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Star Trek: The Motion Picture

When an alien spacecraft of enormous power is spotted approaching Earth, Admiral James T. Kirk resumes command of the overhauled USS Enterprise in order to intercept it. When an alien spacecraft of enormous power is spotted approaching Earth, Admiral James T. Kirk resumes command of the overhauled USS Enterprise in order to intercept it. When an alien spacecraft of enormous power is spotted approaching Earth, Admiral James T. Kirk resumes command of the overhauled USS Enterprise in order to intercept it.

• Robert Wise
• Gene Roddenberry
• Harold Livingston
• Alan Dean Foster
• William Shatner
• Leonard Nimoy
• DeForest Kelley
• 581 User reviews
• 121 Critic reviews
• 50 Metascore
• 4 wins & 21 nominations total

• Captain Kirk

• Janice Rand

• Klingon Captain

• Epsilon Technician
• Airlock Technician

• Commander Branch

• Assistant to Rand
• (as John D. Gowans)
• Cargo Deck Ensign
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia When Captain Kirk addresses the crew before launching, many of the extras were noted Star Trek fans, including Bjo Trimble , co-organizer of the letter-writing campaign that kept Star Trek (1966) alive for a third season.
• Goofs When Kirk first comes on board Enterprise he is called "Admiral," and then "Captain" a few seconds later. However, it is customary for the person in command of a ship to be addressed as "Captain," regardless of his military rank.

[last lines]

Chief DiFalco : Heading, sir?

Captain James T. Kirk : Out there... thataway.

• Crazy credits End title: "The human adventure is just beginning."
• The landscape of Vulcan was changed to include a yellowish sky and new landscape featuring massive statues. All other footage was tinted gold.
• The matte painting of the Golden Gate Bridge in the scene where Kirk arrives at Starfleet Headquarters was replaced by a new CGI scene that shows Kirk's shuttle arriving at Starfleet. It is actually slightly longer than the original version.
• The matte painting of Starfleet Command was improved with CGI effects, including an original series shuttle launched in the background.
• In a close-up shot when Kirk first sees the new Enterprise from his shuttle, the image of the ship was superimposed over Kirk's face as a reflection in the shuttle's window.
• After Kirk leaves the bridge, a short conversation between Sulu, Uhura and an alien officer was inserted.**
• A new CGI shot of the Earth is shown on the viewscreen when the Enterprise leaves the planet.
• A new CGI effect showing one of the Enterprise's nacelles was inserted into the window when Kirk, Spock and McCoy speak on the observation deck.
• A new CGI shot was inserted which shows V'Ger's second energy torpedo vanishing before it could strike the Enterprise.
• The energy probe that invades the bridge now approaches in a CGI exterior shot.
• A new CGI shot shows the V'Ger vessel entering Earth orbit.
• The scene in which Chekov burns his hand is much longer and shows Lt. Ilia healing him with her empathic powers instead of Nurse Chapel.**
• The long walk to V'Ger was totally redone. There is now a walkway that materializes out of thin air, compared to the endless field in the original version.
• The Enterprise's voyage to the center of V'Ger is slightly extended. It has a scene of Spock sharing a tear "for V'Ger" and Scotty ordered to self-destruct the ship if the landing party is unsuccessful.**
• The small black "empty matte" in the window when Decker and Ilia confront each other in the recreation deck was replaced with a CGI shot of the V'Ger cloud interior.
• The final explosion of V'Ger was slightly extended. The shot from the original version remained intact, but a new element of the vessel imploding its energy for the explosion was added.
• New opening titles were commissioned for the film's opening. The opening titles now have a slight fading effect and are now seen over a background of stars. The text is colored a bright gold, compared to the original version's white.
• The explosion in the wormhole was redone. There is now an exterior shot of the asteroid exploding and the wormhole disintegrating. Additionally, the viewfinder in the next shot is enhanced to show sparks and debris.
• The final message to the audience, "The human adventure is just beginning", was altered. In the original version, the starfield cuts away to a blank title card showing the text. In the Director's Edition, the starfield was extended by a few seconds to allow the text, colored bright gold, to fade into the picture.
• The ending credits were slightly altered. The text, as with the opening titles and the final "human adventure" text, was changed color, from white to a bright gold. Additionally, the music was slightly extended to add new Director's Edition credits.
• An all-new sound mix was commissioned, keeping the music and dialog intact, and adding new effects for almost all scenes. For example, the Enterprise computer voice alarms are now replaced with klaxon sirens, the lightning effects have new echoes, and a blend of Enterprise bridge sound effects from the original Star Trek series, Star Trek II: The Wrath of Khan, and Star Trek VI: The Undiscovered Country have been added into the background of scenes taking place on the bridge. The new mix is in Dolby 5.1 EX Surround.
• The footage from 1979 was digitally restored and remastered, and combined with the new CGI elements.
• The opening overture has been restored to its full length. It is also played over a CGI starfield, rather than the blank screen in the original version.
• A slight dialog alteration was made: In the 1979 and 1983 versions, the V'Ger cloud is said to be "over 82 AUs in diameter" which equals 7.626 billion miles across - much too large for the Enterprise to realistically travel to the heart of the cloud at subwarp speeds within a reasonable length of time. For the Director's Edition, the Epsilon 9 commander's dialog was altered so that the cloud is now said to be a (somewhat) more reasonable "over 2 AUs", or 186 million miles.
• The producers of the Director's Edition submitted the film for re-rating by the MPAA, hoping for a PG rating rather than the original G rating which they believed carried a negative association; the basis for the higher rating was the intensified soundtrack. Oddly, when the original theatrical version was released on DVD and Blu-ray in 2009, it carried no MPAA rating.
• Scenes previously available in the "special longer version."
• Connections Edited into Star Trek II: The Wrath of Khan (1982)
• Soundtracks Theme from 'Star Trek: The television Series' Written by Alexander Courage and Gene Roddenberry

User reviews 581

• The_Other_Snowman
• Mar 19, 2007
• How long is Star Trek: The Motion Picture? Powered by Alexa
• Why did V'Ger choose to take Ilia out of all the people on the Enterprise?
• Did V'Ger ever transmit its data or just join with the Creator?
• What is "Star Trek: The Motion Picture" about?
• December 8, 1979 (United States)
• United States
• Startrek.com
• Star Trek I: The Motion Picture
• Yellowstone National Park, Wyoming, USA (portions of planet Vulcan sequence filmed at Minerva Terrace)
• Paramount Pictures
• Century Associates
• Robert Wise Productions
• See more company credits at IMDbPro
• $35,000,000 (estimated)
• $82,604,699
• $11,926,421
• Dec 9, 1979
• $82,676,805

Technical specs

• Runtime 2 hours 23 minutes
• Dolby Stereo
• Dolby Surround 7.1

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Why Star Trek: The Motion Picture's Horrifying Transporter Accident May Be The Director's Edition's Most Important Scene

Producer David Fein explained its significance to CinemaBlend.

Star Trek: The Motion Picture Director’s Edition changed a lot about the original film. And for many, it vastly improved upon that original project, which was rushed to theaters in an incomplete state (and we have it pretty low on our Trek movies ranking list ). Many of the improvements remove “bad laughs” and update the visual effects. One of them, however, turned an already upsetting transporter accident into straight-up nightmare fuel by making a horrifying tweak to the sound. Ironically, it also may be the most important scene of the Director’s Edition , and the reason for that may not be so clear to viewers right away.

CinemaBlend had the pleasure of speaking with producer David C. Fein about the latest 4K edition of Star Trek: The Motion Picture Director’s Edition , and I, of course, needed some answers about the changes made to the transporter scene. Fein noted that during his discussions with director Robert Wise, it was decided that the scene needed to be more powerful but also have another purpose. The producer explained that it was part of sending a message to the audience that the director’s cut was a different movie from the original: 

We wanted to also tell people this was a better film and a different film, a mature film. And we realized that the G rating that they gave, time had changed from a G just being something that wasn’t as harsh for audiences, to G [means a] kids film. And we knew that if I was able to send the film back in for re-rating, it would and it could get a PG. And that would spark people’s interest in the film and [they'd be] like, ‘What could possibly have been done to that film at the time to gain a PG rating.’

Star Trek: The Motion Picture is a lot of things, but few would accuse it of being a movie that’s full of frightening moments and scares that raise a rating (it did almost feature a fist fight between Captain Kirk and Jesus , though). Of course, the one scene that features the gruesome and unimaginable death, thanks to a malfunction in a refitted transporter, goes a long way.

For those who don’t remember, Science Officer Commander Sonak and a female officer became stuck midway through and are briefly seen in a deformed state. Viewers don’t see much else but hear a frightening and almost otherworldly guttural gasp. David Fein talked about instructing the updated scream for the Director’s Cut, and what it needed to sound in order for the rating to be changed:

I’ll tell you exactly what I told my sound department… ’It should definitely be a nails on a chalkboard level of tension,’ but I also said, ‘Imagine if you were in the most horrible pain of your life and you needed to scream just to get it out, but you had no way, no orifice, to even scream. What would it sound like if, finally, you could make some sound, what would that sound be?' It’s funny, I talk about it, and the hairs on the back of my neck still stand up… So I said to the sound department, ‘We’re not G. You really want to make people nervous from this, and you need to scare them to the point of really making it the realistic fear of what was happening. Because it really is one of the most horrible deaths in the history of Star Trek, but it also got us a PG rating.

When it comes down to it, the transporter accident might truly be the most important scene in Star Trek: The Motion Picture Director’s Cut . Had it not been for the rating change, some of the franchise's fans might not have even given the movie a second look and assumed they had their fill of Trek villain V’Ger . Now, we’re blessed with a finished and re-edited version of the movie that elevates it to the level of respect it should’ve had if Robert Wise (who is the force behind amazing films like haunted house movie The Haunting ) was able to properly do everything he needed the first time around. 

Of course, all of the work on the transporter accident would’ve gone to waste had the director’s cut not removed Captain Kirk’s reaction to it. In the original cut, Kirk responded to the accident with a shocked face and said, “Oh my god,” which became a “bad laugh” with audiences and completely killed the tension of the accident. Kirk’s reaction was edited to appear more solemn in regard to what he'd just witnessed, a move that definitely helps the scene more than it hurts it. It’s a great show of one of the many changes made and helps to exemplify why this director’s cut so important to the Star Trek franchise. 

The 4K remaster of Star Trek: The Motion Picture Director’s Edition is now available non Blu-ray and can be streamed if you have a Paramount+ subscription . Watch it now for the horrific transporter accident, or check out The Next Generation to see some of the WTF moments that keep us up at night.

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Mick Joest is a Content Producer for CinemaBlend with his hand in an eclectic mix of television goodness. Star Trek is his main jam, but he also regularly reports on happenings in the world of Star Trek, WWE, Doctor Who, 90 Day Fiancé, Quantum Leap, and Big Brother. He graduated from the University of Southern Indiana with a degree in Journalism and a minor in Radio and Television. He's great at hosting panels and appearing on podcasts if given the chance as well.

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You'll Be Shocked To Learn These Movies Were Helmed By The Same Directors

Imagine Richard Nixon in Whoville!

BuzzFeed Contributor

Actors aren't the only talents in the movie biz with range. Plenty of directors have proven versatility in genres, and some projects are so vastly different, that it's hard to believe the same person directed them.

Here are 21 movie combinations you won't believe were made by the same director:, 1. happy feet and furiosa: a mad max saga.

Director: George Miller

Happy Feet is an animated jukebox musical comedy about a penguin finding himself through song. Furiosa is a post-apocalyptic action flick that's a prequel to Mad Max: Fury Road .

Miller has had a fascinating directing career with the likes of the original Mad Max series and even the "Nightmare at 20,000 Feet" segment in Twilight Zone: The Movie.

2. A Christmas Story and Black Christmas

Director: Bob Clark

A Christmas Story is a family Christmas comedy about a man reflecting over his memories as a boy and his family's misadventures in the 1940s. Then, there is Black Christmas , which is a horror movie about a killer hiding inside a sorority house.

There's a serious argument to be made that Clark owns the title for both "Best Christmas Movie" and "Best Horror Movie." If you think this combo is weird, wait until I tell you that Clark also directed the raunchy comedy Porky's .

3. Near Dark and The Hurt Locker

Director: Kathryn Bigelow

Before becoming an Academy Award-winning director, Bigelow created Near Dark , a vampire-horror love story between an Oklahoma man and a nomadic vampire. The Hurt Locker is just a little different from the vamp-romance, and it follows the stressful life of a bomb defuser during the second Iraq War.

Both movies have tremendous performances and scenes with unforgettable direction.

4. The Hangover and Joker

Director: Todd Phillips

The Hangover is a raunchy comedy about groomsmen who can't remember their bachelor's party, nor find the missing groom. Then you have Joker , a dark thriller and realistic take on the infamous comic book clown prince of crime.

Hollywood has a chance to make the funniest crossover ever — The Joker's Hangover.

5. 12 Angry Men and The Wiz

Director: Sidney Lumet

In one of the best legal dramas ever made, 12 Angry Men follows the deliberation of jurors who must decide if a teenager should be sent to the chair. The Wiz is the whimsical adaption of the stage musical of the same name.

The way both movies are filmed and blocked are ripe for the stage, which is why Lumet did such a tremendous job.

6. Spy Kids and Sin City

Director: Robert Rodriguez

Spy Kids is a family action movie about two kids who follow in their parents' footsteps as spies. Sin City is a neo-noir crime drama based on the always gritty Frank Miller novel.

One has a lot of gore, and the other has giant thumb people.

7. The Princess Bride and Misery

Director: Rob Reiner

Both are adaptations, but The Princess Bride is an adventure love story, while Misery is a psychological horror thriller.

Reiner uses plenty of closeups that make you feel close to the characters, and he utilizes this for both love and terror.

8. Eternal Sunshine of the Spotless Mind and The Green Hornet

Director: Michel Gondry

Gondry tore people apart emotionally with his romantic drama Eternal Sunshine of the Spotless Mind , and proceeded to do the same with his take on the popular superhero TV series-turned-film The Green Hornet (okay, maybe not quite the same emotional cord).

These are two vastly different styles and stories, and my jaw dropped when I saw Gondry directed both films.

9. How the Grinch Stole Christmas and Frost/Nixon

Director: Ron Howard

Howard brought Whoville to life with his adaptation of the family movie How the Grinch Stole Christmas, but he also proved he has the widest range in Hollywood by making the daring historical drama Frost/Nixon .

Howard has such a deep list of films, but these two might be the furthest from each other. The Grinch may be mean, but he isn't a crook.

10. Thor and Cinderella

Director: Kenneth Branagh

The "not-yet-MCU" trusted Branagh with the power of Thor , and Disney must have liked his work so much that they trusted him to bring the animated classic Cinderella into live-action.

Branagh has had an unreal acting and directing career, and it's no surprise that he successfully blends stories with emotionally driven characters.

11. The Sound of Music and Star Trek: The Motion Picture

Director: Robert Wise

I would have, never in a million years, guessed Wise was a "Trekkie," but what a mark to leave on both the sci-fi and musical fan bases. The Sound of Music is an absolute classic musical about the von Trapp family, and Star Trek: The Motion Picture was proof that the TV series could live long and prosper on the big screen.

12. Elf and Iron Man

Director: Jon Favreau

Favreau has dabbled in comedy and action, so it shouldn't be too surprising that he helped launch the MCU with Iron Man AND made the most popular Christmas film of this century, Elf .

He has also helped launch the Star Wars TV experience with The Mandalorian .

13. Avengers: Endgame and You, Me and Dupree

Director: Anthony Russo and Joe Russo

That's right, the Russo brothers staged one of the most epic cinematic moments in history while also being behind an Owen Wilson comedy. Go figure.

The big question is: Could Dupree annoy Thanos long enough to distract the Mad Titan in order for an Avenger to remove the infinity gauntlet?

14. 12 Years a Slave and Widows

Director: Steve McQueen

12 Years a Slave is a biographical drama about a free Black man kidnapped and sold into slavery. Widows is a heist movie following widowed women looking to score on their late husbands' final job.

The themes are miles apart for McQueen, but prove that directors should be given more opportunities to spread their wings in different genres.

15. Furious 7 and The Conjuring

Director: James Wan

Wan has made some incredible horror over the years, but The Conjuring is arguably the best of the 2010s. He also got in the driver's seat for the seventh installment of the high-speed action franchise, Fast & Furious .

Wan also directed Aquaman, so he's not afraid to add his horror weirdness into other genres.

16. Mouse Hunt and The Ring

Director: Gore Verbinski

So, DreamWorks decided: You know who should adapt the terrifying Ringu into an American film? The guy who brought audiences the dark family comedy Mouse Hunt.

Another great spinoff would be a movie about Nathan Lane trying to survive and outwit Samara in the darkest of comedies.

17. Monty Python and the Holy Grail and 12 Monkeys

Director: Terry Gilliam

The British comedy Monty Python and the Holy Grail is satire at its peak, but Gilliam also directed the popular sci-fi thriller 12 Monkeys .

You may have thought Gilliam couldn't handle anything outside of British comedy. 'Tis but a scratch...of his potential.

18. Star Wars: The Empire Strikes Back and RoboCop 2

Director: Irvin Kershner

Kershner helmed two sequels to popular franchises, one being The Empire Strikes Back as the sequel to the groundbreaking Star Wars, and the other being the sequel to the sci-fi crime action movie RoboCop.

Kershner made one of the greatest films of all time, and RoboCop 2.

19. Super Size Me and One Direction: This Is Us

Director: Morgan Spurlock

Super Size Me is a documentary following Spurlock as he tries to document the effects of eating McDonald's for every meal. Spurlock also directed the documentary One Direction: This Is Us, which followed the lives of the popular boy group.

I can't imagine another documentary-director combination existing. RIP Mr. Spurlock !

20. Lastly, The Lego Movie and 21 Jump Street

Director: Phil Lord and Christopher Miller

The Lego Movie is an animated family comedy about a Lego's journey to find himself, whereas 21 Jump Street is an action comedy about two undercover cops on a journey to find a drug dealer on a high school campus.

Lord and Miller have comedy down, but I never would have guessed these two films were helmed by the same hilarious minds.

Is there a director that you were stunned to learn made two very different films? Call them out in the comment section below!

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