Trivia for
Star Trek: The Wrath of Khan (1982) More at IMDbPro »

• Director Nicholas Meyer envisioned the film as the ultimate extension of Star Trek creator Gene Roddenberry's idea of "Horatio Hornblower in space". Therefore, prior to filming he had the cast watch Captain Horatio Hornblower R.N. (1951) for inspiration.
  
  
• Producer Harve Bennett viewed all the original "Star Trek" (1966) episodes and chose "Star Trek: Space Seed (#1.22)" (1967) as the best candidate for a sequel. Spock even remarks in the script that it would be interesting to return in a hundred years or so to see what type of civilization had grown there. This is the first time a movie was made as a sequel to a specific television show episode.
  
  
• In "Star Trek: Space Seed (#1.22)" (1967) approximately 80 genetically-engineered supermen were left behind on Ceti Alpha V by the Enterprise. By the time of this film, only 15 (including Khan) are left. 20 were killed by Ceti Eels, the rest through other means (presumably as a result of the explosion of Ceti Alpha VI).
  
  
• This is the only Star Trek film that features no appearances by Klingon characters.
  
  
• The Enterprise Torpedo Room and Spacelab transporter sets were originally parts of the Klingon bridge built for Star Trek: The Motion Picture (1979). In order to save money, shots of the Enterprise departing from dock, and in space, were taken from the first Star Trek movie. The Spacelab model is that of the orbiting space office turned upside down and with some cosmetic changes from the first Star Trek movie. This movie was produced by the Paramount Television division and released by the feature film division, in order to avoid the then-astronomical $43 million cost of the first feature film.
  
  
• In a Starlog interview titled "The Man Who Killed Spock", after the movie was released, Harve Bennett said that: - 1. He wrote a scene where Chekov, on the Reliant, calls up data for the Ceti Alpha system, and remembers Khan and tells Terrell. That was written out and became the "you never told your captain the tale" sequence on the planet. - 2. The Ceti system was always a binary star system, hence the Alpha. The idea was for planets V and VI to have varying orbits similar to Neptune and Pluto where they would cross in and out of each other's orbits. Thus the confusion. "You thought this was Ceti Alpha VI." The unstable orbits caused the explosion of Ceti Alpha VI. Again, written out. - 3. Khan and Kirk were to have fought in the Genesis cave foyer. Khan and his supermen were to have had PSI powers similar to the Talosians, and Kirk beats them by simply not believing in it. Khan then beams out with the Genesis torpedo. - 4. Radiation causes blood vessels to burst and Spock was written to be covered in green blood. Leonard Nimoy objected, and the result was what you see.
  
  
• Due to budget limitations, sets and props were re-used wherever possible. Space Station Regula 1 was the space station from Star Trek: The Motion Picture (1979)... turned upside-down. Terrell and Chekov's environmental suits were also originally used in ST: TMP.
  
  
• For this film Gene Roddenberry was given a consultant position and replaced as executive producer by Harve Bennett. Apparently, Paramount blamed the constant production delays and budget overruns for Star Trek: The Motion Picture (1979) on Roddenberry's constant meddling and demanding script re-writes.
  
  
• The shot of the three Klingon ships in the Simulator room is from the opening sequence of Star Trek: The Motion Picture (1979).
  
  
• The Enterprise bridge set from Star Trek: The Motion Picture (1979) was redressed for use as the Kobayashi Maru simulator, the Enterprise bridge, and the Reliant bridge. The circular set was built as a set of modular "wedges", which allowed them to be rearranged for a similar, but distinctive, look. Also, for the Reliant, the seat covers were changed, and the turbolift door was painted blue. In one shot, when the turbolift doors are open, a ship diagram for the Enterprise can be seen inside the lift.
  
  
• The "Genesis" sequence called for a long and massive explosion. ILM rented the Cow Palace in San Francisco for the effect. They covered the ceiling with a black cloth and placed the camera on the floor looking up at it. The explosion would occur directly above the camera so the fall-out would appear to rush directly towards the point of view. A special high-speed camera was constructed which ran at 2,500 frames per second. One of its components was a spinning prism, which bent the image onto the film as it rushed past, which increased exposure time without having to slow the frame rate.
  
  
• The software that generated the computer image of the Genesis probe approaching the planet placed mountains on the planet at random, and one of these happened to be right in the probe's path. Each frame took so long to create with the systems then available that when the problem was spotted, it was not considered reasonable to discard the seconds of footage already made. Hence a canyon was introduced: see the goofs entry.
  
  
• When Spock and Saavik speak to each other in Vulcan, Leonard Nimoy and Kirstie Alley actually spoke in English and then the sound people - Including Marc Okrand, in his first association with Star Trek - created the Vulcan words to match the movements of the actors' mouths, which Nimoy and Alley later overdubbed.
  
  
• There are several books in the container that shelters Khan's followers on Ceti Alpha V. Two of the titles are "Moby Dick" and "King Lear", and a lot of Khan's lines are directly taken from those books. In particular, the final monologue of Khan is identical to the last words of Captain Ahab from Melville's book. Other titles visible are "The Inferno" by Dante, an anthology of "Paradise Lost" and Paradise Regained" by Milton, a single copy of "Paradise Lost," the Holy Bible, and one where the title is partially obscured called "Statute Regulating... Commerce".
  
  
• The word SNAVE appears under NCC 1864 RELIANT in the final computer generated tactical display around Regula. Snave is the nickname of the CG star field programmer, Stephen McAllister.
  
  
• The main viewer display during the opening sequence indicates that the Kobayashi Maru's captain is Kojiro Vance and that the ship is registered out of the planet Amber (Tau Ceti IV).
  
  
• Film debut of Kirstie Alley.
  
  
• The original subtitle was to be "The Revenge of Khan", but this was changed because of Star Wars: Episode VI - Return of the Jedi (1983), then subtitled "Revenge of the Jedi", was to be released near the same time. In the end both films titles were changed.
  
  
• All of Khan's men were Chippendale dancers at the time.
  
  
• An early draft of the script had Dr. Janet Wallace (Sarah Marshall) from the original series episode "The Deadly Years" as Kirk's long-lost lover in the role that eventually became Dr. Carol Marcus (Bibi Besch).
  
  
• Star Trek fans have speculated that Dr. Carol Marcus (Bibi Besch) could have been the "little blonde technician" Gary Mitchell (Gary Lockwood) admitted to collaborating with to distract Kirk with a romance in the second pilot episode, "Star Trek: Where No Man Has Gone Before (#1.3)" (1966)
  
  
• Originally subtitled "The Undiscovered Country", but that subtitle eventually went to Star Trek VI: The Undiscovered Country (1991).
  
  
• Kim Cattrall was Nicholas Meyer's first choice for the role of Saavik, but eventually proved unavailable. She did, however, get the role of Vulcan officer Lieutenant Valeris in Star Trek VI: The Undiscovered Country (1991).
  
  
• Judson Earney Scott's lack of screen credit for his very large part as Joachim (Khan's right-hand man) was the fault of his then-agent, who mistakenly opted to waive Scott's credit believing that that would allow them to negotiate better credit placement later.
  
  
• 65% of the film was shot on the same set.
  
  
• The computer ship diagram when the shields are being raised are actually from the aborted 1978 Star Trek: Phase II TV show.
  
  
• The "No Smoking Is Permitted On Bridge" sign from the first scene was removed in later bridge scenes when Gene Roddenberry complained that smoking would not exist in the future.
  
  
• One of Admiral Kirk's antiques is a Commodore PET computer.
  
  
• The silver container with the pressure tanks was actually a spaceship model from Conquest of Space (1955).
  
  
• The huge background painting of San Francisco seen through the window of Admiral Kirk's apartment was initially used for The Towering Inferno (1974).
  
  
• One of the Reliant's crew, Commander Kyle, played by John Winston, was a recurring member of the Enterprise crew in the original TV series.
  
  
• The famous "Space, the final frontier" monologue is heard for the first time since the original TV series, now narrated by Leonard Nimoy, however it has been changed slightly. Instead of saying, "...its five-year mission..." and "to seek out new life," it now says, "her ongoing mission..." and "to seek out new life forms".
  
  
• The vector-based computer graphics used on the Tactical displays and viewing screens, and also starfield effects in the Control Rooms of both the Reliant and the Enterprise and the Bridge Simulator, were rendered using computers by Evans and Sutherland Computer Corporation.
  
  
• In the beginning when Kirk and Spock are talking in the hallway, the black building directory in background lists key Starfleet Command personnel including Admiral Gene Roddenberry (Also Joseph R. Jennings, Michael Minor, Lee Cole and other art department members).
  
  
• The different colored turtlenecks worn by Starfleet officers indicate what division they belong to. White - Command; Gold - Engineering; Gray - Science; Light Green - Medical; Red - Cadets and Trainees; and Black - Enlisted.
  
  
• Kirk and Khan never meet face to face during the movie. All of their interaction is through viewscreens or communicators. In the director's commentary on the special edition DVD, mention was made of the difficulties both William Shatner and Ricardo Montalban had in displaying proper emotions to lines being fed to them by a script girl, so it might be assumed that Shatner and Montalban did not interact face-to-face during the production of the film either.
  
  
• Cameo: [James Horner] running down a corridor during the preparation for the final battle, just before the torpedoes are loaded into the launch bay.
  
  
• Star Trek "technobabble" seen on walls throughout the Regula space station includes: Geoplastics, Gravitronics, Thermowave Multiplexer, JBK Sensors Synthostasis, Thermonics, Wave Matrix ETM Storage, and Bellus.
  
  
• It has been widely debated that Ricardo Montalban's chest was actually a prosthetic piece that he wore during the film. In the director's commentary in the special edition DVD, Nicholas Meyer is quoted as saying that it was, in fact, Montalban's actual chest and that he was a very muscular man who worked out. During publicity for the movie, during an appearance on "The Tonight Show Starring Johnny Carson" (1962), Montalban explained that he was able to achieve the look seen in the film by doing push-ups. "A lot of push-ups."
  
  
• The battle of wits between Kirk and Khan in the Mutara Nebula sequence was inspired by the battle between destroyer captain Robert Mitchum and U-boat commander Curd Jürgens in The Enemy Below (1957), which was was also the inspiration for the "Star Trek" (1966) episode 'Balance of Terror.'
  
  
• This film marks the first appearance of the Miranda class starship, namely the USS Reliant. The model was reused several times in "Star Trek: The Next Generation" (1987) and in "Star Trek: Deep Space Nine" (1993), as other vessels of the same class, or Soyuz class.
  
  
• First Star Trek movie to feature the "red tunic" uniforms, used in every Original Series-based movie thereafter, and used on several occasions on "Star Trek: The Next Generation" (1987).
  
  
• This movie officially establishes the 23rd-century time line as the time period for "Star Trek" (1966) and for its movies. Prior to this movie, it had never been officially established which century the original series took place. According to Gene Roddenberry, the original series could've easily taken place between the 21st and 31st centuries, and Stardates were used to allow for this ambiguity in the time line.
  
  
• The model of the USS Reliant was purposely designed so that the warp engines hung below the fuselage so that audiences would not accidentally confuse it with the Enterprise. As the fundamental components of both ships are the same (saucer, warp engines, etc) it was seen as being an effective way to visually differentiate the two vessels, particularly during action sequences when both ships are in the same scene.
  
  
• It is revealed in the Director's Edition DVD, Special Features disk 2 "Designing Khan" feature that the USS Reliant design sketch was sent to Harve Bennett for review. He signed off on it while looking at it upside-down, and calls it the upside-down Enterprise. This was not corrected because it gave some distinction for both ships that already looked so much alike belonging to the same fleet.
  
  
• Saavik was originally intended to be a male Vulcan, but was changed later on to a female Vulcan/Romulan hybrid. Nicholas Meyer's rewrite wasn't thorough enough, though, and Saavik is referred to as "Mr." Saavik throughout the movie, especially during the launch sequence of the Enterprise. Although "Trek" fans and Naval buffs have pointed out in actual, nautical jargon: women are addressed as such. Being that the "true" lady is the vessel "herself".
  
  
• Nicholas Meyer and Bibi Besch collaborated again on The Day After (1983) (TV), a film about nuclear war. After completing that film, Besch, having learned a great deal about nuclear warfare, stated that she should have approached the character of Dr. Carol Marcus very differently, as a scientist more weary of the Genesis Device's destructive power.
  
  
• Nicholas Meyer has always insisted that the books in Khan's library were just titles he selected at random from a bookshelf. However, given the titles, plots, and the analogies in regards to Khan, this seems extremely unlikely. Two of the titles are "Moby Dick" and "Paradise Lost", both of which center on vengeance for someone harmed by a higher power. "King Lear" is the story of a man having to live with bad decisions.
  
  
• When Paramount Video released its 1986 VHS set of the "Trek" trilogy franchise, one publicity shot on the box is of Kirk and Spock behind bars. Nowhere in the film is this scene shown.
  
  
• Lt. Saavik ends her radio transmissions saying "Saavik out," instead of the more commonly heard "Over and out." In the armed services, "over" calls for a response for the listener, while "out" officially ends communication. So Saavik's usage is actually correct.
  
  
• In addition to the footage of the Klingon vessels in the simulator scenes, other footage was lifted directly from ST:TMP primarily to keep costs down. These include: Kirk's shuttle docking with the Enterprise in advance of his inspection, scenes of the ship first being lighted before Saavik is told to clear all moorings, the ship pulling out of space dock, and the few seconds of footage of the saucer of Enterprise just before the scene cuts to Kirk in his quarters, about to read his book.
  
  
• Both Star Trek films "The Wrath of Khan" and "First Contact" include characters quoting Herman Melville's novel "Moby Dick". Khan quotes it in "Wrath" during his death scene, and Picard quotes it in "Contact" when realizing his own obsessive hatred for the Borg, referring to Ahab's obsessive hatred for the whale. Also, John Masefield's poetry was mistook by McCoy for Melville (and corrected by Spock) in Star Trek V: The Final Frontier (1989).
  
  
• Star Trek "technobabble" seen on a Regula space station wall: Kmrt. ("K-Mart")
  
  
• There is a background prop in the Regula 1 Space Station; a machine that has a pair of red fluorescent tubes firing back and forth at each other. This machine reappears in the movie Airplane 2, in which William Shatner makes a cameo saying that his staff must work out what it does, since to think that its purpose is just to sit there blinking is absurd and infuriating. The light prop makes its way again on various occasions in "Star Trek: TNG" (1987) , such as "DataLore".
  
  
• In the Genesis cave, two containers are labeled "Bellus" and "Zyra". Bellus and Zyra were the planetary system that destroyed Earth in When Worlds Collide (1951).
  
  
• Sulu's backstory of being promotable to Captain (leading to his eventual command of USS Excelsior by Star Trek VI: The Undiscovered Country (1991)) is edited from George Takei's line, "I'm delighted! Any chance to go aboard Enterprise..."
  
  
• When Sci Fi Channel aired this movie on television, Leonard Nimoy appeared on-screen during commercial breaks, explaining various memories and trivia about the film. One of the items was the character backstory of Lt. Saavik (Kirstie Alley), who was intended to have Romulan/Vulcan heritage, which would have made her more emotional than a pureblood Vulcan. Three hints at this remain in the final film: during the Kobayashi Maru simulation, she says to herself, "Damn!"; she gasps in shock when Scotty appears on the bridge with midshipman Peters' injured body; and she is emotionally moved by Kirk's eulogy.
  
  
• There was no comic book adaptation of this movie because at the time, nobody had a license to do a Star Trek comic; Marvel's license had expired before it went into production, and DC Comics didn't pick up the license until after this movie was released. An adaptation has been released now, though.
  
  
• On the back wall of the Reliant's bridge (and presumably the Enterprise's as well, since it was a slightly redecorated version of the same set), on either side of the turbolift doors, are some rectangular shapes with smaller rectangular impressions in them. These are shells for storing audio cassette tapes, painted white and attached to the wall. They are very visible during several scenes when Khan is talking and plotting.
  
  
• In the DVD bonus feature "The Captain's Log", Ricardo Montalban says that once he committed to this film, he realized that he had trouble getting back into the character of Khan. After years of playing Mr Roarke on "Fantasy Island" (1978), he found that he was "stuck" in that character. He requested a tape of the original "Space Seed" episode from Paramount, and proceeded to watch it repeatedly. By the third or fourth watching, he had recaptured the essence of Khan's character.
  
  
• Many of the wall panels and equipment on Regula I and in the Genesis underground space have a ridged texture to them. According to the "Designing Khan" DVD bonus, these were molded from the cardboard packing materials for fluorescent lighting tubes used in various areas of Paramount studios.
  
  
• In the atrium scene at the beginning, where Spock gives Kirk a copy of "A Tale of Two Cities", a wide shot shows several plants in the room around them. This was accomplished with a foreground miniature -- a miniature set placed between the camera and the actors, making the space look larger and more decorated than it actually is.
  
  
• The scenic view of San Francisco through Kirk's apartment window is a painting, originally created for The Towering Inferno (1974). In front of the backdrop were placed a couple of models of futuristic skyscrapers, with working lights and elevators.
  
  
• The exterior scenes on Ceti Alpha V were filmed on the same part of Paramount stage 8 where the set for Kirk's apartment was later built (the apartment set, however, was saved for re-use in Star Trek III: The Search for Spock (1984)). This part of the stage was later home to the Ten-Forward set on "Star Trek: The Next Generation" (1987) and sickbay on "Enterprise" (2001).
  
  
• The interior set for Khan's cargo container home was built on the same part of Paramount stage 8 where bridge sets for the Enterprise-D on "Star Trek: The Next Generation" (1987) and Voyager on "Star Trek: Voyager" (1995) were later housed.
  
  
• An oft-noted discrepancy in this film is that Chekov was not a member of the crew during the first season of "Star Trek" (1966) when Khan was first encountered in "Star Trek: Space Seed (#1.22)" (1967), yet Chekov and Khan recognize each other. Walter Koenig has surmised that perhaps Chekov was a member of the crew, but just happened to never be shown in the first season; he jokes that maybe an off-duty Chekov accidentally caused Khan to wait uncomfortably long to get to the men's room, leaving a particularly indelible impression.
  
  
• The propulsion module from the spaceship model used in Conquest of Space (1955) is part of the set decoration in Khan's cargo container home. It's a cagelike structure with four silver cylindrical tanks.
  
  
• In Star Trek: The Motion Picture (1979), Chekov was burned on the hand; in this film, he has a Ceti eel crawl in his ear. Walter Koenig joked that this film should be called "Star Trek II: Chekov Screams Again".
  
  
• The baby Ceti eels were pulled along the actors' cheeks using a piece of string. They were made out of a stretchy rubber, allowing them to seem to crawl along, and covered with raspberry jelly to give them a slimy appearance.
  
  
• The closeups of the Ceti eels entering and exiting Chekov's ear were done using a huge rubber replica of Walter Koenig's ear. One morning, the effects crew discovered that the art department had left a true-to-scale Q-tip next to the giant ear.
  
  
• In the atrium scene at the beginning, there is a black building directory on the wall by the turbolift, which includes listings for Starfleet personnel such as "Admiral Gene Roddenberry" and several members of the art department.
  
  
• George Takei initially declined to appear in this film. William Shatner called Takei and convinced him to reconsider.
  
  
• More Regula station gag technobabble: one console bears the legend "R XM", a reference to the sci-fi classic Rocketship X-M (1950).
  
  
• In the scene with Kirk and Saavik in the turbolift, when the doors reopen (and McCoy gets in), the corridor outside appears shorter, giving the appearance that the lift really has moved to someplace else. In reality, a wall was moved into place while the doors were closed.
  
  
• Another cost-saving measure on this film is that many of the "computer" consoles and other high-tech set dressings were rented from a Hollywood company called Modern Props. The more common approach would have been to have set designers create these by hand, for limited use, at a much higher cost.
  
  
• The moving starfield during the title sequence was filmed by putting the camera in the center of the floor of a local planetarium, aimed up.
  
  
• In Star Trek: The Motion Picture (1979), all of the on-set displays were operated by looped film projectors behind the walls, because normal video monitors' refresh rate was different from the film frame rate, causing a visible flicker. Sets like the bridge had dozens of these projectors operating simultaneously, which were very noisy, and had to be manually synchronized with the camera. For this film, a new system was developed with monitors and videotape that ran at the same 24fps rate as the film, allowing quieter (and brighter) displays to be used on-set. This technology subsequently became a standard for Hollywood film production.
  
  
• Although Gene Roddenberry created Starfleet in the original "Star Trek" (1966) with a military structure, he deliberately avoided getting very detailed on the nature of that structure (what he called "excessive militarism"). Director Nicholas Meyer, however, decided to further expand this part of the Star Trek mythos, making the uniforms and insignias more military in style, adding a ship's bell and boatswain's whistle, and writing the dialogue to be more accurate to actual naval protocol. These details have greatly influenced the films and spin-off series that followed.
  
  
• The stars seen in the background of the Genesis simulation sequence are based on a 3-D model of the Milky Way, as seen from the perspective of a fictitious moon. In other words, if you were to travel to the point in space where the simulation programmers chose to place the moon, that is what the actual star configuration in the sky would look like.
  
  
• Nicholas Meyer admits that Kahn's familiarity with Chekov is a mistake, but defends this citing Arthur Conan Doyle who frequently had trivial errors in his Sherlock Holmes stories, but made no apologies for them.
  
  
• Just before the scene where Genesis is explained, there is a scene where Spock crosses the bridge and tells Kirk, "There are two explanations: they are unable to respond; they are unwilling to respond." As he crosses the bridge, he walks directly in front of the main viewscreen, where the stars are visible. On most films (even Star Trek films), this would require a chromakey (bluescreen or greenscreen) matte effect, so that the moving starfield could be added to the screen in post-production. However, in another of the cost-cutting measures on this film, the scene was done without any FX work: the "viewscreen" in this scene is actually a black cloth with miniature lights draped behind the screen opening. Unlike most bridge shots when the Enterprise is underway, the stars are quite motionless in this scene.
  
  
• Khan's right-hand man in "Star Trek: Space Seed (#1.22)" (1967) was named "Joaquin" (Mark Tobin), but in this film, he is named "Joachim" (Judson Earney Scott). Director Nicholas Meyer attributes the change to a clerical error during script development.
  
  
• When Spock advises Kirk that Kahn's moves "indicate two dimensional thinking", Spock is commenting that Kahn is using tactics learned from playing two-dimensional chess. Kahn, as a Sikh, was likely familiar with 2 D chess - which originated from his homeland. Kirk and Spock routinely played three-dimensional chess during The Original Series (1966-69), The key to 3-D chess was using an "attack board" to come up from below or above your opponent. Hence, Kirk commands "all stop" and requests the photon torpedoes be preloaded for a 3 dimensional attack vector at close range: "Z-minus 10,000 meters." In the Cartesian coordinate system, the Z-axis measures above or below the horizontal plane. A vector in this sense implies a solution like firing a torpedo in 3D space - underwater or in deep space.
  
  

• SPOILER: Leonard Nimoy was persuaded to return as Spock when he was promised a death scene, an early draft of the script called for the death scene to take place at the beginning of the film. However, this information got out to the fans (possibly from Gene Roddenberry) who became highly upset. So the "Kobayashi Maru" scenario was invented to allow Spock to "die" in the opening as rumored and throw off the audience for the drama of Spock's actual death at the end of the film.
  
  
• SPOILER: During the three-day filming of Spock's death sequence, no visitors were allowed on the set.
  
  
• SPOILER: The shot of Spock's coffin on the Genesis Planet was a last-minute addition, filmed in San Francisco's Golden Gate Park.
  
  
• SPOILER: Joachim's death scene was originally intended for an alien called Moray, and the scene where Khan appears onscreen was intended for her husband Sojin. Sojin and Moray, in one draft of the script, were monsters who were exiled from another dimension and who were found on Ceti Alpha Five.
  
  
• SPOILER: The script originally called for McCoy to say, "He's dead, Jim." at Spock's death. DeForest Kelley feared the line would draw unintentional laughs and insisted it be changed. In the film, it is Scotty who says, "Sir, he's dead already."
  
  
• SPOILER: Spock's mind meld with McCoy wasn't in Nicholas Meyer's original script, nor did he direct the scene. It was added after test audiences said they wished there was hope that Spock could be revived. When Paramount ordered the change, Meyer threatened to have his name taken off the film.
  
  
• SPOILER: In a scene deleted from the original release, Scotty explains that Peter Preston (Ike Eisenmann), the young engineering cadet who dies during Khan's first attack, was his nephew. This was restored in the director's edition.
  
  
• SPOILER: William Shatner claims to have created the idea of Spock dying in the engine room, separated from Kirk by a sheet of glass and trying to touch hands. However, he says that unlike the movie, his idea was enhanced by the glass being more opaque, leaving Spock as simply a silhouette to Kirk.
  
  
• SPOILER: Early test screenings were done while visual effects work was still mostly incomplete. The scenes were filled in with early vfx work, or in many cases, simple storyboards. Audience feedback at this early stage was what convinced Harve Bennett to approach Leonard Nimoy about revising the ending to allow a potential return for Spock (Nimoy, for his part, had already been having second thoughts).
  
  

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