grm.
← Older revision
Revision as of 12:15, September 13, 2014
(3 intermediate revisions by one user not shown)
Line 57:
Line 57:
In a move that was somewhat reminiscent of the one he made back in 1964, Roddenberry sounded Jefferies out in 1977 to rejoin his efforts to revitalize the live-action franchise, or as brother Richard had put it, "''January 1977, {{w|Michael Landon}} informed Matt that Gene had asked to "borrow" his art director for a few days.''" (''Beyond the Clouds'', p. 250) Jefferies came aboard in {{m|June|1977}} for the ''Star Trek: Phase II'' television project that was just started up that month, but declined tenure as Art Director, as he was unwilling to give up his job at Landon's production, the television series ''{{w|Little House on the Prairie}}''. In his stead, he recommended the by him aforementioned Joe Jennings, who had been his assistant during the original [[TOS Season 2|second season]], for the position and who was subsequently hired as art director the following month. Additionally, he recommended ''Star Trek'' veteran Jim Rugg for the special effects. On a temporary basis, as technical consultant, he did preliminary work in the summer on the [[Constitution class model (refit)|redesign of the ''Enterprise'']], using as starting point the ship he designed for the ''Original Series'', and which eventually resulted in the fabrication of detailed {{brokenlink|http://www.cloudster.com/Sets&Vehicles/STMPEnterprise/Phase2Drawings.htm|construction blueprints}} based on his preliminary redesign sketches for the build of the [[Constitution class model (refit)#Phase II model|''Phase II'' ''Enterprise'' studio model]]. Other things Jefferies looked into for the project, while ''Little House'' was in hiatus between April and September, were the bridge, the [[air tram station]], and a redesign for the ''[[Galileo (2287)|Galileo]]'' [[shuttlecraft]]. The operational manager for ''Phase II'', Producer [[Robert Goodwin]], noted in a progress memo dated {{d|3|August|1977}}, "''The shell ''[note: of the bridge]'' should be completed by the end of August. At the same time, Matt Jefferies, Joe Jennings and special-effects man Jim Rugg are at work designing and researching new types of instrumentation that will be used within the bridge, including new kinds of computer graphic displays, touch control switches, etc.''" (''[[The Making of Star Trek: The Motion Picture]]'', p. 36) His involvement ended permanently in early November, when the production of ''Little House'' was in full swing again. Still, even after ''Phase II'' was upgraded to ''Star Trek: The Motion Picture'' and a new ''Enterprise'' model had to be built, it was Roddenberry who ordained that the lines set by Jefferies were to be followed, vetoing any notion of a complete redesign. (''[[Star Trek Phase II: The Lost Series]]'', p. 26-28 & color inset; {{STTM|2|8}}, pp. 84-85)
In a move that was somewhat reminiscent of the one he made back in 1964, Roddenberry sounded Jefferies out in 1977 to rejoin his efforts to revitalize the live-action franchise, or as brother Richard had put it, "''January 1977, {{w|Michael Landon}} informed Matt that Gene had asked to "borrow" his art director for a few days.''" (''Beyond the Clouds'', p. 250) Jefferies came aboard in {{m|June|1977}} for the ''Star Trek: Phase II'' television project that was just started up that month, but declined tenure as Art Director, as he was unwilling to give up his job at Landon's production, the television series ''{{w|Little House on the Prairie}}''. In his stead, he recommended the by him aforementioned Joe Jennings, who had been his assistant during the original [[TOS Season 2|second season]], for the position and who was subsequently hired as art director the following month. Additionally, he recommended ''Star Trek'' veteran Jim Rugg for the special effects. On a temporary basis, as technical consultant, he did preliminary work in the summer on the [[Constitution class model (refit)|redesign of the ''Enterprise'']], using as starting point the ship he designed for the ''Original Series'', and which eventually resulted in the fabrication of detailed {{brokenlink|http://www.cloudster.com/Sets&Vehicles/STMPEnterprise/Phase2Drawings.htm|construction blueprints}} based on his preliminary redesign sketches for the build of the [[Constitution class model (refit)#Phase II model|''Phase II'' ''Enterprise'' studio model]]. Other things Jefferies looked into for the project, while ''Little House'' was in hiatus between April and September, were the bridge, the [[air tram station]], and a redesign for the ''[[Galileo (2287)|Galileo]]'' [[shuttlecraft]]. The operational manager for ''Phase II'', Producer [[Robert Goodwin]], noted in a progress memo dated {{d|3|August|1977}}, "''The shell ''[note: of the bridge]'' should be completed by the end of August. At the same time, Matt Jefferies, Joe Jennings and special-effects man Jim Rugg are at work designing and researching new types of instrumentation that will be used within the bridge, including new kinds of computer graphic displays, touch control switches, etc.''" (''[[The Making of Star Trek: The Motion Picture]]'', p. 36) His involvement ended permanently in early November, when the production of ''Little House'' was in full swing again. Still, even after ''Phase II'' was upgraded to ''Star Trek: The Motion Picture'' and a new ''Enterprise'' model had to be built, it was Roddenberry who ordained that the lines set by Jefferies were to be followed, vetoing any notion of a complete redesign. (''[[Star Trek Phase II: The Lost Series]]'', p. 26-28 & color inset; {{STTM|2|8}}, pp. 84-85)
−
Yet, one element that Jefferies had done for ''Phase II'' did make it onto screen in the ''Motion Picture''. On 9 September 1977 he received a memo from Roddenberry who, inspired by a letter he had received from a [[Trekkie|fan]], wrote, "''Some fans have suggested that our new Enterprise should carry a plaque somewhere which commemorates the fact it was named after the first space shuttle launched from Earth in the 1970's. This is an intriguing idea. It also has publicity advantages if properly released at the right time. ''[note: almost to the day, the first [[space shuttle]], named after the fictional ''Enterprise'' had been revealed one year previously in a highly publicized ceremony with many ''Star Trek'' alumni as guests of honor]'' It won't hurt NASA's feelings either. I'll leave it to you where you want it on the vessel and who should design it.''" Jefferies , the accomplished aviation artist, needed no further enticement to create the artwork for the [[Enterprise history|historical]] vessels named ''[[USS Enterprise]]'', that served as the source for the backlit transparencies seen on the wall of the [[recreation deck]], starting yet another tradition that was adhered to in later ''Star Trek'' live-action incarnations. (''[[The Making of Star Trek: The Motion Picture]]'', p. 94)
+
Yet, one element that Jefferies had done for ''Phase II'' did make it onto screen in the ''Motion Picture''. On 9 September 1977 he received a memo from Roddenberry who, inspired by a letter he had received from a [[Trekkie|fan]], wrote, "''Some fans have suggested that our new Enterprise should carry a plaque somewhere which commemorates the fact it was named after the first space shuttle launched from Earth in the 1970's. This is an intriguing idea. It also has publicity advantages if properly released at the right time. ''[note: almost to the day, the first [[space shuttle]], named after the fictional ''Enterprise'' had been revealed one year previously in a highly publicized ceremony with many ''Star Trek'' alumni as guests of honor, whereas Jefferies himself had less than a month earlier attended, on NASA's invitation, its first free flight test]'' It won't hurt NASA's feelings either. I'll leave it to you where you want it on the vessel and who should design it.''" Jefferies , the accomplished aviation artist, needed no further enticement to create the artwork for the [[Enterprise history|historical]] vessels named ''[[USS Enterprise]]'', that served as the source for the backlit transparencies seen on the wall of the [[recreation deck]], starting yet another tradition that was adhered to in later ''Star Trek'' live-action incarnations. (''[[The Making of Star Trek: The Motion Picture]]'', p. 94)
The series of interviews conducted with Jefferies for the 2000-2002 run of the publication ''[[Star Trek: The Magazine]]'' were the most elaborate ones, he has ever given on his work on ''Star Trek'', and has helped to clear up some of the misconceptions that had evolved over the years on some of his work in ''Star Trek'' lore, such as the origins of the {{USS|Enterprise|NCC-1701}}'s [[registry]] number and the ''raison d'etre'' for the [[D7 class model|D7-class studio model]].
The series of interviews conducted with Jefferies for the 2000-2002 run of the publication ''[[Star Trek: The Magazine]]'' were the most elaborate ones, he has ever given on his work on ''Star Trek'', and has helped to clear up some of the misconceptions that had evolved over the years on some of his work in ''Star Trek'' lore, such as the origins of the {{USS|Enterprise|NCC-1701}}'s [[registry]] number and the ''raison d'etre'' for the [[D7 class model|D7-class studio model]].
Line 82:
Line 82:
In between the first and second pilot of ''Star trek'' Jefferies did,"''(...)the pilot for ''{{w|Mission: Impossible}}'' and then a lovely little western called ''The Long Hunt of April Savage''. Herb Solow was in charge of both of those. Then I was loaned out to Disney to do a set for one of their movies, after which I returned to ''Star Trek''.''" (''[[Star Trek: The Original Series Sketchbook]]'', p. 114) During the production of the second season of the ''Original Series'' Jefferies became acquainted with [[Stephen Edward Poe]], whom he befriended. (''[[The Making of Star Trek]]'', p. 11) Poe had been given unrestricted access to the production for the [[reference book]] ''[[The Making of Star Trek]]'', he was writing at the time, as part of the deal he had brokered between Desilu and [[Star Trek model kits|model kit]] company [[Aluminum Metal Toys]] (AMT). During their interview sessions, they came up, aside from conceiving the D7 model kit, with the 1968 [[AMT/Ertl#The Leif Ericson|''Strategic Space Command'']] concept for Poe's account AMT, being a themed science fiction model kit line AMT wanted to introduce in order to capitalize on the huge success of their first two ''Star Trek'' model kits, the USS ''Enterprise'' (No. S921) and the Klingon Battle cruiser (No. S952). {{DrexFiles|2009/05/11/s-s-conestoga/#comment-22058}} The first model kit of the line, the '' Leif Ericson'' (No. S954), designed by Jefferies, was a commercial failure, and the project was dropped by AMT. Nevertheless, Jefferies appeared to have been quite taken with his ''Leif Ericson'' design and resubmitted his design five years later as the ''Pegasus'' when he was working as production designer for legendary science fiction movie maker {{w|George Pal}} for his proposed ''War of the Worlds'' television series, an intended follow-up of his classic 1953 [[Paramount Pictures]] ''War of the Worlds'' movie. Unfortunately, like the ''Strategic Space Command'' concept, the proposed series too did not came to fruition. [http://www.war-ofthe-worlds.co.uk/war_of_the_worlds_tv_pal.htm] It should be noted that Matt Jefferies designed the construction plans for the first three outings in AMT's ''Star Trek'' model kit line in his spare time in initial conjuncture with Poe, but that both men were excluded from any and all royalties arrangements resulting from their hugely successful sales. (''[[Inside Star Trek: The Real Story]]'', p. 173)
In between the first and second pilot of ''Star trek'' Jefferies did,"''(...)the pilot for ''{{w|Mission: Impossible}}'' and then a lovely little western called ''The Long Hunt of April Savage''. Herb Solow was in charge of both of those. Then I was loaned out to Disney to do a set for one of their movies, after which I returned to ''Star Trek''.''" (''[[Star Trek: The Original Series Sketchbook]]'', p. 114) During the production of the second season of the ''Original Series'' Jefferies became acquainted with [[Stephen Edward Poe]], whom he befriended. (''[[The Making of Star Trek]]'', p. 11) Poe had been given unrestricted access to the production for the [[reference book]] ''[[The Making of Star Trek]]'', he was writing at the time, as part of the deal he had brokered between Desilu and [[Star Trek model kits|model kit]] company [[Aluminum Metal Toys]] (AMT). During their interview sessions, they came up, aside from conceiving the D7 model kit, with the 1968 [[AMT/Ertl#The Leif Ericson|''Strategic Space Command'']] concept for Poe's account AMT, being a themed science fiction model kit line AMT wanted to introduce in order to capitalize on the huge success of their first two ''Star Trek'' model kits, the USS ''Enterprise'' (No. S921) and the Klingon Battle cruiser (No. S952). {{DrexFiles|2009/05/11/s-s-conestoga/#comment-22058}} The first model kit of the line, the '' Leif Ericson'' (No. S954), designed by Jefferies, was a commercial failure, and the project was dropped by AMT. Nevertheless, Jefferies appeared to have been quite taken with his ''Leif Ericson'' design and resubmitted his design five years later as the ''Pegasus'' when he was working as production designer for legendary science fiction movie maker {{w|George Pal}} for his proposed ''War of the Worlds'' television series, an intended follow-up of his classic 1953 [[Paramount Pictures]] ''War of the Worlds'' movie. Unfortunately, like the ''Strategic Space Command'' concept, the proposed series too did not came to fruition. [http://www.war-ofthe-worlds.co.uk/war_of_the_worlds_tv_pal.htm] It should be noted that Matt Jefferies designed the construction plans for the first three outings in AMT's ''Star Trek'' model kit line in his spare time in initial conjuncture with Poe, but that both men were excluded from any and all royalties arrangements resulting from their hugely successful sales. (''[[Inside Star Trek: The Real Story]]'', p. 173)
−
Though mostly remembered for his work on ''Star Trek'', at the time, it was but a small part of his career, and he has always considered it as such. It was aviation that has always been and remained his true passion. Afterwards he worked on productions such as the 1970s-1980s television series ''Love, American Style'', ''Little House on the Prairie'', ''Father Murphy'' and ''{{w|Dallas (TV series)|Dallas}}'', with the television movie ''The Killing Stone'' (1978, and like ''Little House'' and ''Father Murphy'', a Michael Landon production (with whom Jefferies had always enjoyed a close working relationship), also being his last recorded motion picture work. He particularly enjoyed working for ''Little House'', which, apart from being a higher paid job and his close working relationship with Landon, also resonated with his childhood during the Depression Era, according to his brother Richard, and it was therefore that he choose not to accept tenure on the revitalized ''Star Trek'' franchise. [http://larrynemecek.blogspot.nl/2008/11/matt-jefferies-bioart-book-brother_18.html] Richard further stated in this regard, elaborating on the fact that Matt, like most of his kin, valued strong family ties, "''Matt often said that he enjoyed his work on ''Little House on the Prairie'' more than anything else he had done in the film industry. Matt was a history buff. He derived great pleasure from remembrances of days and events of the past. He marveled at the entrepreneurial zeal of the pioneers. The men and women who settled in the great plains and in the West were a sturdy and resourceful lot. Matt admired their spirit of adventure. Designing the sets for the mythical town of Walnut Grove brought to mind their ominous hardships. Michael Landon an John Hawkins shared Matt's passion for bringing to screen a true representation of family life on the prairie.''" (''Beyond the Clouds'', p. 245)
+
Though mostly remembered for his work on ''Star Trek'', at the time, it was but a small part of his career, and he has always considered it as such. It was aviation that has always been and remained his true passion. Afterwards he worked on productions such as the 1970s-1980s television series ''Love, American Style'', ''Little House on the Prairie'', ''Father Murphy'' and ''{{w|Dallas (TV series)|Dallas}}'', with the television movie ''The Killing Stone'' (1978, and like ''Little House'' and ''Father Murphy'', a Michael Landon production (with whom Jefferies had always enjoyed a close working relationship), also being his last recorded motion picture work. He particularly enjoyed working for ''Little House'', which, apart from being a higher paid job and his close working relationship with Landon, also resonated with his childhood during the Depression Era, according to his brother Richard, and it was therefore that he choose not to accept tenure on the revitalized ''Star Trek'' franchise. [http://larrynemecek.blogspot.nl/2008/11/matt-jefferies-bioart-book-brother_18.html] Richard further stated in this regard, elaborating on the fact that Matt, like most of his kin, valued strong family ties, "''Matt often said that he enjoyed his work on ''Little House on the Prairie'' more than anything else he had done in the film industry. Matt was a history buff. He derived great pleasure from remembrances of days and events of the past. He marveled at the entrepreneurial zeal of the pioneers. The men and women who settled in the great plains and in the West were a sturdy and resourceful lot. Matt admired their spirit of adventure. Designing the sets for the mythical town of Walnut Grove brought to mind their ominous hardships. Michael Landon and John Hawkins shared Matt's passion for bringing to screen a true representation of family life on the prairie.''" (''Beyond the Clouds'', p. 245)
−
Though not a science fiction fan, Jefferies took in later life an interest in real world spaceflight, particularly NASA's space shuttle program. And while he was not present with the other ''Star Trek'' alumnni at the unveiling of the [[Enterprise (OV-101)|''Enterprise'' (OV-101)]], the one named for his starship and for which he did the artwork seen in ''The Motion Picture, he did on NASA's invitation attend the first free-flight test of the shuttle on 12 August 1977. (''Beyond the Clouds'', pp. 285-286)
+
Though not a science fiction fan, Jefferies took in later life an interest in real world spaceflight, particularly NASA's space shuttle program. And while he was not present with the other ''Star Trek'' alumnni at the unveiling of the [[Enterprise (OV-101)|''Enterprise'' (OV-101)]], the one named for his starship, he did on NASA's invitation attend the first free-flight test of the shuttle on 12 August 1977. It resulted in on of the pieces of artwork, seen in ''The Motion Picture'', one month later. (''Beyond the Clouds'', pp. 285-286)
After his retirement, Jefferies became a prolific aviation artist, also remaining otherwise active in the world of aviation. While renowned in ''Star Trek'' lore, Jefferies likewise had something of a standing in aviation circles, as his brother Richard attested to, when Matt attended a forum held at the American Airlines C.R. Smith Museum, "''A neatly attired man threaded his way through the crowd, reached out to shake Matt's hand, and said, "I feel honored to meet you. I have admired your work since I was a boy. I am head of this department. It is because of you and your extraordinary work that I became an engineer." Needless to say Matt was overcome by the adulation. He later remarked that never in his wildest dreams did he think that his work would inspire one to choose engineering as a profession.''" (''Beyond the Clouds'', p. 272)
After his retirement, Jefferies became a prolific aviation artist, also remaining otherwise active in the world of aviation. While renowned in ''Star Trek'' lore, Jefferies likewise had something of a standing in aviation circles, as his brother Richard attested to, when Matt attended a forum held at the American Airlines C.R. Smith Museum, "''A neatly attired man threaded his way through the crowd, reached out to shake Matt's hand, and said, "I feel honored to meet you. I have admired your work since I was a boy. I am head of this department. It is because of you and your extraordinary work that I became an engineer." Needless to say Matt was overcome by the adulation. He later remarked that never in his wildest dreams did he think that his work would inspire one to choose engineering as a profession.''" (''Beyond the Clouds'', p. 272)