It is widely said, and quoted later by William Shatner himself, that without Star Wars, there would be no Star Trek. While true fans of Trek would point out that Trek came out 11 years before Wars, in a way, Captain Kirk was right.

In 1977, when Star Wars came out, it changed cinema and the popular culture landscape forever. Because it was such a massive phenomenon, other film and television companies started to scramble and figure out how they could respond. At Paramount, the big brass asked themselves, “don’t we have something sort of like that?”

They did, and since Star Trek: The Animated Series ended its run in 1974, there had been no new Trek on television. While the fans kept clamoring for more, the studio started working on a project called “Star Trek: Phase II,” which would have been another series, featuring the original cast and some new faces.

But when the Death Star exploded on screens across the nation in the world, plans changed. Paramount decided to jump on this new sci-fi wave headfirst. The result was the lavish and expensive Star Trek: The Motion Picture, which brought the industry best special effects on a franchise that had never had anything like it. All of the special effects helped make the 23rd Century look amazing.

While Star Trek was dormant, another science fiction film changed the perceptions of the genre. Stanley Kubrick’s 2001 gave the world a non-fantasy based look at exploration, mystery, the unknown and human evolution.

It was these films — Star Wars and 2001 — that most heavily influenced The Motion Picture, which felt almost like a spiritual sequel to 2001, starring Kirk and Spock.

STARDATE: 7412.6

We begin the film with three Klingon Birds of Prey engaging with a mysterious energy cloud. And as you could probably guess, the Klingons were not interested in learning the origins of this power, just destroying it.

It was the first appearance of the new look Klingons, with the familiar ridge down the middle of the skull and the metal and leather armor. This would set the tone for Klingons for the next 40 years, until the Kelvin-era films, and Star Trek: Discovery “updated” their appearance.

Klingons for “The Motion Picture” got an updated look. Here, Mark Lenard portrays the Klingon commander. Courtesy of Paramount

Each of the ships fired their torpedoes at the energy field. It then responded by sending some sort of plasma bolts out at the ships, and as it struck, each ship disintegrated.

The energy cloud was in the vicinity of Starbase Epsilon Nine, which picked up the transmissions from the Klingon cruisers, describing the encounter with the force. The Starfleet personnel watched on screen as the last ship was destroyed. They realized that the cloud was on course to Earth.

Interestingly, the officer who was on Starbase Epsilon Nine was played by David Gautreaux. He had been cast to play Xon, a new Vulcan first in Star Trek: Phase II, and later in The Motion Picture, but Xon was written out of the film.

Meanwhile, on Vulcan, Spock was about to shed all of his emotion in a ritual called “Kolinahr.” The spiritual leader of the ceremony was about to place an amulet around Spock’s neck when he abruptly stopped her. She mind-melded with him and saw that he was now aware of the “consciousness” in space. This meant he had not achieved Kolinahr, and the ritual ended.

Back in San Francisco at Starfleet Headquarters, Admiral Kirk appeared to be in a rush. He told a Vulcan named Sonak that he would need to report to the Enterprise in one hour and that he would be serving as the Enterprise’s new science officer.

Then Kirk beamed up to a small orbiting base, where Mr. Scott was working on various items related to the refit of the Enterprise. Scott told him that the ship was not yet ready and that it needed a “shakedown” and additional training for the new crew. Kirk ordered him to pilot a shuttlecraft over to the Enterprise.

It was there that he told Scotty about the alien force headed toward Earth, and that the Enterprise would need to leave in 12 hours on an intercept course. Scott said that there was so much equipment that had not yet been tested, and the crew was also untried. Kirk said that as he was Chief of Starfleet Operations for the past two years, and he did not consider himself “untried.”

He also said that he had taken back command of the Enterprise.

Decker stood to greet her and explained that he had been stationed on her homeworld. She smiled. Kirk said that he had faith in Ilia, and she responded that her “oath of celibacy” was on record.

It was at this point that Kirk and Scott took a long, leisurely look at the exterior of the Enterprise while in spacedock. People complained about this, saying that it ate up screen time and that it was much more 2001 than Star Wars, but in the director’s defense, we needed to see what a new, improved Enterprise would look like.

Since the original series primitive effects, fans had never seen their flagship look so good and get such a good look. And since this ship would be in service for only two and three-quarters films, it was time well spent. Instead of the jagged edges of Millennium Falcon or the bumpy, imperfect surface of an Imperial Star Destroyer, we got a beautiful and aerodynamic design. The Enterprise really did look like “the future.”

The Enterprise
The Enterprise refit made the ship look like it belonged in “the future.” Courtesy of Paramount

When Kirk arrived, a young crewman asked if he needed to be shown around. Kirk told him that he could find his own way. He stepped into the turbolift and told it where he wanted to go.

He arrived on the bridge and witnessed chaos. The crew was working on multiple fixes of every kind as they raced for the 12-hour deadline. Uhura, Sulu, and Chekov stood and greeted him with the other new members of the crew.

Kirk told them that he wished the circumstances were different and that they needed to keep a channel open for communications. Sulu told Kirk that Decker did not know that Kirk had taken command and that Decker was in engineering. Kirk ordered Chekov to assemble the crew for a meeting regarding the mission and left the bridge.

As Kirk walked through engineering, the audience got to see the most impressive view of the area thus far. Fans saw a look down the warp core to the bottom of the space where Scotty and Decker worked.

Captain Will Decker greeted Kirk and told him that they would leave on schedule. Kirk told Decker that he was taking command of the ship and that Decker would stay on as the executive officer. Kirk explained that this was just a temporary reduction in rank.

Decker bristled and accused Kirk of a power grab. He cited a conversation when Kirk (while he was serving as Chief of Starfleet Operations) said that he wished he could get back in the captain’s chair. Kirk noted that transfer happened because of his years of experience. Kirk dismissed Decker and told him to report to the bridge.

Suddenly, there was a transporter accident, which killed Sonak and another passenger. Christine Rand was running the transporter at the time, but Kirk told her there was nothing she could have done.

Kirk left engineering and actually could not find the turboshaft, and noticed that Decker was watching. Kirk told Decker that Sonak had been killed and they needed a new science officer. Decker told Kirk that no one was qualified to serve since the Enterprise retrofit made it virtually a new ship.

“You are, Mr. Decker,” Kirk said. He ordered Decker to serve as the science officer as well.

In the big meeting with the crew, Uhura played the footage of the Klingon “attack” from the energy cloud. A lot of fans were used as extras in this scene. Kirk laid out the mission for the crew.

Let’s take a moment to pause and talk about the uniforms. The costume designers used blue, white, or khaki for the uniforms for the crew, which gave them a “blah” kind of look when compared to what they wore in the Original Series. Those uniforms were bright, primary colors, and after TMP, we got dark red uniforms, which means “action.”

The Big Meeting
The big meeting between Kirk and his crew featured most of the uniform designs for TMP. Courtesy of Paramount

These uniforms remind me of a cruise ship, with the kimono-style sashes and untucked shirts. I do wonder what the small electronic “buckle” was supposed to be around some of the waists of the crew. Perhaps that was a communicator of some sort, which may have been a forerunner of TNG’s badge. Not sure.

I did like Kirk’s admiral’s “suit.” If he had a cape, he would have been “Starfleet Man.”

Back to the story — the cloud passed near Starbase Epsilon Nine, and as it did, the crew scanned the anomaly. The cloud detected the scans and must have thought they were unfriendly. It unleashed an electrical pulse, which disintegrated the starbase.

As the crew prepared to leave, Uhura announced to the bridge that the ship’s new navigator, Lt. Ilia, had arrived. She added that Ilia was a “Deltan.” Moments later, she walked onto the bridge an announced herself. The only thing “alien” about Ilia was her baldness and strange accent. Otherwise, she could pass as human.

Decker stood to greet her and explained that he had been stationed on her homeworld. She smiled. Kirk said that he had faith in Ilia, and she responded that her “oath of celibacy” was on record.

Is that a bit strange? Why would that be the first thing she’d say to her new boss? Was Kirk’s reputation so rampant that she had to shut down any possibility of a hook-up? Bizarre.

Uhura reported that a new member of the Enterprise crew was refusing to beam aboard. Kirk said he would take care of it. Turns out it was the curmudgeon Dr. Leonard McCoy, complete with wooly beard. The good doctor immediately started complaining about how he was pulled back into Starfleet by a “reserve activation” clause.

Kirk said he needed McCoy’s help due to the “thing out there.” McCoy agreed to serve.

We are then treated to a view of the Enterprise leaving spacedock and the solar system, complete with another dose of the Jerry Goldsmith orchestral theme. Younger fans associate this music with TNG, as a version of the theme served as the opening music for seven seasons.

Apparently, it’s dangerous to engage warp drive while in the solar system. Was that mentioned before? Decker said it would take 20 or so hours to engage with the cloud, and recommended simulations before jumping. Kirk overrode his concern.

When they jumped, an engine imbalance created a wormhole, which made everyone look blurry and distorted as it altered their voices. Uhura said this was the wormhole effect. Ilia announced that there was an asteroid ahead of them in the wormhole. Kirk ordered phasers, but Decker stopped that order. He and Chekov armed used a photon torpedo to take out the asteroid. The destruction of the asteroid broke the ship free — and thank goodness. That scene was nuts.

The Wormhole
The Wormhole Scene was strange and perhaps unnecessary, but memorable. Courtesy of Paramount

Kirk ordered Decker to see him in his quarters. McCoy joined them. Kirk was upset that Decker overrode his order to use phasers. Decker said that the phasers were powered through the main engines now and phasers were cut off. Kirk noted that Decker saved the ship.

Decker then said Kirk hadn’t logged a “starhour” in over two years. That combined with Kirk’s lack of familiarity with the refitted Enterprise made Decker feel that this mission would be unsuccessful. Kirk asked Decker to “nurse” him along. Decker agreed.

As Decker walked back to the bridge, he bumped into Ilia, and he apologized. “For leaving Delta 4, for the fact that you didn’t even say goodbye?” she asked. Decker grabbed her shoulders and asked her if she could have said goodbye to him. She said “no” and pushed him aside.

McCoy said that Decker might be right. The doctor said he rammed this command change through so he could take over the Enterprise. McCoy said it was an obsession that could blind him.

Uhura interrupted to say that a long-range shuttlecraft was docking with Enterprise. It was Spock in his “religious” Vulcan attire. He asked Decker to take over the science post. Decker agreed. Drs. McCoy and Chapel came to the bridge greet Spock, who ignored them. Spock left to discuss fuel equations with Mr. Scott.

Spock and Scotty fixed the warp drive. They were able to warp to the disturbance as planned.

Later, Kirk, Spock, and McCoy got together to chat. McCoy asked Spock what happened to the Kolinahr rituals, to which Spock said that he sensed a consciousness with a perfect thought order and super-intelligence. That is why he joined the Enterprise again.

As they approached the cloud, red alert went into effect. They sent out friendship messages but did not return scan. Spock said that the object was scanning them from the exact center of the cloud, with an energy type never before encountered. Uhura said there were no responses from the friendship messages.

Decker recommended raising “screens and shields.” Kirk said no to that, as well as denying Chekov’s request to go to battle stations. Spock said he thought there was an object at the center of the cloud.

Kirk ordered Sulu to navigate into the cloud and align the ship next to whatever they find.

Suddenly, Spock froze. He said that he sensed puzzlement — the Enterprise had been contacted but had not replied.

Sensors indicated something was incoming, and Chekov raised shields. A plasma pulse, the same type that destroyed the starbase and Klingons, was not headed their way. Instead of destroying the ship, as it did with the others, the plasma bolt sat in front of the Enterprise and overloaded the ship’s systems. The shields held.

Chekov leaped back, holding his singed hand and arm.

Spock said that they had been contacted, but the way the Enterprise sent data was too primitive. Spock changed the way the messages were sent to the cloud.

As he worked, the cloud sent another plasma bolt toward the Enterprise. But Spock transmitted the message, and the attack ended.

Kirk ordered Sulu to plot a course into the center. Decker objected. Kirk asked why, and Decker said that it was “unwarranted risk.” Spock cocked an eyebrow, and Kirk told Sulu to maintain course.

As the ship descended into the cloud, we get to see some very advanced special effects with eerie blue tunnels and facial expressions very similar to when astronaut Dave Bowman traveled through time and space in 2001.

When they finally reached something other than the tunnels, it was some kind of gateway. Uhura noted that they were unable to contact Starfleet. They continued inward.

Suddenly, a white beam of light appeared on the bridge, which Spock said was a probe from the alien. It moved around the control panels and used lightning to interact with the computers. Decker tried to turn off the computers but was unable. Spock smashed the console, and the light electrocuted him.

It then shocked Ilia, and she disappeared.

Decker was incensed. He said that this is how he defined “unwarranted” to Kirk.

Then the ship moved under the command of the alien. Kirk ordered all shields up and emergency reverse power. Spock said they were under the power of a tractor beam, and it was pointless to try to move against it. Kirk told Scotty to end the reverse power.

Uhura prepared an emergency drone with details from what had happened thus far. Decker suggested that they fire phasers at the tractor beam point of origin, but Spock argued against it. Kirk glared at McCoy and did nothing.

McCoy said that Ilia was a “mechanism” after scanning her with his tricorder. Spock said that she was a probe. Kirk asked where Ilia was, and she said: “that unit no longer functions.”

Decker asked why the alien was drawing the Enterprise further inside. Spock said insatiable curiosity.

The tractor beam released the ship, and the floated freely. All scans were reflected back to the ship. They reached another gateway. Spock said that beyond the orifice must be another chamber of the vessel.

The Enterprise rang out another security alert, with a breach on Deck 5. Kirk and Spock went to investigate. It was Ilia, naked, and with a glowing disc above her collarbone.

She told Kirk that he would help her and that she had been programmed by “V’ger” to observe “the carbon-based units infesting USS Enterprise.” Her voice sounded robotic and synthesized.

Ilia walked out in a stylish robe (with a flipped collar), and Kirk asked who V’ger was. She responded that V’ger was who programmed her.

McCoy said that Ilia was a “mechanism” after scanning her with his tricorder. Spock said that she was a probe. Kirk asked where Ilia was, and she said: “that unit no longer functions.”

Ilia said that V’ger was headed to Earth to meet its creator, and then to join him. Spock asked how would this happen. Ilia said that V’ger and the creator would become one.

As they asked more questions, they got only circular answers. Spock asked who the creator was; Ilia said the creator was that which created V’ger. Kirk asked who V’ger was; Ilia said V’ger was that which seeks the creator.

Spock recommended an exam in sickbay. McCoy agreed and grabbed her arm to guide her. She would not move and said that she would only observe the normal functions of the carbon units. Kirk said this was a “normal function.” Ilia agreed to go.

McCoy and Chapel scanned her and said that she was a machine that duplicated all human functions, even eye moisture. Decker walked in, and she recognized him. Kirk pulled him away.

Spock told Decker that Ilia was a programmed mechanism. Everything about Ilia was duplicated in this machine, even her memories. As they spoke, Ilia smashed the sickbay doors and told Kirk that he would assist her further. Kirk said the “Decker unit” would help her.

As Decker showed Ilia around the ship, they paused in the recreation area. She said that the word “recreation” had no meaning to her programming. He showed her a game that Ilia used to play. After touching the controls, she seemed to remember Decker again for a moment.

She asked Decker why Enterprise had carbon units; he responded that Enterprise needed them. She said more data would be required on this function before the carbon units would be patterned for “data storage.”

Decker looked worried. “What does that mean?” he asked. She said that after her examination, all carbon units would be reduced to data patterns. He pleaded with her, to revive the thoughts of the human Ilia so that she could better understand humans. She agreed.

Ilia's memories
Chapel, Decker, and McCoy try to get Ilia to remember some of her organic memories. Courtesy of Paramount

Chapel put a headdress on Ilia and said that the Deltan Ilia used to wear it. Ilia looked at her and said — in a non-robotic voice — “Dr. Chapel.” She turned to Decker, touched his cheek, and said, “Will?”

Decker looked at Ilia and asked her for help to contact V’ger. She said that she could not. She also noted that V’ger does not know what the creator is.

Meanwhile, Spock snuck down an airlock and used the neck pinch to subdue the guy working there, and left the ship with a thruster suit. He timed the burn of the thrusters to coincide with the opening of the orifice.

On the bridge, Sulu reported that the object was making orbit around Earth. Chekov noticed that an airlock had been opened. Kirk knew it was Spock and ordered Chekov to keep a fix on his position.

Spock passed through the opening and let his thruster pack float free. He observed models and images for what might be his home planet, and the planets and systems all recreated in perfect detail.

As he passed through the models and recreations, he said that he thought they were inside a living machine.

Spock outside the ship
Spock… being Spock. You know Kirk would never have allowed him to pull this stunt. It worked out in the end, but still. Courtesy of Paramount

He then approached a giant model of Ilia, complete with a vast, glowing sensor at the base of her neck. He tried to mind meld with the device… and was ejected from the inner chamber. Luckily, Kirk was waiting outside in another thruster suit and retrieved him.

Spock awoke in sickbay and giggled. He said that V’ger was a living machine, from a planet of living robots. V’ger has knowledge of the entire universe but is cold and barren. He held Kirk’s hand and said: “this simple feeling is beyond V’ger’s comprehension.” He noted that V’ger was asking existential questions about itself.

Kirk walked to a golden nameplate, which said (in English) V GER. Kirk rubbed more scarring off the plate and found that it said “VOYAGER 6,” which was a NASA space probe from the 20th Century.

As the cloud approached Earth, the cloud dissipated and started transmitting a signal. Ilia said that V’ger was signaling the creator. Spock noted that it was “radio.” Decker said V’ger expects an answer. Ilia said that the creator had not responded and it sent out plasma probes. Spock said these could devastate Earth’s surface.

Kirk asked Ilia why V’ger was attacking. Ilia said the human infestation caused the creator not to respond.

Spock said that V’ger was a child and still evolving, and should be treated like a child.

Kirk turned to Ilia and said they knew why the creator had not responded. Ilia told Kirk to reveal why, and Kirk said that he would not until V’ger called off the attack. Uhura announced that V’ger cut off communications from the Enterprise to Earth.

Ilia again demanded to know. Kirk said no, and ordered the crew to clear the bridge. V’ger created a lightning storm outside the Enterprise.

Ilia pleaded with Kirk, who still refused. Kirk said they would tell if V’ger recalled the orbiting devices. V’ger agreed if Kirk gave the answer.

Kirk said that they would give the answer to V’ger — directly. The Enterprise lurched forward. V’ger pulled the ship into the inner chamber. They stopped at the edge of a platform made of hexagon shaped plates, where oxygen and gravity formed. Kirk, McCoy, Spock, Decker, and Ilia got out of the Enterprise saucer section and climbed onto the platform.

They walked up to what appeared to be an altar with a communications device at its center. Ilia walked down the path to the device, and the others followed.

Kirk walked to a golden nameplate, which said (in English) V GER. Kirk rubbed more scarring off the plate and found that it said “VOYAGER 6,” which was a NASA space probe from the 20th Century.

They reasoned that Voyager 6 probably fell into the gravitational pull of the machine planet, which rebuilt the probe into a giant ship designed to collect data and return to Earth.

Ilia turned to the captain. “Kirk unit, V’ger awaits the information,” she said.

V’ger, Ilia and the crew get to know one another. Courtesy of Paramount

Kirk called to the Enterprise and asked Uhura to use the computer to find the transmission signal for the Voyager program, telling the probe to transmit its information.

He then turned to the high-gain antenna of V’ger and said that “we” were the creators. Ilia said that was not logical — Kirk said they will prove that are. Uhura called to say that they had the information, and as they transmitted, the housing, which held the electronics, burst to life with light.

Ilia said the creator must join with V’ger twice.

Spock figured out that no matter how many times Enterprise transmitted the signal, V’ger was not sending its data — because it shorted some wires within the housing. Decker said that was so “the creator” would come to V’ger.

Spock said that V’ger must “evolve.” Kirk said that V’ger needed the human quality of belief. Ilia stared at Decker. McCoy asked if it was possible for a machine to join with a human. Decker said that he would find out.

He marched up to the Voyager 6 craft and started working. Kirk went after him, but Ilia thrust him aside. Decker fixed the short and said he would key in the final sequence by hand. Kirk tried again to stop him, but Decker said that he “wanted this.”

Suddenly, pinpricks of light surrounded Decker’s form. Ilia walked to him, and they embraced. Kirk, Spock, and McCoy ran back to the ship as lights shot up from where Voyager 6 was centered. Then a pulse of light wrapped around the entire craft… when it darkened again, all that was left was the Enterprise.

Kirk, Spock, and McCoy walked back to the bridge, where the captain asked if they witnessed the creation of a new being. Spock said they had seen the possible next step in evolution.

Uhura asked for a report to submit to Starfleet, including casualties. Kirk said to tell them that Decker and Ilia should be listed as missing.

Kirk told Scotty that they needed to do a proper shakedown of the ship. Mr. Scott agreed and told Spock they could have him back on Vulcan in four days. Spock said his task on Vulcan was complete, so there was no need.

The captain ordered Sulu ahead, Warp One. Asked for coordinates, Kirk said, “Out there — that away.”

Then we see the iconic shot of the Enterprise from beneath warping away (into the proverbial sunset). This shot would be used multiple times in the sequels and in marketing materials as well.


You know the films that after watched once; you have no desire to watch again? That’s exactly what The Motion Picture was like. There were no big lines, no real life or death situations, and no real conflict. The crew did their thing, and we learned nothing about them, other than the Big Three (Kirk, Spock, and McCoy). That was just what they’ve been up to the past few years. And after you know the twist — the giant spacecraft was really a small Earth-probe launched by NASA in the 1970s — there’s not much worth coming back for.

The sets and special effects were terrific, and they still hold up well today. It would have been nice to see those sets used in the sequel movies too. But hey — the new Enterprise was AWESOME. And that basic design lasted for five more films, from 1979 all the way to 1991.

The relationship between Decker and Ilia was sweet, but since they were not part of the “core” crew (Scotty, Uhura, Sulu, Chekov plus the Big Three), they were throwaway characters. They were there to help the plot along, and if they die at the end … meh.

Will Decker, played by Stephen Collins. Was he Star Trek’s Luke Skywalker? Maybe. Courtesy of Paramount

On Decker: I saw The Motion Picture the first time on ABC television and taped it onto a VHS. I just swore that Stephen Collins was cast to play Decker because he looked like Mark Hamill. It was Trek’s way of having Luke in their movie. It’s all circumstantial evidence, but I think even Johnny Cohran would be impressed.

On Ilia: Shatner says in his “Star Trek Movie Memories” book that Persis Khambatta was “stunningly beautiful” and a “stunningly bad actress.” She was cast for Phase II as well, so her contract was for five years. I thought she was great at being a living machine/probe.

On Spock: Where did those powers come from? Was he able to sense only V’ger or could he have done this with other beings/creatures? Why only now? It doesn’t make logical sense. Spock seems to get away with whatever he wants in this reality. Hijacking the Enterprise, disobeying direct orders, mind-melding with a glowing energy ball, which could have destroyed Earth. Oh well.

I was disappointed that she was a new race — a Deltan. Yet another humanoid species that looks, talks, breathes and probably reproduces precisely the same as humans. We never got any more explanation on Deltans, and as far as I am aware, there are no more Deltan references in Trek. Correct me if I’m wrong in the comments, please.

The ending was confusing. Now, as an adult, I see it as a way to wrap things up quickly and take a page out of 2001’s book in which a Star Child was introduced at the end. We don’t get to see Decker and Ilia’s space baby, nor are there any references to this situation or incident in Trek canon.

It’s a shame that some bold writer couldn’t slip in a reference to V’ger in the same way that Indiana Jones saw a drawing of the Ark of the Covenant in “The Last Crusade” and made a quick comment about it. That would be nice.

I guess that The Motion Picture served its purpose, which was to get Trek on the big screen. Perhaps if there were fewer effect shots, less standing around and more character-driven action, TMP could have been a lot better.

RATING: 2.5 out of 5


A Gene Roddenberry Production

A Robert Wise Film


William Shatner
Leonard Nimoy
DeForest Kelley


James Doohan
George Takei
Walter Koenig
Nichelle Nichols
Majel Barrett


Persis Khambatta


Stephen Collins as Decker

Music by Jerry Goldsmith

Edited by Todd Ramsay

Production Designer … Harold Michelson

Director of Photography … Richard H. Kline, A.S.C.

Based on Star Trek … created by Gene Roddenberry

Screenplay by Harold Livingston

Story by Alan Dean Foster

Produced by Gene Roddenberry

Directed by Robert Wise

Special Photographic Effects Directed by Douglas Trumbull

Special Photographic Effects Supervisor … John Dykstra
Special Photographic Effects Produced by Richard Yuricich

Executive in Charge of Production … Lindsley Parsons, Jr.

Associate Producer … John Povill

Special Animation Effects … Robert Swarthe

Special Science Advisor … Jesco Von Puttkamer

Grateful acknowledgement is made to NASA

Special Science Consultant … Isaac Asimov

Costume Designer … Bob Fletcher

Set Designer … Linda DeScenna

Make-up Artists … Fred Phillips, Janna Phillips, Ve Neill

Hair Stylist … Barbara Minster

Sound Mixer … Tom Overton

Music Editor … Ken Hall

Unit Production Manager … Phil Rawlins

Assistant Director … Danny McCauley

Second Assistant Director … Doug Wise

Art Directors … Joe Jennings, Leon Harris, John Vallone

Prop Master … Dick Rubin

Script Supervisor … Bonnie Prendergast

Assistant Film Editors … Rick Mitchell, Randy D. Thorton

Supervising Sound Editor … Richard L. Anderson

Sound Editor … Steven Hunter Flick, Ceclia Hall, Alan Murray, Colin Waddy, George Watters, II,

Sound Effects Created by … Dirk Dalton, Joel Goldsmith, Alan S. Howarth, Frank Serafine

Dialog Editor … Sean Hanley

Supervising Re-recording Mixer … Bill Varney

Re-recording Mixers … Steve Maslow, Gregg Landaker

Construction Coordinator … Gene Kelley

Mechanical Special Effects … Alex Weldon, Darrell Pritchett, Ray Mattey, Marty Bresin

Graphics … Lee Cole

Production Illustrators … Maurice Zuberano

Publicity … John Rothwell, Suzanne Gordon

Still Photographer… Mel Traxel

DGA Trainee … Kevin Cremin

Assistant Cameraman … Michael Genne, Rob Wise

Gaffer … Larry Howard

Key Grip … Bob Sorbel

Wardrobe … Agnes Henry, Jack Bear
Asst. to Mr. Roddenberry … Susan Sackett

Photographic Effects Directors of Photography … Dave Stewart, Richard Yuricich
Matte Paintings … Mathew Yuricich

Additional Matte Paintings … Rocco Gioffre

Miniatures … Gregg Jein, Russ Simpson, Jim Dow

Photographic Effects Cameramen … Don Baker, Phil Barberio, Don Cox, Douglas Eby, John Ellis, David Hardberger, Alan Harding, Don Jarel, Lin Law, Clay Marsh, David McCue, Max Morgan, Scott Squires, Hoyt Yeatman

Additional Photography … Jim Dickson, Bruce Logan, Charles F. Wheeler, A.S.C.

Photographic Effects Editorial … Jack Hinkle, Vicki Witt

Electronic and Mechanical Design … Evans Wetmore, Richard Hollander

Production Illustrators … David Negron, Andy Probert, Tom Cranham, Robert McCall, Don Moore

Mechanical Design … George Polkinghorne

Visual Consultants … Virgil Mirano, Ernest Garza, Guy Marsden

Photographic Effects Gaffer … David Gold

Photographic Effects Grip … Pat Van Auken

Effects Props and Miniatures … Larry Albright, Bruce Bishop, Al Broussard, Chris Crump, Lee Ettleman, Mike Fink, Kris Gregg, Rick Guttierez, Mike McMillen, Tom Pahk, Chris Ross, Robert Short, Robert Spurlock, Mark Stetson, Rick Thompson, Paul Turner, Don Wheeler

Photographic Effects Photography … Thane Berti, Glenn Campbell, Christopher George, Scott Farrar, Robert Friedstand, Robert Hollister, Tom Hollister, Russ McElhatton, Mike Peed, Lex Rawlins, Jonathan Seay, Steve Slocum, Bob Thomas

Animation and Graphics … Deena Burkett, Alison Yerxa, Lisze Beechtold, Merllyn Ching, Elrene Cowan, Cy Didjurgis, Leslie Ekker, Linda Harris, Nicola Kaftan, John Kimball, Thomas Koester, Deidre Le Blanc, Linda Moreau, Connie Morgan, Paul Olsen, Greg Pierce, Greg Wilzbach

Special Electronics … Kris Dean, Stephen Fog, John Gilman, Jim Goodnight, Fred Iguchi, Robin Leyden, Greg McMurray, Mike Myers

Special Editorial … Michael Backauskas, M. Kathryn Campbell, Nora Jeanne Smith

Photographic Effects Projectionist … John Piner

Photographic Effects Project Managers … John James, Bill Millar

Assistant to Mr. Turnbull … Mona Thai Benefiel

Assistant to Mr. Yuricich … Joyce Goldberg

Assistance to Photographic Effects … Leora Glass, Brett Webster

Optical Consultants … Alan Gundelfinger, Milt Laiken

Mechanical Designs … George Randle Co., Precision Machine, Dieter Seifert, Rourke Engineering

Transportation Coordinator … Robert Mayne

Photographic Effects Sequences by … Apogee, Inc.

Photographic Effects Supervised by … John Dykstra

Photographic Effects Project Manager … Robert Shepherd

Miniatures Supervised by … Grant McCline

Supervisor of Optical Photography … Roger Dorney

Photographic Effects Cameramen … Chuck Barbee, Bruno George, Michael Lawler, Jerry Pooler, Doug Smith, John Sullivan

Animation Effects … Harry Moreau

Electronic Design … Alvah J. Miller, Mat Beck, Paul Johnson, Steve Sass

Production Illustrators … Martin Kline, Syd Meade, Jack Johnson, John Shourt

Mechanical Design … Dick Alexander, Bill Shourt, Don Trumbell

Photographic Effects Photography … Cosmos Bolger, Dennis Dorney, Robert Elswitt, Phil Gonzales, Greg Kimble, Ron Nathan, Michael Sweeney, Diane E. Wooten

Effects Props and Miniatures … David Beasley, John Erland, John Garlington, Pete Gerard, Rick Gilligan, Richie Helmer, Michael Joyce, Deborah Kendall, Don Kurtz, Pat McClung, Gary Rodaback, John Ramsay, Dennis Schultz, David Scott, Dick Singleton, Richard Smiley, David Sosalla, Susan Turner, Don Webber, Gary Weeks

Photographic Effects Grips … Mark Cane, Mark Kline

Photographic Effects Gaffer … Chuck Embrey

Wardrobe … Mary Etta Lang

Animation and Graphics … Angela Diamos, John Millerburg

Photographic Effects Editorial … Denny Kelly, David Barttholomew, Steven Klien, Steve Mark

Special Visual Consultants … Mike Middleton, Erik Nash, Phil Joanou

Assistant to Mr. Dykstra … Mimi McKinney

Assistant to Mr. Shepherd … Ann M. Johnson

Assistance to Photographic Effects … Deborah Baxter, Janet Dykstra, Phillip Golden, Proctor Jones, Tut Shurtleff

Optical & Mechanical Consultants … B/G Engineering, Abbot Grafton, Gerald Nash

Geometric Designs … Ron Resch, Boston University

Certain Models Manufactured at … Magicam, Inc.

Titles … Richard Foy, Communication Arts, Inc.

Orchestrations by … Arthur Morton

Scoring Mixer … John Neal


Captain Kirk … William Shatner
Spock … Leonard Nimoy
Dr. McCoy … DeForest Kelley
Scotty … James Doohan
Sulu … George Takei
Dr. Chapel … Majel Barrett
Chekov … Walter Koenig
Uhura … Nichelle Nichols
Ilia … Persis Khambatta
Decker … Stephen Collins
Janice Rand … Grace Lee Whitney
Klingon Captain … Mark Lenard
Alien Boy … Billy Van Zandt
Epsilon Technician … Roger Aaron Brown
Airlock Technician … Gary Faga
Commander Branch … David Gautreax
Assistant to Rand … John D. Gowans
Cargo Deck Ensign … Howard Itzkowitz
Lt. Commander Sonak … Jon Rashad Kamal
Chief Falco … March Lafferty
Lieutenant … Michelle Ameen Billy
Chief Ross … Terrence O’Connor
Lt. Cleary … Michael Rougas
Woman … Susan J. Sullivan

Crew Members … Ralph Brannen, Ralph Byers, Paula Crist, Iva Lane, Franklyn Sheales, Momo Yashima

Klingon Crewmen … Jimmie Booth, Joel Kramer, Bill McTosh, Dave Moordigan, Tom Morga, Tony Rocco, Joel Shultz, Craig Thomas

Vulcan Masters … Edna Glover, Norman Stuart, Paul Weber

Security Officer … Joshua Gallegos
Yeoman … Leslie C. Howard
Technical Assistants … Sayra Hummel, Junera Jennings
Stunts … Robert Bralver, William Couch, Keith L. Jensen, John Hugh McKnight

Theme from Star Trek television series by Alexander Courage

Computer Motion Control System for Miniatures … Bo Gehring

Certain Special Visual Effects Conceived and Designed by … Robert Abel & Associates

RA&A designs by … Richard Taylor
Medical Computer Displays Courtesy of … Digital Equipment Corporation

Production Kinetic Lightning Effects in Engine Room and Voyager 6 Complex by … Sam Nicholson, Brian Longbotham

Technical Assistance by … Polaroid Corporation
Certain computer Equipment by … Sutherland Computer Corporation
Casting … Marvin Paige