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TrekMovie.com did an interview with David Fein. He’s one of the producers that worked with Robert Wise on The Director’s Edition back in 2001 that’s worth reading.

https://trekmovie.com/2022/04/...ctors-edition-to-4k/

quote:
Interview: Producer David C. Fein On Bringing ‘Star Trek: The Motion Picture – The Director’s Edition’ To 4K

April 3, 2022 | By: Brian Drew

Coming up on April 5th (also known as Star Trek Day) Paramount+ is releasing a 4K UHD upgrade of Star Trek: The Motion Picture – The Director’s Edition, with a physical media release coming this fall. This has been a highly anticipated legacy Star Trek project ever since it was teased back in 2019. Work on the new edition reunited the original 2001 DVD DE production team of producer David C. Fein, restoration supervisor Mike Matessino, and visual effects supervisor Daren R. Dochterman. TrekMovie had a chance to talk with producer David C. Fein about bringing director Robert Wise’s “final cut” into the modern era.

Can you talk us through how difficult it was to make this project finally happen?

There is no better time for this to have ever happened, as now. Now is the time when the breakthroughs that we’ve had technologically really delivered on what we could do, and how we can make it so much better than it ever was before. So how it happened? Of course, we did the original work in 1999, and the film [The Director’s Edition] came out in 2001. That was always intended as the work cut to show the studio to go back and do it on film. We were thrilled with it, but it couldn’t hit everything. It could hit what would be possible from DVD standards, and the studio was thrilled because that’s where the studio was making the money at the time. We presented it to them, and they said: “This is beautiful. This is wonderful, thank you. But we don’t see a reason to go to high def right now.”

So things change over the years. It was incredibly important to [Robert Wise] that his legacy be The Director’s Edition, because he always was very upset that the theatrical wasn’t finished, and it meant the world to him that The Director’s Edition was. So having to watch the theatrical come out again, in high def, because there was no Director’s Edition, he took me aside at his condo, sat me down, and said, “You know, Dave, I need you to promise me something, Never give up. This film has to be The Director’s Edition. And it has to be on film or at least film master quality.” And I gave him my promise that I would never stop.

Over the years, I’d go back to the studio and say, “Hey, now it’s time for us to go back and do it again.” And they’d say, “Well, you know, the high def [Theatrical version] is still here, we don’t really see putting in the time and it isn’t cost-effective.” So we kept going and kept going. There were two important breakthroughs that happened around the 40th anniversary of the film. Number one, this film seems to have this 20-year cycle, we had the renewed interest from the 40th anniversary, and [number two] we finally reached a place where I knew we could also do it cost-effectively, at film [quality] level. Originally, we could never have done the production, even close to the budget we had today, which was still reasonable, anytime sooner, and at this quality. And that was my goal.

When I went to the studio, I said, we are producing a new digital negative. That’s what my goal is, I’m going to do a new digital negative so that it will be timeless and available in all formats for the future. And now it has been finished in a way that is able to be used in every format for the future as well. So speaking to them, they understood, they loved it, and it was just a matter of going within the studio to figure out where we get the budget, how we worked it out, and it took a while to do it. And Paramount+ were our wonderful saviors, who came in and said, “Of course, let’s do it for Paramount+.” And I said, “So long as we get our film negative, let’s go for it.” Paramount+ has been incredibly supportive and helped get the job going.

What has changed specifically in the technology in the last 20 years? And how did that change the way you approached it, compared to how you and the team did 20 years ago?

What’s changed over the 20 years really has been computer technology, because one of the ways that we were even able to do The Director’s Edition originally was we were able to bring it into the editing system and really have the ability of adjusting everything in the project as we went along, having it freely there to work on it. And really, it wasn’t until the invention of Thunderbolt 3, if we’re going to start talking about real technology levels, that we got to the point where we could bring the film into a computer and keep it as an uncompressed negative, and do the assembly, but also do work on every shot, sitting in front of an editing system. And not only do the edit but also be able to adjust everything. And pretty much just about every shot in the film has had some alteration or touch to it. A lot of that is just going in to bring out the subtle details in the negative, but also going shot-by-shot multiple times, being careful to get that dirt and excess grain out of it. Because that was my big focus with Daren and everybody involved that we needed to take out every problem that drew people out of the story. My focus now was, as encouraged by Bob, to make it the best story it can be, not the best restoration of something old. So my goal was to focus on the storytelling and use every tool available — color, sound effects — to make it compelling, cohesive, and engaging more than ever, and the edit hasn’t changed. But there’s so much more going on now in the background, and even visually than ever before, to really amplify that and give it an exhilarating experience.

Speaking of the visual effects. There are a few subtle things that weren’t in the 2001 edition. So were these things that weren’t possible but Bob wanted them or things you guys feel were in the spirit of what he wanted? Like the addition of the travel pod.

That was actually something that was intended to be done in the 2001 version, we actually always wanted to put the travel pod on the front of the office complex. And frankly, that was more a matter of time. And it wasn’t something that was essential to get in originally, because it didn’t change the story as much. The goal was to get everything that we wanted to get in originally into it this time. And we did. And just finding the original elements made it even more possible and beautiful.


Kirk and Scotty’s travel pod is docked at the office complex at the bottom left of the shot. Fixing a mistake that goes back to 1979, intended to be fixed in 2001, but they ran out of time.

Let’s talk about that. You had the original camera negative, and you had Trumbull’s 65mm elements.

Not all of it, much of it, there were still a lot of holes of things that were missing. The Paramount archive did an incredible job of cataloging and storing everything that they had. A lot of materials have been lost over the years. Trumbull’s 65mm material was scanned at 8K, Dykstra’s VistaVision material was scanned at 6K and the 35mm anamorphic was scanned at 4K.

Were Trumbull and Dykstra involved with you guys?

Trumbull was a consultant on the project. We spoke to John [Dykstra] about it, but he wasn’t directly involved in reviewing anything we’ve done. Unfortunately, it breaks my heart that Doug [Trumbull] didn’t get a chance to see the final work, but I know that he was thrilled with the quality and what was coming together. I’ll tell you the original composites for the film, I never realized that they were not nearly as sharp as I would have expected them to be. And when we were getting in those 65-millimeter elements, I fell off my chair, it was so gorgeous, just unbelievable, and clean. The clarity and sharpness. And then it would be sad because we’d find a shot in the film where we didn’t have the elements to work on it. And that’s why it was important that also over the past 20 years, I’ve been studying every single tool that’s out there that does not cause any picture loss, but is able to just bring out more of the details and found a good balance so that even the shots we didn’t re-composite, we were still able to bring them to a level that at least balance and generally match with what the other shots are, even though the other ones are a little bit clearer and better. Another benefit, in shots like the Enterprise leaving drydock, we found the Earth element that was always intended to be there, but wasn’t part of the composite. So that was an absolutely thrilling moment of putting that back in. And Daren did a beautiful job on it.

Now, this goes beyond what we see, it sounds different as well. It’s more intricate. There are some elements that we didn’t hear before, but you’re not creating anything new, I assume.

So what can you talk us through about how you updated the sound for The Director’s Edition?

Well, this is not polishing, it’s working on the storytelling. So yes, there is a tremendous amount of improvement in the quality of what we had before. Because we have the ADR [dialogue replacement] tapes, we’re able to digitally transfer them. Paramount did a digital transfer for us, so zero generation loss, we were able to go back in and take all of those lines that have been muffled and adversely affected, you know, there were problems with most of the dialogue, because of the dubbing over and the rush. All of those pieces that were ADR have been put back into the film over the muddy ones. So they sound beautiful. What’s also wonderful is because we didn’t have the ADR before, we didn’t realize that some of the scenes that were put back in where we used the sound originally from the Special Longer Version because that’s all that was available to us. Well, Bob directed the actors to loop the dialogue for a number of those scenes. So now, we’re able to have [Wise’s] choice for the performances of the way that the lines are stated, for scenes that were restored to the film, but didn’t have the ADR dialogue originally.

So can you give us an example? Isn’t there a scene with Scotty and Decker and the Ilia probe that was deleted?

It is a deleted scene, it’s not going back into the film, it’s going to be put on the physical media [as a bonus]. It was a scene that we found 22 years ago, but there was no audio for it. And what we found was obviously, that at the late stage of the game, they were still considering leaving it in the film, so those volumes of dialogue were looped for the scene, and we were able to go back and put the lines in. So now the scene plays. And we actually finished the scene, we went back and did foley and sound effects and everything to make the scene really work now, even though it’s a scene that doesn’t belong back in the film, and that actually started out with Kirk making an announcement just to engineering. And that announcement would be played so that they could ask the probe questions, and that starts out with Scotty angrily saying something to her. But what’s great is we also found, this time around, that because we knew we were putting the scene back together, we didn’t have Scotty’s angle. Now we do. But that’s a perfect example of where the fact that there is looping existing, that there’s something more that can be seen from it.

Those extra scenes on the bridge or within the film that were intended to be looped and used in the film were just used based on what we had available before. Now the dialogue is improved. Now, as I said before, Bob’s focus, and what he told me from the start, was always focus on storytelling and use every tool available. We used The Director’s Edition audio as a base. And yes, there is new sound, because we even found additional dialogue that was intended to be used in the background from the actors that are now in different places within the film to fill in those holes. Aurally, this is a different film from 2001, the new Atmos mix is marvelous.

So if you’re a casual fan, and you’ve seen this film, what do you feel people will take away watching and listening to this, who maybe have dismissed the film in the past?

What I’m excited about is that even when they made the film originally, it never reached the potential of where it was going to go. Even the color is taking a major role this time. When they did the color grading, it was just as rushed in ’79 as everything else. It takes a while to time and carefully plan out the color for a film — they had four days, the whole film was colored in four days in ’79, and that remained what everybody matched to in every video transfer all along until 2001, where we did the best we could to kind of get it closer to the way that it should look. But at that time for home video, you color graded at the start, not at the end. Because you have that mastered, then you worked on assembling. When you’re doing it on film you’re working on the negative, then you go in and you start working on the color grading. So now with the new digital master, the Klingons are a darker, more gritty space, whereas when you’re on the Enterprise the lighting can change for the scenes, to keep it focused on the moment that’s happening and on the characters. There’s subtlety, your eyes are drawn into the characters through the color. Plus with HDR, where you can have the brightness and darkness and color levels that are amazing, we have the scene of the probe on the bridge, we see it now it is amazingly bright, because that’s what’s happening in the film. That’s the purpose of it being bright, because it can be, and the sound is so much more powerful to carry those scenes. Like the wormhole sequence, where the sound now moves with it, because the whole experience and the whole concept is to make sure that the story draws you in. Because that’s what we want. We want to be taken into an adventure and be pulled into it. All of these little aspects of ways that are compelling and storytelling were lost when they did it originally and lost all these years. And it wasn’t until now that we’re able to bring all of this back in and make it be a coherent film. It’s a different movie now that works so much better. I’m excited for people to see it because it is compelling.


Thanks to the new Dolby Atmos sound mix, during the wormhole scene the sound now warps and moves with the viewer.

And now with the sound. There are things going on in the film now, that happen, basically off-screen, or were happening that you don’t really consciously acknowledge. But for the first time, they’re suggested. And there’s so much happening to give it a more rich experience and a rich delivery of that story. It was all about making it this new experience that draws you in and takes you and gives you that film joy of just floating into it and doesn’t have any of the flaws over the years, other shortcomings that were there. It’s cleaned up, and one of my goals was, early on, I told everybody: let’s do everything we can to take anything that’s in the film that takes you out of the film out, like the huge grain, that’s suddenly all you’re looking at is grain going by. It can’t lose the detail because there’s so much beauty in what we’re seeing. But that grain distracted you. Like the big shot where the Enterprise is coming out of V’Ger and all you saw is blue with lots of grain. Now it’s smooth, it works without losing the quality. That’s the thing. There’s so much love in it, and giving us the experience of exhilaration at moments, that’s not the word that I ever would have used for the film before. So my greatest hope is that people will see it for what it is. It’s a film for 2022 and I’m so excited for everyone to be able to see it.
 
Posts: 4127 | Location: Kansas City, MO | Registered: May 28, 2004Reply With QuoteReport This Post
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So I have to ask if anyone here was brave enough to watch this. As someone that loved the 2001 version, I loved this version as well or a little better. Some additional touches were added, the redoing of the rec room scene with Kirk, Spock, and Bones was a little of an overreach, but the editing of the movie speeds up the process, the scenes added in originally actually provided character arcs and a plot that went somewhere instead of just ending. This version also got an amazing Digital Restoration and color timing that looked amazing and the Dolby Atmos sound mix sounded perfect on my Dynaudio 5.1.2 system even on streaming.

I can't wait to see the physical disk with special features in September which the team is working on.
 
Posts: 4127 | Location: Kansas City, MO | Registered: May 28, 2004Reply With QuoteReport This Post
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It's still a movie that probably should have been a TV episode (and one of the weaker ones in a season), but the new edition is an improvement. The quality of the video and audio is very notably improved. The good thing about ST TMP is that every time I watch it I feel compelled to immediately watch Wrath of Khan afterwards. I don't know how many times I've seen Wrath of Khan, but one more time never hurts...
 
Posts: 2590 | Registered: November 13, 2003Reply With QuoteReport This Post
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outta the oven!

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I recall reading a long time ago that Shatner showed up on the set of ST:TMP like 50-60 lbs overweight and couldn't even fit in the uniform they had created for him and the director was like "this ain't gonna work" so they put him on some crazy weight loss and exercise regimen to get him slimmed down.

quote:
Originally posted by copaup:
It's still a movie that probably should have been a TV episode


Well it was based off the ST:TOS episode The Changeling. In the TV episode the probe that wanted to return to its creator was called Nomad.


 
Posts: 33592 | Location: Pennsylvania | Registered: November 12, 2007Reply With QuoteReport This Post
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If this makes Star Trek: The Slow Motion Picture watchable, that's a huge win. I remember my dad buying this on VHS and it was a big deal for us to watch it together. Right before we fell asleep, I have this vague memory of Bones looking at the plot and saying "He's dead, Jim."


Please support the SF "Help Mike!" campaign to raise legal fees for a 72 year old Texas teacher and hobby rancher who had 6 forgotten 9mm rounds in his checked luggage leaving T&C and faced 12 years in prison and $50k legal fees at https://fundrazr.com/b2KZgc.
 
Posts: 2023 | Location: New Mexico | Registered: April 24, 2008Reply With QuoteReport This Post
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I've developed a habit of watching older movies from a 'historical' perspective. For example, watching movies like John Wayne's "Hatari" - EVERYBODY smoked (the film was sponsored by a tobacco company), drank, and talked down to women. Other movies from the 50s/60s/70s made 'women driver' jokes, and movies from the 80s were a LOT more likely to use slang like 'fag' or 'that's gay' when describing somebody. I've been going through a lot of old stuff on Disney+, and a lot of people smoke and drink. In "The Computer Wore Tennis Shoes" with Kurt Russell, they even had a Playboy reference. It's a LOT different now, of course.

A movie can tell me a lot about the era in which it was made. So, watching Cannonball Run, for example, I can learn more about the 80s instead of just turning my brain off and watching a movie from my childhood. In that case, Roger Moore got top billing (just behind Burt Reynolds, IIRC), since he was James Bond at the time. They had a lot of off-color humor (Sammy Davis Jr and Dean Martin were in it, of course) that would NEVER make it through today. They abducted Farrah Fawcett and drugged her, and it was played off as a joke. This was Jackie Chan's first mainstream western role (he was one of the 'Japanese' rice-grinder drivers), and he liked the gag reel clips in the end credits so much, he incorporated them into his own movies when he made it big.



In the case of The Motion Picture, it's hard for me to really enjoy that movie as a Star Trek film. I have been a life-long TrekNerd, but it's a real snoozefest. Roddenberry said during the TOS era that one should never use SFX for the sake of using SFX. Well, here, they used ALL the SFX they shot, dragging the film down and making it look like a third of the film was 'beauty shots' of the Enterprise or V'Ger and a third was the crew gazing at the viewscreen in slack-jawed wonder. From what I've read, they spent so much on the SFX that corporate insisted they use it all instead of discarding it.

The plot was ok, but the pacing was slow. I was too young to see it in the theater, but it was the first time in a long time that the entire crew was together, so it was a major milestone. They had new uniforms (the horrible 'space clothes' that the crew almost mutinied over - they agreed to come back for ST II ONLY IF they got new uniforms, which gave us the classic red Royal Navy-esque uniforms). Even to this day, the "Constitution Refit" design of the Enterprise is some of the most stunning starship design work I've ever seen. I like her better than ANY of the later Enterprises ("no bloody -A, -B, -C, OR -D;" to quote Scotty).

Also, TMP is a LOT closer to the original Trek pattern than the last several movies. It was 'cerebral.' Star Trek has always been a 'thinking man's Sci-Fi,' whereas Star Wars was more a 'shoot-em-up' genre (somebody explained that Trek was Sci-Fi, whereas Wars was Science Fantasy). TMP emphasized character development and plot, with attempts made to actually explain the science behind everything; whereas the later TNG movies turned the main cast into Bruce Willis 'punch-an-alien-in-the-face' action movies.

I don't have Paramount+ anymore, since my free trial period expired. However, I would be interested in seeing this version. TMP was a very important film, as it opened the door to all future Trek. It resulted in Wrath of Kahn, probably the best Star Trek movie of all time (and even that one is dated by modern standards). ST IV was such a success that they green-lit The Next Generation tv show, which of course, kicked off all the other shows that followed. So, I am grateful for TMP, even though it may not be very fun to watch. I will keep an eye out for it in case it ever makes it off the streaming service onto the networks. . .



Fear God and Dread Nought
Admiral of the Fleet Sir Jacky Fisher
 
Posts: 21820 | Location: Hobbiton, The Shire, Middle Earth | Registered: September 27, 2004Reply With QuoteReport This Post
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quote:
Originally posted by Hound Dog:
I don't have Paramount+ anymore, since my free trial period expired. However, I would be interested in seeing this version. TMP was a very important film, as it opened the door to all future Trek. It resulted in Wrath of Kahn, probably the best Star Trek movie of all time (and even that one is dated by modern standards). ST IV was such a success that they green-lit The Next Generation tv show, which of course, kicked off all the other shows that followed. So, I am grateful for TMP, even though it may not be very fun to watch. I will keep an eye out for it in case it ever makes it off the streaming service onto the networks. . .


Fathom Events is showing it in theaters on 5/22, 5/23, and 5/25. Tickets can be bought here:

https://www.fathomevents.com/events

If you just want to see the new cut, the 2001 DVD is still out there for about $10 and was the only version of the movie released on DVD, but you’ll miss out on the 4k remaster and upgraded sound.

The 4K Blu Ray release for this will happen in September, but the exact date has not been announced.
 
Posts: 4127 | Location: Kansas City, MO | Registered: May 28, 2004Reply With QuoteReport This Post
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I just watched it last night.

I have no idea what you guys are yammering about. This movie is every bit as boring and horrible as it was when released. It’s awful. It literally starts with music and 5 minutes of staring at stars. No starship, nothing. Just stars. And music. High point of film.
 
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No offense to the OP, but IMO, improving sound and visuals still doesn't make up for a bad script, acting, editing, etc. I'll take a scratchy, grainy, mono-sound 16mm film print of Casablanca than the state of the art re-release of this particular Star Trek movie.



"I’m not going to read Time Magazine, I’m not going to read Newsweek, I’m not going to read any of these magazines; I mean, because they have too much to lose by printing the truth"- Bob Dylan, 1965
 
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quote:
Originally posted by oddball:
IMO, improving sound and visuals still doesn't make up for a bad script, acting, editing, etc.


 
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quote:
Originally posted by pedropcola:
I just watched it last night.

I have no idea what you guys are yammering about. This movie is every bit as boring and horrible as it was when released. It’s awful. It literally starts with music and 5 minutes of staring at stars. No starship, nothing. Just stars. And music. High point of film.


Let me guess, you also think 2001 was boring and horrible or need a narration for Blade Runner to make sense.

As for the movie itself, the editing has been improved and it’s a better movie, but still won’t be the greatest movie in the world. Much like restoring Alien 3 or Touch of Evil to it’s original edit (don’t tell me you haven’t heard of those either), it’s taken a broken movie that was wrecked by a studio, reedited where sequences actually make sense, and had it originally been released in it’s corrected state would have fared much better at the box office.
 
Posts: 4127 | Location: Kansas City, MO | Registered: May 28, 2004Reply With QuoteReport This Post
Oh stewardess,
I speak jive.
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I like it. Always have. Warts and all.

Better sound and visual absolutely are enough.

But I like all Trek. That's right. All of it. Even the new wokey ones. (Well, fuck that hideous intro song to Enterprise series, but the rest is fine enough to enjoy.)

It's space, and phasers, and ships, and transporters, and aliens, and shit...

The plot is largely irrelevant. Big Grin
 
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Never heard of touch but of evil. V’ger. It’s not even a decent story. It’s a hack script. I’m glad you love it. William Shatner loves the residuals.

Johnny Depp loved Amber at one point. Love is blind.
 
Posts: 7342 | Location: Florida | Registered: June 18, 2005Reply With QuoteReport This Post
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quote:
Originally posted by pedropcola:
Never heard of touch but of evil. V’ger. It’s not even a decent story. It’s a hack script. I’m glad you love it. William Shatner loves the residuals.

Johnny Depp loved Amber at one point. Love is blind.


You’re also the only one being a prick about it, too. There’s been multiple people in this thread that weren’t fans of it or not interested, which is fine. You aren’t required to. Nor are you required to be a prick from beginning, middle, and end.
 
Posts: 4127 | Location: Kansas City, MO | Registered: May 28, 2004Reply With QuoteReport This Post
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The 4K Blu Ray of this came out this week and for those looking for a reference quality disc, this one is it. The Dolby Atmos track and the new scan makes this movie look like it could have come out a couple of years ago instead of 42. The Special Features also include a lot of detail on the how they accomplished special effect shots between two VFX legends in Douglas Trumbull and John Dykstra and also shows. It's also a reminder about how this movie was also responsible for future Star Trek to be produced as every Star Trek film and tv show used parts of what was built in 1978/79 for 30 years.

I am a little pissy about packaging for the "Complete Adventure" set. It's also the same thing with the Universal Alfred Hitchcock 4K Blu Ray sets. These disks are extremely sensitive to finger prints in a way that CDs, DVDs, and Blu Rays never have been. So why the actual fuck would you design a case where the only way to rip the disc out without destroying the packaging is making you jam two or three fingers into the packaging to smack a huge fingerprint on the data side of the disk to pull it out! At this rate I'm going to need a microfiber cloth or something next to my 4K player. /rant.
 
Posts: 4127 | Location: Kansas City, MO | Registered: May 28, 2004Reply With QuoteReport This Post
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Is the script better in blu ray?

It’s just a joke so relax.
 
Posts: 7342 | Location: Florida | Registered: June 18, 2005Reply With QuoteReport This Post
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I saw this in the theater when it first came out. My father and I came out of the theater expecting more from it. It was pretty lame then and I liked watching the tv series.
 
Posts: 6840 | Location: Treasure Coast,Fl. | Registered: July 04, 2003Reply With QuoteReport This Post
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quote:
Originally posted by patw:
I saw this in the theater when it first came out. My father and I came out of the theater expecting more from it. It was pretty lame then and I liked watching the tv series.


saw it on the big screen as well

was amazed as a 13 yr old fan could be

I refused to tell myself the story sucked, and kinda still do,



https://www.chesterfieldarmament.com/

 
Posts: 10409 | Location: Beach VA,not VA Beach | Registered: July 17, 2007Reply With QuoteReport This Post
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I'll watch it just for the sound track. Some of Jerry Goldsmith's best.


_________________________
OH, Bonnie McMurray!
 
Posts: 7505 | Location: Pueblo, CO | Registered: July 03, 2005Reply With QuoteReport This Post
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quote:
Originally posted by goose5:
I'll watch it just for the sound track. Some of Jerry Goldsmith's best.


The disc also has the Isolated Score in Dolby Atmos.

quote:
Is the script better in blu ray?

It’s just a joke so relax.


It did get rather contentions a few months ago. Either way, with a script that was updated every couple of hours and when they Director’s first watch of the movie from beginning to end was the premier, it’s amazing the original cut was as good as it was. This is a movie a lot like Apocalypse Now or Blade Runner where the story of making the movie is as interesting as the movie itself.

And for those wondering why no one caught the similar plot of The Changeling with Nomad destroying everything around it is that no one on the creative team was working on Star Trek at that time. Gene Roddenberry left Gene Coon in charge while he was away at National General Pictures either trying to make a Tarzan or Robin Hood movie. He didn’t come back to the series until the beginning of Season 3 and left before premier because NBC dumped the show on 10:00 PM Fridays after promising him a better time slot.
 
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