By admin May 4, Continue scrolling to continue reading Click the button below to start this article in quick view. Robert Vaux 86 Articles published A native of California, Rob Vaux has been an entertainment critic and writer for more than 20 years, including his work for Collider, Mania. By admin. Nov 13, admin. Nov 12, admin. Leave a Reply Cancel reply Your email address will not be published. Indeed, I must confess that the weakest part of Last Crusade was the start, where he seemed to pick up all his distinguishing characteristics in the course of an afternoon.
If you need a wandering gunslinger dispensing justice throughout the land, just have one! The details can follow. It does mean that there are other options that you can play with, ones that might enrich your universe. After all, if Sir Uther is fighting his first battle, his old enemy from a decade ago can hardly come back to haunt him in Book Two, can he? Unknown 1 August at Newer Post Older Post Home.
Solow once commented that it was "tough to go down to the local hardware store or gun shop and buy one. Majel Barrett felt that her perceived lack of "special effects" in this pilot episode was an indication that the finances provided for the pilot "didn't go very far. One of the first occasions on which word of this episode reached the press was following NBC's approval of the pilot script; while Gene Roddenberry and Herbert F.
Solow were celebrating the confirmation during lunch with their daily Cobb salad at the Hollywood Brown Derby on Vine Street, Dave Kaufman - a television reporter and columnist for Daily Variety - passed by their table on his way back to his office and Solow notified him of the news. However, the cheerful Kaufman replied, "I knew it before you did. Roddenberry and Solow acknowledged Kaufman's remarks and he wished them good luck before exiting.
As opposed to the electronic clipboards used in the regular series, Pike uses a very 20th century metal clipboard. A television also appears in his quarters. In his introduction for the VHS release which can now be seen on the DVD version in the third season set , Gene Roddenberry noted that he wanted no one aboard the Enterprise to smoke. This was despite the fact that tobacco advertising was a major revenue source for the television networks in Even one of Star Trek's sponsors, during its first season, was Viceroy cigarettes.
All tobacco advertising was banned from television and radio on 1 January Number One was given an origin story in the non-canon novel, 'Vulcan's Glory' by series writer D. Her name is based on the fact that she is the top intellect of her generation. Her home planet is called Illyria.
One aspect of the pilot which NBC was very worried with, was its "overall eroticism", most notably the "scantily clad green dancing girls with the humps and grinds". This was a major factor for not choosing Star Trek: The Original Series: Mudd's Women , which dealt with "an intergalactic pimp selling beautiful women hookers throughout the galaxy", to be the second pilot.
Star Trek: Enterprise was the only other television Star Trek that depicted hats and a variety of environment-specific outerwear being regularly issued to crew members.
The character of Geologist was known as Astroscientist in the first draft script, but this was also changed on the recommendation of Harvey P. Nervous about this situation, NBC set out to monitor the progress of the pilot, keeping a check on the project's schedule and cost. The scene inside the Rigel fortress was one of the last scenes to be shot.
It was filmed on 14 December Gene Roddenberry was present during the filming and model maker Richard Datin also payed a visit to the set, presenting the three-foot Enterprise study model to Roddenberry.
Oscar Katz was pleased with this pilot episode. However, Lucille Ball was seemingly uninterested in it. The pilot script was still there, apparently untouched. Judging by the shape of the wall and the window, Pike's quarters seem to be directly below the bridge; there are no other curved windows on the saucer section of the model.
Upon first hearing the theme tune for this episode which went on to serve as the theme music for Star Trek: The Original Series , Robert Butler was impressed. He later reminisced, "The music was good; I remember that theme song was quite wonderful [ This episode is difficult to reconcile with canon in many instances. For example, Spock smiles and uses several Human expressions for example, "buzzing about down there" , which he seldom does in subsequent episodes and films.
In the series, he instead has the emotional control and genius level intellect present in the character of Number One here. This change was actually due to the fact that, in contrast to Jeffrey Hunter's portrayal of Captain Pike, Leonard Nimoy found 'William Shatner as Captain Kirk had his own energy, animation and exuberance, so Nimoy felt like he was able to be more reserved and internalized in the series than in this pilot.
The episode's first draft script had an opening scene in the hangar bay where Captain April, whose character at this stage was a tad older than Captain Pike was later written, is inspecting new crew members. He remarks disapprovingly to the doctor, at one point, about the young age of some of these officers. Among these departing officers is an uninjured former navigator named Crowley who April is sending back in disgrace, because he fired on friendly aliens. The officer argues that they were monstrous in appearance and asks how he could have known that they were intelligent enough to have weapons.
These protests are met by a stern but subdued dismissal from the captain, who quietly orders, "Get off my ship, mister. The genesis of this episode was the first of twenty-five proposed stories in Gene Roddenberry's series outline Star Trek is The description of the plot concept that became this episode preliminarily entitled "The Next Cage" read, "The desperation of our series lead, caged and on exhibition like an animal, then offered a mate.
The episode's story outline consisted of 26 pages. In those pages, the name of the Enterprise's captain was Robert April as it was in the series outline Star Trek is He was the only one of his crew whose name was to be changed, as the episode continued to evolve.
Also, the Talosians were crab-like aliens their species remaining unnamed, though they were commonly referred to as "crab-creatures" , and their planet was "Sirius IV". In early October , Robert H. Justman was interviewed for the post of associate producer on the pilot but turned it down, fearing that his post-production knowledge was not as extensive as it had to be for the episode, a response that lead to Byron Haskin instead being recruited as the pilot's associate producer.
Justman meanwhile went back to working on The Outer Limits , on which he had worked with Haskin. The Talosian seen down the corridor as Pike looks at all the imprisoned creatures was a dwarf. This gave the appearance of great length to what was actually a short, forced-perspective hallway.
Robert H. Justman came up with this idea when they realized the budget wouldn't allow them to build a large hallway. The Talosians' elevator landing was built on a platform, allowing room for the lift to descend without having to excavate below the soundstage's floor. Howard Anderson Company, the company responsible for all visual effects or "opticals" as they were called at the time, subcontracted the build of the Enterprise studio model to Richard Datin.
Datin himself built the above-mentioned small three-foot that was originally intended to serve as a study model, but which ended up being used for filming nevertheless. The actual large eleven-foot filming model he himself had to sub-contract to Production Models Shop due to time pressure and lack of space in his workshop. A black-and-white 16mm print of this episode was owned by Gene Roddenberry and was shown by him at speaking engagements and conventions.
The event was the first convention that Roddenberry took the Star Trek pilots to. Asherman later wrote how he had been impressed by the "serious and imaginative detail" in this episode, a facet he believed it shared with the later pilot.
He went on to comment, "In addition there were the laser cannon opticals, the superb Talosian makeups, and another interesting musical score. Its most outstanding characteristics were the intelligence of its story, its polished production values, and the performances of its actors.
This episode's depiction of a parkland near Mojave is the only time that 23rd century Earth is ever seen in the entirety of Star Trek: The Original Series Given that this is merely an illusion created by the Talosians, the first appearance of the real Earth of the 23rd century was in Star Trek: The Motion Picture A similar idea that he presented was changing Orion traders to Centaurian traders. In his reply on 24 September, Gene Roddenberry expressed an interest in having the names of the stars in this episode be ones that were familiar to the audience.
On the other hand, he conceded that the continued use of Rigel and Orion could still be substituted, in the final shooting script, with names such as Vega, admitting that such names - while being more appropriate from a scientific perspective - were also possibly just as familiar. Comparing the second revised final draft script dated 20 September to the episode's final draft indicates that Roddenberry ultimately replaced Rigel with Rigel VII. Neither the same script draft nor the actual episode contain reference to Epsilon VII, though they also evidence that Roddenberry ultimately excluded not only HR but also Draconis and Vega Besides Gene Roddenberry and Herbert F.
Solow, the first production staffer to be assigned to this episode was Robert Butler. NBC was satisfied with the decision, Butler having established himself as a director on numerous television series in the s.
It was Gene Roddenberry who asked Butler to helm the episode. Both Roddenberry and Solow regarded Butler as highly dependable. However, Roddenberry's extreme protectiveness over the episode clashed with Butler's impression of the script as being somewhat obscure.
Butler later reflected, "I discussed whether or not people would get it. I could tell at that point that Gene was so consumed with it that he couldn't have heard any objections. A matte painting created by noted matte artist Albert Whitlock was used to portray the Rigel VII fortress, though these exterior shots also involved the filming of live-action footage on the Metro-Goldwyn-Mayer back lot.
The master color 35 mm negative was cut into the master negative of "The Menagerie" in , and the trims not used were subsequently lost. No color or 35mm print of "The Cage" was known to exist, only the black-and-white print owned by Gene Roddenberry, who continued to exhibit the footage at various Star Trek conventions throughout the '70s and early '80s. However, in , the color trims were found in a vault by Bob Furmanek, while searching for lost 3-D films. In , the rediscovered footage was spliced back into the episode, although the original audio tracks were lost, and had to use the audio from the 16 mm black-and-white copy to fill in the missing areas.
A "captain's hat" can be glimpsed, in passing, on top of the television set in Pike's quarters, although Pike never wears it, and after this pilot, the hat was never seen again. The sign next to the door of the captain's quarters reads simply "Captain. Throughout most of the first and second seasons, the "singing plant" sound heard on Talos IV became the standard background noise on various planets. Beginning with Star Trek: The Original Series: Spectre of the Gun , a different, warbly sound was used for a number of the remaining shows.
The sound was used as the transporter beam sound effect in the series proper. Despite the character of Vina supposedly being in her late teens or at most early twenties, actress Susan Oliver was 32 years old during filming. Some of Gene Roddenberry's initial thoughts for the episode's illusory scenarios had to be altered or scaled back due to production and budgetary realities.
The landing party jackets in this episode were fastened by long strips of black Velcro running down the entire length of the inside flap, visible in some of the scenes. When indicating the region of the Talos group on his viewscreen, Spock calls up a photograph of the Pleiades Cluster. The opening shot of this episode was filmed with the use of frame-by-frame stop-motion animation, in order to allow for the transition between the footage of the Enterprise model and the shot that was taken on the set for the starship's bridge.
Due to the movement of the space vessel, the shot was necessarily very intricate and extraordinarily difficult to produce. It was created by the Howard Anderson Company. The shot used the eleven-foot model of the Enterprise, while the other ship shots of this episode involved the three-foot miniature of the spacecraft. The shot was the very last to be produced and the only one where the large model was utilized, as it was only delivered to Anderson's on 29 December , after all other footage had approximately been completed a week earlier.
Although the budget was tight for an idea of this scope , it was still quite considerable and compared favorably to many B movie film budgets of the era.
Most of the money was spent on building sets, developing the special optical effects, building the model of the USS Enterprise and the wages of established film actor Jeffrey Hunter and 'guest star' Susan Oliver. Once the series was eventually commissioned into a series two years later, the average budget per episode would be about a third of what this pilot show cost the network.
The pants that the crew wear have a very conspicuous pleat down the front and seem to be a shade of dark blue-grey. Only a short stretch of corridor was built for this episode.
This set can be seen, in its entirety, during the scene in which Pike heads through a passageway into his "cabin" or quarters , passing a young couple. The effect of the laser cannon firing was an animation produced by the Howard Anderson Company.
Dwight D. I have to imagine that scene had been in the script all along. I suspect this is making something out of nothing. Several crew members were supposed to have been injured, so several acted in ways that made them look injured.
Simple as that. CoveTom , Feb 18, Joined: Jul 23, Location: The Wormhole. The original intent was that Spock was supposed to be in constant pain, thus the limp. Maybe I'm making this up. What if I am? The Wormhole , Feb 18, NO, No and no. The crew injuries suffered on Rigel VII were always part of the story. Nimoy was not injured on the set. Pike's scene with the Doctor was to establish his fatigue and wanting to hang up his career, citing the death and injuries of members of his crew as part of the rationale and therefore laying the groundwork for the rest of the story arc for his character.
That scene also set forth the character arc for Kirk in the story. Very similar. ACE , Feb 19,
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