.
  • 15年September月1981日: Paramount Pictures' patent application for Andrew Probert's redesign of the Constitution II-class, called a "toy spaceship" on the application, is confirmed as patent number テンプレート:Patent.
  • 26年October月1981日: Turkey (as Uzay Macerasi) theatrical premiere.
  • 17年November月1981日: Paramount Pictures' patent application for Robert Fletcher's breast-worn Starfleet insignia is confirmed as patent number テンプレート:Patent.
  • 24年November月1981日: Paramount Pictures' patent application for Richard Foy's designs of the typeface fonts for the movie is confirmed as patent number テンプレート:Patent.
  • 6年April月1982日: Paramount Pictures' patent application for Andrew Probert's designs of the long range shuttle model, shuttle portion, is confirmed as patent number テンプレート:Patent.
  • 20年February月1983日: US Network Television Premiere on ABC Television Network as the first public showing of what came to be called the "Special Longer Version". The added footage, running for twelve minutes, was largely unfinished and cobbled together for the network premiere and is met with skepticism by Director Robert Wise, who had never wanted the footage to be included in the final cut of the film in the first place, as already stated by the above-quoted studio editor. ("Trek director Waxes Wise on new DVD", Bruce Kirkland, Toronto Sun, 6 November 2001, p. 46)
  • 13年April月1982日: Paramount Pictures' patent application for Andrew Probert's redesign of the K't'inga-class, called a "toy spaceship" on the application, is confirmed as patent number テンプレート:Patent.
  • 1983年: US LaserDisc (special longer version).
  • 1983: US Betamax (special longer version).
  • 3年September月1984日: UK television premiere on ITV.
  • 1985年: Japan VHD.
  • 7年July月1985日: Japan LaserDisc.
  • 1986年: Soundtrack CD 1st release.
  • 25年April月1986日: East Germany theatrical premiere.
  • テンプレート:M: Second airing by ABC of the "Special Longer Version".
  • Summer 1989年: Third and final airing by ABC of the "Special Longer Version".

1990年代[]

  • 1990年10月25日: Soundtrack CD 2nd release.
  • 1991年: France LaserDisc.
  • 1991: Germany LaserDisc.
  • 1991: Netherlands LaserDisc.
  • 1992年12月7日: VHS.
  • 1994年3月10日: Japan LaserDisc.
  • 1994年: US and Europe VideoCD.
  • 1995年: TNT airs the "Special Longer Version" introduced by William Shatner.
  • 1997年4月2日: VHS Widescreen.
  • 1999年1月26日: Soundtrack CD 20th Anniversary Collector's Edition.

2000年代以降[]

  • 2001年11月6日: Director's Edition world premiere
  • 2001年11月9日: Director's Edition Region 1 DVD.
  • 2002年5月13日: Director's Edition Region 2 DVD.
  • 2009年5月12日: Original theatrical release Blu-ray.
  • 2010年3月22日: Remastered original theatrical release Region 2 DVD.
  • 2012年6月5日: Expanded soundtrack release, La-La Land Records.
  • テンプレート:M: Olsenart.com Star Trek: Creating the Enterprise
  • 2013年4月30日: Star Trek I: The Motion Picture Blu-ray Directors Edition release announcement. The announced release date proves to be premature though, as it turns out that Paramount Pictures had failed to maintain ownership over the CGI elements that were added to the Director's Edition. Former employee Adam Lebowitz of Foundation Imaging, the visual effects company responsible for the newly-conceived elements, confirms that all these elements were left on the company servers when they were auctioned off after the company went out of business, which would mean that the studio has to painstakingly recreate all these elements. [9] Still, his former Foundation colleague, Robert Bonchune, strongly indicates that these elements are still in existence, as some ex-employees had made backups, including Bonchune, of all the Star Trek files on their own computers, and they could be made available to the studio if they are so inclined. [10]
    By 2018, the status of a Blu-ray release remained yet unknown, though one of the co-producers of the Director's Edition, David C. Fein, has confirmed Bonchune's assessment by stating in 2017 that it was he who still had all the original digital effects elements available for remastering to Blu-ray standards. "We have all that we need. Would I like a few more pieces… sure. But we have everything we need," stated Fein, "All of the shots in the film were created with HD in mind so the quality of the models and elements were much higher than the SD renderings. We have everything, and when the time is right, we'll use them. Again, there is no truth that anything is missing." Fein also confirmed that a Blu-ray release was put on the backburner as "Paramount has yet to green light the project. We've had some discussions," adding that "it'll happen, the only question is when are we going to go ahead with it". [11] Nonetheless, preliminary talks were reported by both Trekcore and テンプレート:TrekMovie.com to have resumed in July 2019 for a remastered release, albeit for a 4K Ultra HD Blu-ray one.
  • 10年September月2013日: Remastered original theatrical release Region 1 DVD.
  • テンプレート:M: Creature Feature Publishing Return to Tomorrow - The Filming of Star Trek: The Motion Picture
  • 15 & 18 テンプレート:M: For the occasion of the film's 40th anniversary, NCM Fathom Events organizes a to over 500 screens limited theatrical re-release of The Motion Picture. Accompanying the screening is the documentary The Longest Trek: Writing the Motion Picture, originally a special feature produced for, and included on the 2009 Blu-ray disc release and its various reissues. テンプレート:TrekMovie.com [12] [13] The limited two-day USA only event manages to add an additional US$346,243 gross to the box-office total. [14]
  • 8年October月2019日: McFarland & Company The First Star Trek Movie
  • 1年September月2020日: Titan Books Star Trek: The Motion Picture - The Art and Visual Effects
  • 2021年: Print release of the Star Trek: The Motion Picture orchestral score
  • 7年September月2021日: Newly in 4k UHD remastered version of the theatrical cut released in two variants, as part of the 4K テンプレート:UHD box set, and as an improved Blu-ray single disc reissue.
  • 5年April月2022日: 4K version of the "Director's Edition" with new higher resolution visual effects premieres on Paramount+, accompanied by the (digital) release of the remastered soundtrack by Paramount Music.
  • 22, 23 & 25年May月2022日: Limited special event theatrical release of the remastered "Director's Edition" by Phantom Events. テンプレート:TrekMovie.com
  • 2022年8月19日: Limited UK theatrical release of the remastered "Director's Edition", [15] adding another US$69,621 gross to the box-office total [16]
  • 2022年9月6日: 4K Ultra HD Blu-ray "Director's Edition" release with exclusive new bonus content in both standard 2-disc Blu-ray/1-disc 4K UHD versions, as well as a limited 3-disc "The Complete Adventure" boxset, containing all three film versions including the "Special Longer Version", now remastered as well. On this occasion the theatrical cut was also issued in the single-disc 4K UHD format.

参照[]

 括弧内は日本語吹き替え版や字幕。

参照(背景情報)[]

アーアマザライトアークトゥリアンカザライトケイノーミアンザラナイトシャーミンソーリアンベテルギウシアンメガライトライジェリアンラハアンダライト

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