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Memory Alpha
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The Future Begins.

A cataclysm in the 24th century throws two ships back in time to the 23rd century, altering the course of history. With a different life where he never knew his father, James T. Kirk becomes a brilliant yet cynical misfit who is finally convinced to join Starfleet by Captain Christopher Pike in 2255. Three years later, Kirk, Vulcan First Officer Spock, and the young crew of the new USS Enterprise, with guidance from Spock's future self, must figure out a way to work together to prevent the one responsible for the death of Kirk's father, the future Romulan known as Nero, from destroying the Federation in a mad quest for vengeance.




The Narada emerges after passing through a black hole

In the year 2233, the Federation starship USS Kelvin investigates a "lightning storm" near Klingon space, which they soon realize to be a black hole. Suddenly, the massive warship Narada emerges and immediately opens fire on the Kelvin, inflicting heavy damage on the vessel. The Narada ceases fire, and its first officer, Ayel, hails the outmatched Kelvin.

Speaking for its captain, Nero, Ayel demands that the Kelvin's commanding officer, Richard Robau, come aboard the Narada via shuttlecraft. He states the captain's refusal to do so would be "unwise." Captain Robau agrees and hands command of the ship to his first officer, George Kirk. He orders Kirk to wait fifteen minutes for his signal or else evacuate the ship, telling him he is now captain.

George Kirk commands the Kelvin

Lieutenant George Kirk aboard the ill-fated USS Kelvin

Upon arriving aboard the Narada, Robau is taken to Nero, while the crew of the Kelvin monitors his life signs. While Nero remains silent, Ayel interrogates him first about a particular ship, which Robau does not recognize, and then about the whereabouts of Ambassador Spock, with whom Robau is also unfamiliar.

Robau reveals the stardate; the Romulans have ended up 150 Earth years in the past. Realizing that they will not get the answers they want out of Robau, he is killed by Nero himself and the Narada recommences its attack on the Kelvin. Kirk orders the Kelvin to return fire but as the situation worsens and he realizes that the damage to the Kelvin is compromising the lives and safety of everyone on board, he orders the crew to proceed to the escape pods and shuttles, including his wife Winona, who is just about to give birth.

Winona Kirk and newborn son, James

Winona Kirk with Jim, moments after his birth

Kirk tries to plot a collision course with the Narada, but the ship's autopilot navigation is offline. The commander comes to the sad realization that he will need to control the Kelvin himself. He orders his wife to leave on the shuttle without him. She protests, but Kirk knows that he has no choice but to stay behind and continue the attack in order to protect his wife and child and the others. On the shuttlecraft, Winona Kirk gives birth to a baby boy.

As the Kelvin destroys the missiles aimed at the shuttles, Kirk can hear his newborn's cries, realizing that he will never meet his son. Just before the Kelvin is about to collide with the Romulan vessel, Kirk asks Winona what they should name their son. She suggests naming him after George's father, but he laughs the suggestion off, saying that "Tiberius" isn't much of a first name. They decide to name him "Jim", after Winona's father. Communication is cut off as the Kelvin smashes into the Narada, temporarily crippling it and giving the shuttles time to escape.

Act One[]

James T

"My name is James Tiberius Kirk!"

Approximately ten years later, around the early to mid-2240s, a young boy is seen racing down the road in an antique Corvette across the open Iowa landscape, blasting 20th century music. Soon, a policeman on a flying motorbike chases him, ordering the boy to stop the car. Evading the officer, the boy heads for a quarry and jumps out of the car, moments before it speeds over the edge and crashes on the canyon floor below. The policeman apprehends the boy, who defiantly identifies himself as "James Tiberius Kirk".

Spock, Jacob Kogan

Spock as a child on Vulcan

Around the same time on Vulcan, a young Spock is being tormented by his peers about his mixed heritage. The boys call his father a traitor for marrying a Human "whore". The three have previously failed 34 times to invoke an emotional response in Spock, but this time they take it too far and Spock knocks one of the older boys into a skill dome and beats him in an emotional rage.

He is later gently admonished by his father, Sarek, who is disappointed at his son's lack of emotional control. Spock suggests that his father wants him to be fully Vulcan, and yet Sarek married a Human woman. Sarek coldly replies that it was the logical choice, as his duties as ambassador to Earth required him to understand and observe Human behavior. Sarek then tells his son, "Spock, you are fully capable of deciding your own destiny. The question you face is: which path will you choose? This is something only you can decide."

Many years later, Spock is conflicted about whether to participate in the kolinahr, the Vulcan ritual aimed at purging all vestigial emotions. He talks to his mother, Amanda Grayson, who tells him that she will always be proud of him, no matter what he decides.

Spock faces Vulcan Science Academy council

Spock defies the Vulcan elders

Later, Spock stands before a committee on Vulcan. The committee informs him of his acceptance into the Vulcan Science Academy and commends his accomplishments despite his "disadvantage" of being half-Human. In response to yet another underhanded insult to his heritage, Spock declines the offer of admission, stating that he has decided to enter Starfleet Academy instead. The committee expresses shock, as the offer of admission to the Vulcan Science Academy is one that no Vulcan has ever turned down – to which Spock replies that, as he isn't a real Vulcan, that statement is still accurate. Spock thanks the council and with a tinge of anger in his voice, tells the committee to "live long and prosper."

In 2255, in a bar in Iowa, a young Academy cadet named Uhura meets up with some friends, and while ordering drinks, a brash and intoxicated James Kirk introduces himself to her and offers to buy her a drink. His attempts at flirting with her are unsuccessful, however, and the situation escalates when three Starfleet recruits led by Hendorff intervene and end up in a fight during which Kirk is badly beaten. Fortunately, Captain Christopher Pike steps in and ends the fight, ordering all cadets inside the bar to step outside.

Shipyard Bar after hours

Pike tries to recruit Kirk in an Iowa bar

Pike, who is very familiar with Kirk's tragic past and the accomplishment of his father, having written his Academy dissertation about the Kelvin, sits down with him, trying to talk some sense into the rebellious young man by trying to persuade him to join Starfleet. Pike firmly believes that with his aptitude, Kirk can do more with himself than get into bar fights and be "the only genius-level repeat offender in the Midwest." Kirk doesn't want to hear it and laughs at the idea of joining Starfleet. Pike ends the conversation with a reminder that Kirk's father saved eight hundred lives in the course of just twelve minutes of command and challenges Kirk to do better.

USS Enterprise (alternate reality) under construction

Kirk looks on as the Enterprise takes shape

Early the next day, Kirk heads to Riverside Shipyard on his motorcycle, where the USS Enterprise is under construction. Pike is surprised to see Kirk turn up to join the new recruits. Before boarding the shuttle Bardeen, Kirk gives away his motorcycle and smugly tells Pike that he'll graduate in three years instead of four. On the recruit shuttle, he meets Leonard McCoy – a recently divorced, disgruntled recruit who dismisses Starfleet technology with smug pessimism. The two share a drink as the shuttlecraft leaves for the Academy in San Francisco.

Three years later, the Narada is waiting at an unknown part of space. Nero is called to the bridge by Ayel. Suddenly, a black hole temporal disturbance appears and a small starship flies out of the anomaly. Nero recognizes and welcomes the appearance of Ambassador Spock, and orders the ship to be captured.

Gaila seduces Kirk

Kirk has an encounter with Gaila

Meanwhile, at Starfleet Academy, Kirk is telling McCoy that he is taking the Kobayashi Maru test again the next day, and is certain he will pass it. McCoy is shocked at Kirk's confidence, as no one has ever passed the test, much less repeated it. However, Kirk is convinced that he will nail it and leaves to "study", which for him means an assignation with an Orion cadet named Gaila in her dorm room. Suddenly, Gaila's roommate enters and Kirk is forced to hide under the bed. He is mortified to find that the roommate is Uhura. Undressing down to her underwear, she describes to Gaila decoding Klingon transmissions about 47 battle cruisers destroyed near a prison planet. She hears him breathing however, and eventually discovers him and angrily kicks him out.

James T

"Captain" Kirk in command during the Kobayashi Maru test

The next day, Kirk, McCoy, Uhura, and a few other Starfleet recruits are in the Kobayashi Maru simulation test on Kirk's third attempt. Kirk takes a comically casual approach to the test, including eating an apple. Everything goes as planned when, unexpectedly, the power systems momentarily fail, and then the attacking Klingon ships' shields go down and the ships are promptly destroyed. From above the simulator room, a technician asks how Kirk was able to beat this test. Spock, who is in the observation room, is equally puzzled.

Spock at Kirk's Hearing

Spock at Kirk's hearing at Starfleet Academy

During an official inquiry, the Starfleet Academy brass, namely Admiral Richard Barnett, informs Kirk that they have received evidence that Kirk entered a subroutine into the computer making it possible for him to win in the simulation, and accuse him of cheating. While Kirk faces his accuser, Spock, and tries to defend himself, the hearing is suddenly interrupted when the committee is informed that the Federation has received a distress call from Vulcan. With the primary fleet occupied in the Laurentian system, Starfleet is forced to commission the Academy cadets and dispatch ships immediately to begin a rescue mission.

Act Two[]

Hangar 1

Starfleet cadets assemble at Hangar 1 for assignment

Cadets are assigned to ships based on their aptitude, with the most capable cadets assigned to the USS Enterprise, a ship completed so recently that it hasn't even been christened yet. Uhura is originally assigned to the USS Farragut, but complains directly to Spock, citing her numerous commendations and recommendations, insisting she had earned an assignment to the Enterprise.

Spock quickly corrects that oversight. Kirk has been grounded pending a ruling on his inquiry and is not allowed to board the shuttles to join the mission. However, McCoy takes him to the medical bay, where he injects him with a vaccine against Melvaran mud fleas temporarily making him ill so that, as a doctor refusing to abandon his patient, he has an official reason to take him along on the mission.

USS Enterprise (alternate reality), profile

The Enterprise is ready for her maiden voyage

The Enterprise leaves Starbase 1 for Vulcan, after a slight delay caused by the backup helmsman, Hikaru Sulu, forgetting to disengage the "parking brake" before jumping the Enterprise to warp. Pike orders the Enterprise's very young navigator, Ensign Pavel Chekov, to make a ship-wide mission broadcast. Chekov announces that the crew's orders are to investigate seismic disturbances and aid in evacuation of the planet if necessary.

After hearing Chekov's announcement, Kirk suddenly realizes that the "lightning storm" is exactly the same occurrence the Kelvin encountered two decades earlier. Realizing that they are running straight into a trap, Kirk rushes through the ship to Uhura despite suffering a bad reaction to the vaccine McCoy gave him. Despite his initial difficulty to communicate coherently, he finally manages to ask her about the Klingon distress call she had deciphered earlier and she confirms that the attackers were Romulan.

USS Enterprise and Narada face off over Vulcan

The massive Narada looms over the Enterprise above Vulcan

At Vulcan, the Narada has lowered a drilling platform, which is boring into the planet. Ayel notifies Nero that seven Starfleet vessels are approaching. Kirk rushes to the bridge to inform Captain Pike. Pike and Spock, though initially quite skeptical, are convinced after Uhura confirms Kirk's suspicion. As they disengage warp drive, the Enterprise finds itself in a debris field of the other seven Starfleet ships which arrived shortly before they did.

At the direction of Pike, Sulu is able to navigate his way through the debris with minimal damage. As they clear the debris, they come upon the Narada, drilling above Vulcan's atmosphere. The Narada attacks the Enterprise, which takes heavy damage. But just as they are about to fire again, Nero realizes which ship he is firing at and orders a cease-fire.

Nero on screen ST09

"Hi, Christopher. I'm Nero."

He hails the Enterprise and casually identifies himself. Pike, seeing a Romulan, accuses him of an act of war and offers to reach a settlement, but Nero states he stands apart from the Romulan Star Empire. He openly greets a confused Spock, and orders Pike to come aboard via shuttlecraft. Pike asks if there are any advanced hand-to-hand combat-trained officers on the bridge, and gathers Sulu, Spock, and Kirk for the away mission.

Pike promotes Spock to captain and puts him in charge of the Enterprise. He also commissions Kirk as first officer, much to Spock's chagrin. Pike outlines his plan to do two things at once: on the shuttle en route to the Narada he will drop Kirk, Sulu, and Chief Engineer Olson into an orbital skydive. They will land on Narada's drill platform and disable it in order to contact Starfleet, since the drill has disabled communications and transporter capabilities.

Sulu ev suit

Sulu sword-fights on the Romulan drill platform

Pike arrives on the Narada as the three begin their descent and, despite the immediate death of Olson, Kirk and Sulu eventually manage to fire on the drill and disable it.

A Narada crewman reports the drill's incapacitation, but tells Nero that the drill reached Vulcan's core before going offline. Nero orders the launch of the "red matter", which is dropped from the ship down the hole and explodes at the planet's core. Chekov discovers what the "red matter" is doing: creating a black hole in the middle of the planet. Vulcan will be destroyed in a matter of minutes. Spock leaps up from his chair, ordering the Enterprise to signal an evacuation of the entire planet, while he himself hurries to the transporter room to beam down and evacuate the Vulcan Council, which includes his parents.


Spock attempts to save the Vulcan elders and his parents

Kirk signals the Enterprise to beam him and Sulu back at the same the moment when Nero orders the Narada to retract the drill and leave orbit. The jolt causes Sulu to fall off the drill platform without a chute. Kirk leaps from the platform into a controlled dive and grabs Sulu before releasing his own chute. Unfortunately, the drag is too powerful and Kirk's harness tears loose. Kirk frantically signals the Enterprise to beam them up, but the transport chief cannot lock on to them while they are moving too fast. Chekov, however, can, and rushes to the transporter room, creating a pinpoint beam that snatches Kirk and Sulu aboard mere moments before they hit the surface.

Spock comforted by Uhura

Uhura comforts Spock after the loss of Vulcan and his mother

Right after Kirk and Sulu are beamed back aboard, Spock tells Kirk that he is beaming down to save the Vulcan Council, which includes Spock's parents. Kirk tries to stop him, but he ignores Kirk and orders the transporter chief to beam him down immediately. The council members were taking refuge in the katric ark, a chamber within Mount Seleya, which they could not simply beam through.

Two of the elders in the council are killed by falling rocks and statues, but Spock is able to get five of them outside, including his parents. As the transporter is about to pick them up, the rock his mother is standing on collapses, causing the transporter to miss her. As they re-materialize on board the Enterprise, Spock stands on the transporter pad in shock, having lost his mother, with his hand still reached out to her. The Enterprise crew retreats and watches in horror as Vulcan implodes into oblivion.

Vulcan consumed by black hole

The beginning of the end for Vulcan

"Acting captain's log, stardate 2258.42. We have had no word from Captain Pike. I therefore classified him as a hostage of the war criminal known as Nero. Nero, who has destroyed my home planet and most of its six billion inhabitants. While the essence of our culture has been saved in the elders who now reside upon this ship, I estimate that no more than ten thousand [Vulcans] have survived. I am now a member of an endangered species."

Kirk, Sulu, and the few Vulcans who were able to be brought aboard the Enterprise are brought to sickbay for treatment. Soon after, Spock leaves the bridge, and he is followed into the turbolift by Uhura who tries to comfort him.

Pike aboard the Narada

Captain Pike held captive aboard the Narada

Nero asks Pike for the security codes to defense systems around Earth, but Pike refuses to give them to him, disgusted by Nero's act of genocide on Vulcan. Nero speaks about how the Narada, in his time, was a mining ship, and he was laboring to support his wife, who was expecting his child, before they were killed when Romulus was destroyed.

He placed blame on the Federation for doing nothing, and accused Spock of betraying them, promising himself retribution. Pike pleads that Romulus still exists, but Nero only knows that his world – the Romulus of the future – was destroyed, and he intends to destroy every world of the Federation, starting with Earth, so that others will know his pain. Forcing a Centaurian slug down Pike's throat, which will help coerce Pike to give out the security codes, Nero orders the Narada to continue to Earth.

Spock alt aboard the Enterprise ST09

"Whatever remains, however improbable, must be the truth."

On the bridge of the Enterprise, Spock reasons that the Narada must have traveled back in time from the future. He states that they must regroup with the fleet, but Kirk says that in order to stop Nero they must go after him first. This culminates in an argument which ends in Spock ordering Kirk's removal from the bridge. When Kirk physically protests, Spock incapacitates Kirk with a Vulcan nerve pinch, orders him placed in an escape pod and jettisons him off the ship. Kirk awakens to find himself on the snow-covered world of Delta Vega, another planet in Vulcan's system. Picking up his gear, Kirk heads for the Starfleet station fourteen kilometers away.

"Stardate 2258.42… four uh, four, whatever. Acting Captain Spock has marooned me on Delta Vega, in what I believe is a violation of Security Protocol 49.09 governing the treatment of prisoners on board a starship."

Kirk is marooned on Delta Vega

He is chased down by a "drakoulias" which is in turn attacked by an even larger insectoid animal. It chases Kirk into a cave, and when it finally attaches a tendril to catch him, trying to consume him, it is spooked off by an elderly Vulcan man wielding a lit torch. Before he can thank his savior, the old man, who had recognized Kirk on sight, reveals himself to be Spock, Kirk's old friend, but the latter is skeptical – until the former identifies Nero as Pike's captor. Spock melds with Kirk so that he can understand why he is here.

Spock & Kirk Mind-Meld

Spock and Kirk share a mind meld

Spock explains that 129 years in the future, in the year 2387, an impending supernova threatened to destroy the home worlds of the Romulan Star Empire and, potentially, the rest of the galaxy as well. Spock developed a stockpile of "red matter", a substance that can be ignited to form a singularity.

However, the star exploded while he was en route, and Romulus was destroyed. Spock launched the red matter from his ship, the Jellyfish, to prevent further damage. Immediately, Spock was confronted by a surviving Romulan mining vessel, the Narada, captained by Nero. Spock tried to escape, but the resultant black hole captured both the Jellyfish and the Narada, creating a disturbance in the space-time continuum sending both ships into the past.

Romulus Destroyed in 2387

A vision of the destruction of Romulus in the 24th century

The Narada exited over one hundred and fifty years in the past, where it confronted the Kelvin. Spock's ship entered moments later, but what appeared seconds to him was twenty-five years to Nero and the Narada. He explains that Nero captured his ship, but kept him alive, marooning him on Delta Vega, so that he could witness the destruction of his own home planet, Vulcan, just as he had to witness the destruction of Romulus.

Kirk explains he was left on the planet by the Spock he knows, who is currently in command of the Enterprise. The elder Spock is surprised, knowing that Kirk should be in command of the ship. It is then that Spock realizes that when Nero exited the black hole and confronted the Kelvin, he altered history and created an alternate reality, which changed everything, especially Kirk's life. Kirk asks Spock whether his father lived in the original timeline. Spock confirms that George Kirk proudly saw his son take command of the Enterprise, and often spoke of him as his inspiration to join Starfleet. Spock leads Kirk to the Starfleet base.

Scott and Keenser

"Do you realize how completely unacceptable this is?"

Kirk and the elder Spock are met by a short alien officer, Keenser, who leads them inside, where they meet this timeline's Montgomery Scott. A transporter genius, Scott was "exiled" to Delta Vega after beaming Admiral Archer's prized beagle to an unknown location during a failed experiment in "transwarp beaming". Spock informs Kirk that he must relieve the Vulcan's younger self of command by provoking him and showing everyone that Spock is too personally and emotionally compromised to lead the mission and captain the ship.

Release valve

Kirk saves Scotty from drowning

Giving Scott the formula for "transwarp beaming" – an operation originally devised by the Scott he knew – Spock, who had responded to Kirk's suggestion that he was now "cheating" by recalling the "old friend" who had taught him how to cheat, sends Kirk and Scott back to the Enterprise. Not too long after they are transported to the Enterprise (Scott had materialized in a water tank and nearly drowned), the two are spotted and eventually captured by security personnel – led by Hendorff, the very cadet who had started the bar brawl which led to Kirk joining Starfleet.

Spock attacking Kirk

Spock attacks Kirk

They are taken to the bridge where an astounded Spock attempts to find out how the two were able to transport on board the ship while it was in warp. Kirk refuses to answer and recommends Scott do the same, and then proceeds to ask why Spock doesn't feel any anger or have any emotion over the destruction of his planet and the murder of his mother. He keeps pushing and provoking Spock, claiming he never loved his mother. Upon hearing this accusation, Spock finally snaps and lunges after Kirk, ruthlessly beating and strangling him to the point of nearly killing him, before Sarek begs Spock to stop. Realizing how far he has gone, Spock relieves himself of duty and leaves the bridge. Kirk assumes command and orders an immediate pursuit of the Narada.

Act Three[]

Chekov, Kirk, Scott, Bones, Sulu, Uhura

The Enterprise crew regards Spock when he returns to the bridge

Following his outburst, Spock returns to the transporter room, where Sarek tries to get Spock to open up to him. Spock admits to feeling conflicted and feels a rage he cannot control towards Nero over the death of his mother. Sarek offers that his mother would have said not to bother controlling it, and, recalling what he had said years before after another outburst of his son's Human side, sadly admits to his son that he married Amanda because he loved her.

Meanwhile, on the bridge, Chekov figures out a plan to get the Enterprise close to the Narada without them noticing: they can follow the Narada and stop at Titan's orbit, remaining undetected by hiding in its magnetic field. Soon after, a cooled-off Spock returns to the bridge, confirms the logic of Chekov's plan, and offers to beam over to the Narada to get the "black hole device" and save Earth, the only home he has left. Kirk says he will go as well, to rescue Pike. Spock mentions regulations against the captain and first officer going on such a mission, but chooses not to cite something he knows Kirk will ignore. Kirk quips that they are finally getting to know each other and gives Spock a friendly slap on the shoulder.

USS Enterprise (alternate reality) hides in Saturn's rings

The Enterprise rises from Titan's atmosphere

The Narada has already arrived at Earth and deployed its drilling rig directly over San Francisco. Warping into Titan's atmosphere, the Enterprise remains undetected by the Narada. Before stepping onto the transporter pad, Kirk calls the bridge, telling Sulu that, if he believes the Enterprise can destroy the Narada, even if Kirk, Spock, and Pike are still aboard, he should not hesitate to take the opportunity. Sulu reluctantly acknowledges Kirk's order.

Before they beam over, Uhura kisses Spock and tells him that he better come back. In his reply, he calls her "Nyota." Kirk, who overheard, then asks Spock if that's the first name he had tried and failed to learn since the first time he met her; Spock coyly cuts him off, stating his refusal to comment on the matter. Right after they are beamed aboard, the Narada begins to drill its hole near the Golden Gate Bridge, cutting the ship off from the Enterprise and disabling transporter functions.

Narada drilling in San Francisco

The Narada drills into San Francisco Bay

Scott thought he could beam Kirk and Spock to the Narada's cargo bay without being seen, but it turns out to be a heavily occupied portion of the ship. After a brief firefight, Spock uncovers the location of the black hole device and Captain Pike by melding with an unconscious Romulan. When they board the Jellyfish, it recognizes Spock as its captain (at which Kirk sarcastically expresses surprise), and the Vulcan finally figures out what is going on, as the ship's computer confirms its origin stardate as 2387, constructed by the Vulcan Science Academy.

Spock confronts Kirk about withholding information from him, but Kirk dodges the question by asking Spock if he can fly the spacecraft, a question he is fairly confident Kirk already knows the answer to. For the first time, Spock calls Kirk, "Jim" and informs him that their chances of success are grim by citing his calculation of their odds, but Kirk assures him that their plan will work.

James T

Kirk leaps away from Ayel on the Narada

Spock commandeers the Jellyfish and blasts out of the Narada. Spock uses the ships guns to destroy the drill's tether, plunging the platform into San Francisco Bay. Kirk runs into more trouble as he finds the Romulans' "bridge", where Nero and Ayel are waiting. Kirk is confronted by Nero, who has recognized him from Earth's history, and after a brief scuffle, Nero pins Kirk and tells him that, while he was a decorated officer and went on to captain the starship Enterprise, that was another life, and that he plans to deprive him of the same life his father once had.

Before he can finish Kirk off, however, Nero is informed that the Jellyfish has been stolen and the drill has been destroyed. Furious above all else, Nero storms off, leaving Kirk to Ayel while he plans to kill Spock. Ayel promptly grabs Kirk by the throat and lifts him in the air, surprised at how "weak" Humans appear to be. Seeing his prey attempting to talk, Ayel offers Kirk the chance to say something – and the Human replies that he is in possession of the Romulan's disruptor pistol. Kirk fires and kills Ayel as he plunges into the depths of the Romulan vessel. He then heads off to rescue Pike.

James T

Kirk and Spock discuss Nero's fate

On the bridge, Nero hails Spock, declaring that he should have killed him when he had the chance. In reply, Spock taunts Nero by "ordering" him to surrender. Nero orders the Jellyfish destroyed, even though the ship still has "red matter" on it; with his plan for revenge ruined, now he only wants to kill Spock. The Jellyfish evades the missiles, then goes into warp, with Nero and the Narada in hot pursuit, leaving Earth behind.

When the ships drop out of warp, the Jellyfish turns to intercept and collide with the Narada, seeking to ignite the red matter and create a hole that will envelop both ships. Nero panics and orders all weapons fired, but the Enterprise arrives on the scene and destroys the missiles with a fierce volley of its phasers, allowing Spock to carry through with his plan to ram the Narada.

Inside the Narada, Kirk finds Pike, alive but injured due to his earlier torture. Pike is quite surprised, but Kirk reminds him of his previous order to "come and get me", and when two Romulan soldiers walk in and find Kirk, effectively defenseless while freeing Pike from the chamber, the captain returns the favor, grabbing the gun on Kirk's belt and killing the intruders before his rescuer even realizes what happened. Scott successfully beams back Kirk, Pike, and Spock, right before the Jellyfish collides with the Narada.

Narada destroyed

The Narada is pulled into a black hole and obliterated

The explosion of the Jellyfish ignites the entire stockpile of "red matter" on board, creating a black hole, which begins to swallow up the Narada. To Spock's surprise, Kirk offers to rescue the surviving crew, arguing that this might improve long-term relations between the Romulans and the Federation, and is thus only "logical."

Spock, mindful that Nero is the man who destroyed his planet and murdered his mother, coolly suggests that they dispense with logic in this case. Their debate is ended when Nero, belligerent to the last, says he prefers to die in agony than accept help from them. Kirk obliges and orders Sulu to fire all weapons, blowing the ship apart with phasers and photon torpedoes.

USS Enterprise pulled in

Escaping the black hole

The Narada is finally destroyed, but the gravitational pull of the black hole begins tugging on the Enterprise, keeping it from escaping, even with its engines running at warp speed. The pressure is heavily damaging the ship as Kirk orders Scott to get them out of there at all cost. Scott ejects the Enterprise's multiple warp cores and detonates them near the black hole, propelling the Enterprise to safety on the resultant shockwave.

Back on Earth, the elder Spock meets with his younger counterpart, who presumed the former to be his/their father. Young Spock is confused as to why his older self didn't simply come with Kirk and explain the situation. The older Spock states that he implied there may be universe-destroying paradoxes if Kirk told him the truth so that they would have to rely on each other, thus ensuring "a friendship that will define you both, in ways you can not yet realize."


Spock salutes his older self from the Prime timeline

Young Spock asks if he was making a gambit; older Spock states that he made "an act of faith" to his old friend, which he hopes that he will show again in the future. However, younger Spock expresses his decision to resign from Starfleet to help rebuild the Vulcan race; older Spock points out that he can be in two places at once. He also advises his younger self, in this case, to put aside logic and do what feels right. The older Spock then raises his hand in the familiar Vulcan salute, and, feeling it would be inappropriate to say "live long and prosper" to himself, simply wishes his younger self "good luck."

Spock views Kirk's promotion

Spock Prime watches Kirk's promotion ceremony

Kirk is commended by Starfleet Command, promoted to captain, and given permanent command of the Enterprise. He relieves Pike, who has been promoted to admiral and is now recovering in a wheelchair. A proud Pike shakes his successor's hand and notes that his father, too, would be very proud of Kirk.

As the older Spock leaves to help the remaining Vulcans establish a colony, Kirk, now dressed in the gold uniform of a captain, walks on to the Enterprise bridge. After he tells McCoy to "buckle up", and receives assurances from Uhura, Sulu, Chekov, and Scott (who has barely finished talking to Kirk when he finds Keenser – now a member of his engineering staff – having climbed atop a console and orders him down) that their sections are ready to depart, the younger Spock returns to the Enterprise and asks Captain Kirk if he can be his first officer, offering to provide "character references". Kirk says it would be his honor.

USS Enterprise (alternate reality) bridge

Captain James T. Kirk officially takes command of the Enterprise

USS Enterprise (alternate reality) hull registry

The Enterprise departs for deep space

As the Enterprise begins its journey, the voice of the elder Spock intones the famous motto that other starships named Enterprise have voyaged forward from:

Space… the final frontier. These are the voyages of the starship Enterprise. Her ongoing mission: to explore strange new worlds… to seek out new lifeforms and new civilizations… to boldly go where no one has gone before.

Log entries[]

  • "Acting Captain's Log, Stardate 2258.42. We have had no word from Captain Pike. I therefore classified him as a hostage of the war criminal known as Nero. Nero, who has destroyed my home planet and most of its six billion inhabitants. While the essence of our culture has been saved in the elders who now reside upon this ship, I estimate that no more than ten thousand [Vulcans] have survived. I am now a member of an endangered species."
  • "Stardate 2258.42… four uh, four, whatever. Acting Captain Spock has marooned me on Delta Vega, in what I believe is a violation of Security Protocol 49.09 governing the treatment of prisoners on board a starship."

Memorable quotes[]

"Citizen, what is your name?"
"My name is James Tiberius Kirk."

- Iowa cop and a young Kirk, after his joyride

"I must decline."
"No Vulcan has ever declined admission to this academy!"
"Then, as I am half Human, your record remains untarnished."

- Spock and the Vulcan Science Council Minister, who had just complimented him on overcoming the "disadvantage" of having a Human parent

"I'm impressed. For a moment there, I thought you were just a dumb hick who only had sex with farm animals."
"Well… not only."

- Uhura and Kirk, discussing xenolinguistics

"Oh relax, cupcake – it was a joke."
"Hey, farmboy! Maybe you can't count, but there are four of us and one of you!"
"So get some more guys, and then it'll be an even fight."

- Kirk and a Starfleet cadet, before a fight breaks out

"You know, your father was captain of a starship for twelve minutes. He saved eight hundred lives, including your mother's – and yours. I dare you to do better."

- Pike, to Kirk

"Space is disease and danger, wrapped in darkness and silence."
"Well, I hate to break it to you, but Starfleet operates in space."
"Yeah, well, I got nowhere else to go. The ex-wife got the whole damn planet in the divorce – all I got left is my bones."

- McCoy and Kirk

"I don't believe in no-win scenarios."

- Kirk, at his hearing

"Who was that pointy-eared bastard?"
"I don't know – but I like him."

- Kirk and McCoy, after meeting Spock for the first time

"You call this a favor?!"
"Yeah, you owe me one."

- Kirk, "vaccinated", and McCoy

"No, I'm assigned to the Enterprise."
"… Yes, I believe you are."

- Uhura and Spock, after Uhura makes her case for reassignment from the Farragut

"Is the parking brake on?"

- Pike to Sulu, as the Enterprise fails to warp to Vulcan

"The complexity of Human pranks escapes me."
"It's not a prank, Spock. And I'm not the captain – you are."

- Spock and Pike, after Pike appoints Kirk as first officer

"Move, move, move! I can do that! I can do that!"

- Pavel Chekov, while running to the transporter controls to save a freefalling Kirk and Sulu

"I am now a member of an endangered species."

- Spock's log recording, after Vulcan's destruction

"Dammit, man! I'm a doctor, not a physicist! Are you actually suggesting they're from the future?!"

- McCoy to Spock, on the Romulans

"If you eliminate the impossible, whatever remains – however improbable – must be the truth."

- Spock, quoting Sherlock Holmes

"I have been, and always shall be, your friend."

- Spock Prime, identifying the Human he just rescued, and a very surprised Kirk

"I don't know you."
"I… am Spock."

- Kirk and Spock Prime, meeting for the first time on Delta Vega

"Are you out of your Vulcan mind? Are you making a logical choice sending Kirk away? Probably. But the right one? You know, back home we have a saying: If you're gonna ride in the Kentucky Derby, you don't leave your prize stallion in the stable."
"A curious metaphor, doctor, as a stallion must first be broken before it can reach its potential."

- McCoy and Spock, on sending Kirk to Delta Vega

"Dr. Puri, report."
"It's McCoy. Dr. Puri was on deck six. He's dead."
"Then you have just inherited his duties as chief medical officer."
"Yeah, tell me something I don`t know!"

- Spock making McCoy chief medical officer of the Enterprise while he tends to the wounded

"Green-blooded hobgoblin!"

- McCoy, on Spock's decision to maroon Kirk

"Are you from the future?"
"Yeah, he is – I'm not."
"Well that's brilliant! Do they still have sandwiches there?"

- Scott and Kirk, after Spock states that transwarp beaming is possible

"So, the Enterprise has had its maiden voyage, has it? She is one well-endowed lady! I'd like to get my hands on her ample nacelles, if you'll pardon the engineering parlance."

- Scott

"You know, coming back in time, changing history… that's cheating."
"A trick I learned from an old friend."

- Kirk and Spock Prime

"Come with me… Cupcake!"

- Enterprise security officer (the onetime bar fight instigator), arresting Kirk

"Are you afraid or aren't you?"
"I will not allow you to lecture me on the merits of emotion."
"Then why don't you stop me?"

- Kirk and Spock

"I like this ship! You know, it's exciting!"

- Scott, after Spock relinquishes command

"Well, congratulations, Jim – now we've got no captain and no goddamn first officer to replace him!"
"Yeah, we do."
"Pike made him first officer."
"You gotta to be kidding me!"

- McCoy, Kirk, and Sulu, after Spock relinquishes command

"I sure hope you know what you're doing… captain."
"So do I."

- Uhura and Kirk, after he takes the captain's chair

"My mother was Human – which makes Earth the only home I have left."

- Spock

"I would cite regulation, but I know you will simply ignore it."
"See? We are getting to know each other!"

- Spock and Kirk, before boarding the Narada

"So her first name's Nyota?"
"I have no comment on the matter."

- Kirk and Spock, after the former finally learns Uhura's first name

"You'll be able to fly this thing, right?"
"Something tells me I already have."

- Kirk and Spock, aboard the Jellyfish

"James T. Kirk was considered to be a great man. He went on to captain the USS Enterprise, but that was another life. A life I will deprive you of, just like I did your father!"

- Nero, as he chokes Kirk

"You can't even speak… What?"
"I got your gun!"

- Ayel and Kirk

"What're you doing here?"
"Just following orders."

- Pike and Kirk, who had been told to "come and get me"

"It's logic, Spock – I thought you'd like that."
"No, not really. Not this time."

- Kirk and Spock, after Kirk offers to help Nero escape certain death

"I would rather suffer the end of Romulus a thousand times. I would rather die in agony than accept assistance from you."
"You got it. Arm phasers – fire everything we've got."

- Nero and Kirk, before the Enterprise destroys the Narada

"Thrusters on full."

- A proud Spock Prime, after watching Kirk being promoted to captain of the Enterprise

"Bones! Buckle up!"

- Captain James T. Kirk as he steps onto the bridge of the Enterprise

"Space: the final frontier. These are the voyages of the starship Enterprise. Her ongoing mission: to explore strange new worlds, to seek out new lifeforms and new civilizations; to boldly go where no one has gone before."

- Spock Prime

Background information[]


Star Trek XI poster

The first poster, designed by J.J. Abrams

Development on Star Trek began in 2005 when Paramount contacted Roberto Orci (who was working with J.J. Abrams and Alex Kurtzman on the studio's Mission: Impossible III at the time), asking for ideas on how to revive the franchise. [1] Former Star Trek franchise head Rick Berman, though, shortly before he was let go from Paramount, has credited Abrams with presenting the idea of revisiting Star Trek to the studio when the latter was signed for a five-movie deal in early 2006. (Star Trek Magazine issue 129)

Daily Variety reported, on 20 April 2006, that an eleventh Star Trek film was being developed by J.J. Abrams, having the story revolve around the iconic characters of James T. Kirk and Spock during their days at Starfleet Academy. [2] Several days later, Abrams confirmed some parts of the report while denouncing others, stating that the announcement was an unofficial leak and was "not entirely accurate." He also stated that, while he was given the option to direct the film, he had not decided to do so at that time. [3] [4](X) Abrams declined to accept the director's position until the script was complete and he was sure he was the man for the job. He worked with Alex Kurtzman and Roberto Orci on the story throughout 2006 and early 2007 and finally signed on to direct on 23 February 2007, when he also publicly announced his decision to direct the film. Abrams was convinced to do so by his wife, Katie McGrath, who felt the film had strong female characters, and by acclaimed director Steven Spielberg, who was a friend of Abrams and was impressed by the script. [5] According to The Wrap, before Abrams signed up to direct the film, Paramount offered the position to Sam Raimi, the director of the Evil Dead and Spider-Man films. [6]

Fans got an official look at the movie's direction when Paramount released a poster for the new film on 22 July 2006: the teaser bore the Enterprise crew uniform insignia from the original series, against a background half command gold and half science blue. It hinted at a film to be set in the 23rd century which might feature the Enterprise itself. The poster was designed by the film's director/producer, J.J. Abrams. [7]

The film was greenlit in late February, at which time pre-production officially began. [8] Paramount issued a press release on 27 February 2007, which confirmed that production was under way, with Abrams directing, for a target premiere date of 25 December 2008. [9](X)

By 3 May 2007, some of the art department – still being filled by Production Designer Scott Chambliss – were already working, mostly from home; offices on the Paramount lot weren't finished before mid-May. [10] [11]

Sound stage set construction began in September. Most design work was complete by 12 October 2007. The budget was estimated between US$120 to $150 million, higher than any prior Star Trek film. [12]

Story and script[]

The original treatment for the film (the initial story outline) was completed in August. By the 24th of that month, writers Roberto Orci and Alex Kurtzman had begun working on a first draft of the screenplay, which was completed by 12 December 2006. [13] A second final draft was complete by 8 October 2007. [14] [15] In total, the script took approximately four months to write. The final script was about 128 pages long. [16]

In an interview posted 8 March 2007, the writers stated that the "intended title" for the film was always simply Star Trek, without any colons or subtitles. [17] This was to encourage newcomers that they didn't have to watch any other film before it. [18]

This is the first Star Trek movie since Star Trek Generations to feature characters from the original series and to feature scenes set in the 23rd century. It is also the first in the film series to be set before the other films.

Co-writer Alex Kurtzman said the script draws inspiration from Star Trek II: The Wrath of Khan. He and Roberto Orci hoped to recapture the spirit of The Wrath of Khan for this particular film. [19] Other inspirations for the film include the novels Prime Directive and Spock's World, as well as the TOS episode "Balance of Terror", the TNG episode "Yesterday's Enterprise", [20], and the TAS episode "Yesteryear". (citation needededit)

The writers said that their goal was for the film to appeal not just to Trek fans, but to new audiences as well. [21] [22] They hoped to bring the feel of the original Star Wars trilogy into the movie, since Abrams has often said he's more a fan of Star Wars than Star Trek. [23]

Scenes featuring Kirk's former CO, Garrovick, and Kirk's service under Garrovick aboard the USS Farragut are not in the film as first reported. These elements, which were included in early drafts of the script, were removed in rewrites. [24] The character of Carol Marcus was also included in early drafts of the script, but she did not make it into the shooting script, either. [25]

Rumors that the film's story involved the Guardian of Forever from the classic episode "The City on the Edge of Forever" prompted the episode's writer, Harlan Ellison, to demand compensation if elements from his story were used in the film. [26] [27] The rumors ultimately turned out to be false. The script does, however, reference several elements from the original series episode "Journey to Babel" among these Spock's mother recalling when he was taunted by Vulcan boys during his youth, Sarek's recollection of how Spock turned down appointment to the Vulcan Science Academy, and Spock's conversation with Sarek at the end of the episode discussing why Sarek married Amanda (Sarek replying "At the time it seemed the logical thing to do").

According to Roberto Orci, the most difficult characters to write for were the film's villain (Nero) and James T. Kirk. [28] One resource which Orci and Kurtzman utilized during the entire writing process was this website, Memory Alpha. The writers also occasionally referenced Memory Alpha during the film's production. [29]

Even though this film takes place in an alternate timeline, Orci has stated that any canon changes made in this timeline will not affect the former timeline, arguing that the scientific theory of quantum mechanics permits the existence of parallel timelines and universes, invoking the thousands of Enterprises from various universes seen in TNG: "Parallels" to back up this theory. He also believes that this theory allows for the continuance of a timeline even after a change is effected and an alternate timeline is created. In addition, he argues that, although the timeline has changed, the true nature of the characters does not change and that Kirk and company are the same people they are in the original timeline. [30]


The film's production was designed by Scott Chambliss. Ryan Church was the primary designer of the USS Enterprise and other starships, while Trek veteran John Eaves designed the various shuttlecraft. Excepting the Industrial Light & Magic staffers, who had previously worked on the Star Trek franchise and were still in the employment of the company at the time, Eaves was the only regular production staffer who had worked on Star Trek productions, set in the prime universe, to be officially hired and credited for the re-imagined movie as conceptual illustrator (though there were a few uncredited others such as Graphic Designer Geoffrey Mandel). While Abrams steered clear from hiring any former Star Trek staffers in order to be as unencumbered as possible for his take on the franchise, he was aware that some consistency needed to be observed, or as Chambliss has put it, "I brought John in because he knew the story and lore, what should and shouldn't be done. The ships in the Starfleet Armada to go to Vulcan were influenced by John's knowledge." (Star Trek - The Art of the Film, p. 58)


J.J. Abrams stated the difficulty of depicting the future was that much of modern technology was inspired by the original series, making it seem outdated. As such, the production design had to be consistent with the television series while also feeling more advanced than the real world technology developed after it. [31] Specifically, he felt that the original series had a "kitschy quality" to it which had to be abandoned for the sake of realism. [32]

According to production designer Scott Chambliss, redesigning the Enterprise and especially the main bridge began with laying out a framework of ground rules: the sets had to reflect the optimism of the original series, while also having a real functionality to them. "There was a strong, sleek, modernist vision at play in the 1960s when the television series began," says Chambliss. "That was something we wanted to infuse in our look." As such, the Enterprise draws inspiration from the work of Pierre Cardin and the sets from the 1968 film 2001: A Space Odyssey. (Production notes )

Chambliss maintained the layout of the bridge from the original series, but added more consoles and glass data displays to increase its functionality and make it more "busy." He also altered it aesthetically, with brighter lights and colors. The main viewscreen was turned into a window that could have images projected on it to make the space environment palpable. The bridge set was built on gimbals so the ship's rocking motions when it was attacked or when it accelerated to warp were more realistic. More railings were added to the bridge set to make it appear safer. [33] [34]

The Romulan ship, the Narada, was designed as purely practical with visible mechanics, as the Romulans were on a very specific mission, unlike the Enterprise crew, who give a respectable presentation on behalf of the Federation. [35] In designing the Narada, Chambliss was heavily influenced by the architecture of Antoni Gaudí, who created buildings that appeared to be inside out: by making the ship's exposed wires appear like bones or ligaments, it would create a foreboding atmosphere. The ship's interior was made of six pieces that could be rearranged to create a different room, thus allowing the production to utilize a single stage for the set. (Production notes )

Different art directors were responsible for the sets of each ship: Dennis Bradford was responsible for the Federation starship sets (the Enterprise and the Kelvin); Gary Kosko handled all the Vulcan-related sets; and Curt Beech oversaw the shuttlecraft sets. They were all supervised by Keith P. Cunningham, who ensured everything was organized and running properly. (Production notes )


The props seen on the original Star Trek series were redesigned, as well, including the communicator, the tricorder, and the phaser. All props were the responsibility of property master Russell Bobbitt.

Bobbitt collaborated with engineers at Nokia to redesign the original communicator, creating a US$50,000 prototype. For the tricorder, Bobbitt brought the original prop to the set, but the actors found it too large to carry when filming action scenes. Bobbitt then approached technical advisor Doug Brody, who redesigned a smaller version of the prop. [36] The phaser props maintained the basic shape of the original props, but were designed with spring-triggered barrels that revolve and glow blue and red as the setting switches from "stun" to "kill".

A tribble can be seen in the film, sitting in a cage on Scott's desk in the Delta Vega outpost. [37] The production made use of the Aptera Typ-1, a prototype electric vehicle. The Aptera was used on location at the CSUN campus, which was standing in as part of Starfleet Academy. [38] [39] [40]


Abrams selected Michael Kaplan to design the costumes because Kaplan had not seen any of the films, meaning he would approach the costumes with a new angle. For Abrams, "The costumes were a microcosm of the entire project, which was how to take something that's kind of silly and make it feel real. But how do you make legitimate those near-primary color costumes?" [41]

Kaplan used the Star Trek Encyclopedia to get a sense of the evolution of the Starfleet uniforms and to look for repeated motifs. (Production notes ) For the Enterprise uniforms, Kaplan followed color coding used on the original series. The uniforms were comprised of dark gray (almost black) undershirts and pants and colored overshirts showing each crew member's position. Kaplan wanted the shirts to be more sophisticated than the originals and decided to have the Starfleet emblem patterned on them. [42]

When designing the uniforms for the crew of the USS Kelvin, Kaplan drew inspiration from the retro-futuristic designs of 1940s and 1950s science fiction films. For the Romulans on the Narada, Kaplan wanted worn and rugged clothes because of their mining backgrounds. He found some aged, greasy-looking fabrics at a flea market, and commissioned the makers of the clothes (who were based in Bali) to create his designs using their fabrics. For the Vulcans, Kaplan designed costumes which shared the eloquent and austere qualities of the Vulcans themselves, while creating a new, corseted shape for the Vulcan women. (Production notes )


The Vulcan and Romulan makeup was created by Joel Harlow, while Barney Burman designed and created the prosthetic makeup for other alien characters. Mindy Hall was the head of the makeup department. Both digital and physical makeup was used for aliens.

Burman and his team had to rush to create many of the aliens. Originally, the majority of the aliens were to feature in one scene towards the end of filming. However, Abrams deemed the scene too similar to the cantina sequence in Star Wars and decided to pepper aliens throughout the entire film, requiring Burman and his crew to design the aliens earlier than anticipated. [43]

The Romulan characters in the film were all bald to better distinguish them from the Vulcans, and their heads and faces are covered with tattoos. They lack the forehead ridges that were seen on Star Trek: Enterprise and in the TNG-era series and films. The Romulan actors spent two and a half to four hours getting their makeup done; the actors had three prosthetics applied to their ears and foreheads, while Eric Bana had a fourth prosthetic for the bite mark on his ear that extends to the back of his character's head. [44] [45]


This is the first of any Star Trek production to re-cast the regular characters of a Trek series and both William Shatner and Leonard Nimoy were given consultation rights for the recasting of their roles. [46] Casting for the film began as early as October 2006. [47]

The only actors to participate in both this film and the first Star Trek film, Star Trek: The Motion Picture, were Majel Barrett and Leonard Nimoy. In The Motion Picture, Barrett played Dr. Christine Chapel and she voiced the Enterprise computer in Star Trek, while in both films, Nimoy played Spock.

Star Trek has Leonard Nimoy portraying his iconic role of Spock for the first time since 1991. He came out of retirement to assume the role, having given up acting in favor of photography in 2000. He later gave three explicit reasons for doing this project: the fact that it is Star Trek, his admiration for Abrams, and an "essential" and "interesting Spock role". [48] Abrams has stated that the casting of Nimoy is "critical if we're going to look at reintroducing these characters", noting that, to make this a "great film", it must "both please the fans and those who have never seen Star Trek… having Leonard in the film shows that this film exists in a continuum of Trek history, as opposed to an absolute, page 1 reinvention." [49]

The first actor cast in the new film was Heroes star Zachary Quinto, who plays the younger Spock. His casting, and that of Nimoy, was officially announced at San Diego's Comic-Con International on 26 July 2007. Quinto also signed up to play Spock in any potential sequels to this film. [50] The last recast member of the original series crew to sign on was Karl Urban as Leonard McCoy. [51] Rehearsals were held week of 19 October 2007. [52]

On 10 December 2008, Variety announced that Majel Barrett-Roddenberry reprised her role as the voice of the Enterprise computer. [53] [54] This announcement came just eight days before Barrett's death at the age of 76.

April Webster and Alyssa Weisberg oversaw the casting of the principal actors. Hollywood Operating System (Hollywood OS) and Headquarters Casting (HQC) were the agencies working in conjunction to hire extras for the film. They held an open casting call for extras on 10 November 2007, an event which hundreds attended, numbers that haven't been seen since Star Trek: The Motion Picture in 1979. [55]

In November 2009, Wil Wheaton, who played Wesley Crusher on Star Trek: The Next Generation, confirmed that he provided the voice for the minor Romulan characters who spoke in the movie. His dialogue was altered to make him sound different each time, with one exception: the Romulan towards the end of the film who tries to warn Nero about igniting the red matter aboard Spock's ship had Wheaton's normal voice. [56] [57]

Rumors and gossip[]

As the buzz around the film was building and word spread that the characters of the original Star Trek series were to be recast, rumors as to who would play the younger versions of these iconic characters also arose while a number of actors reportedly expressed interest in participating in the film.

  • J.J. Abrams' childhood friend Greg Grunberg expressed interest in playing a Klingon, Scott, or a Vulcan. [58] [59] [60] [61] [62] Although he was to have appeared in the film, Grunberg bowed out to star in, produce, and co-write another film. [63] However, he did visit the set of this movie while it was in production. (Empire, issue 287, p. 79) Grunberg also managed to acquire a role in the film during post-production, as the voice of James Kirk's step-father.
  • Actor Matt Damon was rumored as Captain Kirk, even soliciting William Shatner's aid in signing him up. [64] Damon himself denied having been approached for the role, [65] although he later told Sci-fi Wire that he would be interested in playing a young Captain Kirk if the script met with his satisfaction. [66] In March 2007, Kurtzman, although not confirming that Damon will play Kirk, stated that he was "the hugest Matt Damon fan. If he became [Kirk], great." [67] In a subsequent interview with IGN, Damon stated that the filmmakers were looking for someone younger than Damon (who in 2007, was merely two years older than William Shatner was in 1966). [68] In an interview with Entertainment Tonight, J.J. Abrams said he had approached Damon to play Kirk's father, but ultimately it didn't work out. [69]
  • Mike Vogel was a contender for the role of Kirk before the role went to Chris Pine. [70] [71]
  • Actors Ryan Gosling and Sam Rockwell also showed interest in portraying Jim Kirk. [72] [73]
  • Adrien Brody was rumored to be in talks to play Spock. Brody later confirmed that he had indeed had a discussion with J.J. Abrams about the role. [74] [75]
  • Oscar-nominated actor Gary Sinise (Forrest Gump, CSI: NY) was rumored to be in talks to play the role of Dr. McCoy. [76] Sinise subsequently denied the rumor. [77]
  • During a short phone interview with J.J. Abrams on his show, The Colbert Report, Stephen Colbert jokingly expressed that he felt he was perfect for the role of Dr. McCoy.
  • Alias star Kevin Weisman expressed interest in portraying Scott. [78]
  • Scottish actor James McAvoy was rumored as being sought to play Scott, which McAvoy's publicist subsequently denied. [79] [80]
  • Scottish actors Greg Hemphill and Martin Compston were also reportedly up for the role of Scott. [81] [82]
  • Star Trek: Voyager and Star Trek: Enterprise guest actor and Lost star Daniel Dae Kim was named as a contender for the role of Sulu. [83]
  • Heroes actor James Kyson Lee expressed interest in playing Sulu. [84]
  • Sources reported that Academy Award-winner Philip Seymour Hoffman may have a role in the film, possibly as a doctor (but not "Bones" McCoy). [85]
  • There was a rumor that the new James Bond, Daniel Craig, was interested in a role. [86]
  • Actress Jennifer Garner, who starred in Abrams' Alias television series, said she would "absolutely" sign up to appear in Star Trek if she were asked. [87] Garner later expressed interest in showing up as a Klingon, even if it was just a quick walk-on role. [88]
  • Abrams thought it would "be awesome" if he were able to cast his Felicity and Mission: Impossible III actress Keri Russell as a Klingon. [89] Russell later told IESB that she had indeed been in talks for a role in Star Trek but that she and Abrams had decided not to go through with it. [90]
  • Actress Sydney Tamiia Poitier auditioned for a role in the film, [91] possibly Uhura. [92]
  • Ben Affleck was rumored to have been approached for a role in the film. [93]
  • Abrams' Mission: Impossible III star and producer, Tom Cruise, was frequently rumored to have a cameo in the film. He was even rumored to be appearing in the film as Captain Christopher Pike. Both Cruise and his publicist have denied any involvement in the film. [94] [95] [96] [97] [98] [99] [100] [101]
  • It was reported that Paramount was attempting to sign up Oscar-winner Russell Crowe to play the film's villain. [102] Crowe said he was "apparently" up for the role, but that he had yet to read anything and could not make a decision until he did. [103] Eric Bana ultimately won the role.
  • Actor Josh Lucas was being considered for the role of Pike, although he was never the leading candidate. [104] [105] The role ultimately went to Bruce Greenwood.
  • Starburst Magazine reported, in its 356th issue, that George Takei would be appearing in the film, reprising his role as Sulu in "a flash forward sequence" opposite Leonard Nimoy. This was later found to be incorrect. [106](X) [107]
  • Star Trek: Enterprise star Dominic Keating auditioned for the role of Jim Kirk's stepfather, but he did not get the part. [108]
  • TOS actress Nichelle Nichols stated that she and J.J. Abrams discussed the possibility of Nichols making an appearance in the new film, perhaps as the grandmother of Uhura (the character she originated on TOS). Due to the writers' strike, however, her inclusion into the script was not possible. [109]
  • While filming the Star Trek:New Voyages fan film "World Enough and Time" as old Sulu, George Takei met the actor playing TOS-era Sulu, John Lim, and was impressed to the point that he thought Lim would do a good job in the 2009 film. [110]

Shatner controversy[]

Yet another actor who expressed interest in a role was William Shatner himself. [111] In an interview with Time magazine, Shatner claimed to have been approached by Abrams for a role in Star Trek. [112] Shatner even reported several times his belief that Abrams was planning for both him and Leonard Nimoy to appear in the film, although they would have to be meaningful roles. [113] [114]

Shatner learned he did not have a role in the film while discussing the script with Leonard Nimoy over the phone. [115] According to Nimoy, although Shatner did not have a role the film, Shatner was not "furious" about it as some reported. [116] The film's writers stated their wish for Shatner to be a part of the film's shoot, and the filmmakers were looking for a way to include Shatner in the film. [117] [118] [119] [120] It was implied by Nimoy that the reason Shatner did not have a role in the script was due to the events of Star Trek Generations, which featured the death of Captain Kirk. [121] This suggested that Nimoy's scenes as Spock might have taken place in the 24th century. As it turned out, the backstory for the movie did indeed start in the late 24th century in the year 2387. Kirk's appearance and subsequent death in the 24th century occurred in the year 2371, sixteen years prior. While Shatner could theoretically have appeared as a James T. Kirk circa 2387 (as depicted in the "Shatnerverse" novels), it would have been confusing to the audience that might only know of his last screen adventure and not the subsequent ones in the novels since the novels are not canon.

In an interview with then-executive producer Stratton Leopold, the Savannah Morning News stated that "studio executives still hope to convince William Shatner to suit up as Captain Kirk one more time." [122] This contradicted previous reports stating that Shatner was the one attempting to convince Abrams and crew to find a way to put him in the movie. It is possible that the Savannah report was merely mistaken or that the line was taken out of context.

The fact that Nimoy had a role in the film and Shatner did not, disappointed Shatner. The fact also caused an uproar from some fans on forums and discussion boards. Shatner explained in later interviews that the writers had been looking for ways to include Kirk in the story, but couldn't find a way to do it without compromising the script or making his appearance feel "forced".

In an interview with IGN, J.J. Abrams finally put an end to the rumors by stating that William Shatner was not in the movie at all and Leonard Nimoy is the only actor from the original series who was. [123]

In another interview with AMC, Abrams admitted there was a scene written for Shatner, but he and the writers decided not to use it because "it didn't feel right" and they still had to respect canon. In addition, Shatner was vocal in his unwillingness to be involved unless he had a substantial role in the film. [124] Abrams called the omitted scene a "flashback", although co-writer Roberto Orci later stated that wasn't a technically accurate term. [125]

Roberto Orci and Alex Kurtzman eventually said that Shatner's scene was in the movie and then was written out in a later draft. It would have been at the very end of the movie when Spock Prime meets the younger Spock and speaks to him about the long and enduring friendship that Spock and Kirk needed to form. Spock Prime would have said "Don't take my word for it" and produced a small holographic device that would have projected a message from the elder Kirk. [126]


Shooting Kirk-Spock Vulcan nerve pinch

A moment from the filming of this movie

Principal photography began 7 November 2007 [127] and wrapped 141 shoot days later on 27 March 2008. Second unit and VFX plate shots continued until 17 April 2008, under the direction of Visual Effects Supervisor Roger Guyett. Since it was the principal photography that had been reportedly scheduled to wrap in April, writer and executive producer Roberto Orci stated:

"Well we always add a few weeks for the studio, just in case. This is a lesson we learned from Scotty… this way we can appear like miracle workers." [128]

Shooting was once set to start summer 2007 [129] before the filmmakers made clear it could actually begin in April. [130] Shooting would have started on 5 November but was postponed two days. [131]

This was the first film in the Star Trek franchise which Paramount Pictures made in collaboration with a production partner, let alone two (Bad Robot Productions and Spyglass Entertainment). This was also the first Star Trek project which writer/director Rick Berman has not been involved with in over twenty years, and the first Trek film since Star Trek VI: The Undiscovered Country made without his involvement. In addition, this was the first film since Star Trek Generations that the soundtrack was not composed by Jerry Goldsmith, who passed away in 2004.

Crew notes[]

Many of the crew members whom Abrams selected to work on this film are those he had worked with in the past, most notably writers/executive producers Alex Kurtzman and Roberto Orci, producer Damon Lindelof, executive producer Bryan Burk, composer Michael Giacchino, cinematographer Dan Mindel, production designer Scott Chambliss, editors Maryann Brandon and Mary Jo Markey, and casting directors April Webster and Alyssa Weisberg.

Stratton Leopold, a collaborator of Abrams' on Mission: Impossible III, was initially unit production manager and an executive producer for the film. [132] Before filming began, however, Leopold left the production and was replaced as executive producer by Jeffrey Chernov [133] and as unit production manager by David Witz. [134]

Originally, Vic Armstrong was to coordinate the stunts for Star Trek. He was looking forward to working with Abrams again, having served as stunt coordinator on Mission: Impossible III (2006), but Joey Box was ultimately given the job. (source: Vic Armstrong)

The first three months of shooting on Star Trek took place during the 2007 writers' strike. None of the filmmakers could make any changes to the film's script during the strike period, meaning the common practice of revising the script during production was not possible. Although Abrams complained about not being able to add new dialogue, the strike for the most part did not affect the film's production. Since it was one of the studio's "high priority" films, Paramount strove to help it despite the writing stoppage. [135] [136] Writers Kurtzman and Orci were able to stay on set without strikebreaking as they were also executive producers on the film. While they could not change any lines themselves, they could "make funny eyes and faces at the actors whenever they had a problem with the line and sort of nod when they had something better." [137]

Secrecy and security[]

Security on the set was very tight in order to keep aspects of the production a secret from the general public. Cast and crew members on location were not allowed to leave the set for cigarette breaks, [138] and actors could not walk in public in their costume – they were driven to and from set in golf carts, hidden behind black canvas. [139] Some actors, including Jennifer Morrison and Sonita Henry, were only given the part of the script containing their scenes, which they had to return at the end of the day. [140] [141] The script was also protected with members of the main cast, including Simon Pegg, who had to read the script with a security guard nearby. [142]

During its production process, the film was codenamed "Corporate Headquarters". [143] This was the official fake title chosen by Bad Robot, although various other fake titles were also used throughout the production. Each of the Key Assistant Location Managers was allowed to choose an additional fake title for paperwork, permits, and signage in an effort to thwart paparazzi and to protect the secrecy of the movie: Kathy McCurdy named the movie "Untitled Walter Lace Project" after her grandfather; Rob Swenson used "Christa & Christan's Big Adventure" after his twin step-daughters; Scott Trimble used "The Ernest Castelhun Chronicles" after his great-granduncle who drowned in beer at the Anheuser-Busch factory in 1937; and Steve Woroniecki named it "Untitled Blake Allen Project" after his son.

TOS stars Nichelle Nichols and Walter Koenig, TNG star Jonathan Frakes, and veteran Trek writer and producer Ronald D. Moore were among the few who were permitted to visit the Star Trek set. Other celebrities who visited the set include Tom Cruise, Ben Stiller, Harrison Ford, Michelle Monaghan, and Steven Spielberg. Ford dropped by the set during the last week of shooting; Spielberg was on set during filming on the Enterprise and assisted Abrams with the action of one of the scenes. [144] [145] (Abrams states that Koenig came when filming the space dive – since Pine and Cho had actually been standing on a mirror on top of a building, Koenig thought the film would be a flop.)

The wrap party was held on 18 April 2008 at Hangar 8 at the Santa Monica Airport between 7:00 pm and midnight. The invitation featured the note, "Please note that due to heightened security, you must R.S.V.P. in order to have your name placed on the guest list. Your photo I.D. will be required at the entrance." (Source: Jon Donahue via Facebook)

Sets and locations[]

The production used a total of eleven sound stages. [146] Most filming took place on the studio lot, specifically on stages 8, 9, 11, 14, 15, and 18. These are stages where Star Trek has filmed in the past. Plans also reportedly included use of a Universal Studios stage for "planetary" shots needing more room, [147] but that location was never used.

A source told that more ship interiors were created for this film than any other Trek film. There was also a minimal amount of redressing used. [148]

Abrams has stated that his goal with this film is to make Star Trek "real." As such, he used live sets and location shooting rather than green- and blue-screen sets wherever possible. [149] The first days of shooting occurred on location in a Long Beach building. [150] California's Vasquez Rocks Natural Area Park was used for a birthing scene involving a number of Vulcans. Vasquez Rocks has appeared in past Trek shoots, including the original series episode "Arena". [151])

Approximately four weeks out of the twenty weeks of shooting took place on the bridge of the USS Enterprise. [152] The last day of shooting on the set of the Enterprise bridge was 25 January 2008. Scenes filmed included the intended final scene of the movie. During filming on that day, hosted a live chat in which J.J. Abrams, other crewmembers, and some of the cast answered fan-submitted questions from the bridge set. A transcript of this chat included a brief glimpse of the set – the first such on-set image – showing Abrams using his laptop at one of the stations. [153]

In addition to the bridge, other areas aboard the Enterprise seen in the movie are sickbay, crew quarters, corridors, engineering, and the transporter room. All of these sets were built at Paramount Studios, with the exception of engineering, which was done on a redressed industrial location. [154] That location was later revealed to be the Budweiser beer plant in Van Nuys, California. (Production notes at )

The bridge of the USS Kelvin reflects an earlier design than the Enterprise and is described as "a lot busier." This bridge set was redressed for use as the mock-up starship bridge in a scene depicting the Kobayashi Maru scenario. [155] Other areas we see on the Kelvin include sickbay, engineering, and some corridors. The Romulan ship, the Narada, utilizes an interior design that is different from previously seen Romulan ships and is described as "surreal." Scenes were also filmed on sets built to represent a medical shuttle and a transport shuttle. [156]

Some scenes were shot in a large Orange County hangar. Production later returned to Long Beach for scenes at its city hall. Filming there wrapped on 14 December 2007, with several city staffers invited to the shoot, all of whom signed nondisclosure pacts. [157] [158]

During the week of 18 March 2008, parts of the film were shot at California State University, Northridge (CSUN), with the university's Oviatt Library standing in as the lower levels of Starfleet Academy. Although blue screens were placed on the sides of the lawn, light fixtures were modified, and banners sporting the Starfleet emblem were hung on streetlights, little else was modified for the film. [159] Although it never appeared in the film, the lobby of the library was dressed with NASA and other space-related images and the main doors were emblazoned with the Starfleet emblem. There was also a "futuristic kiosk" placed in the lawn. Photos of the filming at CSUN feature dozens of extras dressed in red cadet uniforms (as well as some in more militaristic gray uniforms) as well as a futuristic-looking, functional vehicle called the Aptera. [160]

Also in March 2008, filming took place at the Pastoria Energy Facility to the east of Interstate 5 at the bottom of "the grapevine," a stretch of Interstate 5 that drops out of the mountains north of Lebec, California, and south of Bakersfield. This location served as the Riverside Shipyards where the starship Enterprise was being constructed. This is where James T. Kirk rode his motorcycle into the shipyards, gave his bike to a shipyard worker, and boarded the shuttle headed to Starfleet Academy.

Four of the filmmakers, including production designer Scott Chambliss, first assistant director Tommy Gormley, then executive producer Stratton Leopold, and eventual second unit director Roger Guyett, scouted locations in Iceland during early Summer 2007. Despite some reports, J.J. Abrams never actually visited Iceland himself. Companies such as Pegasus-Panarctica Pictures (run by Snorri Þórisson), Sagafilm (Kjartan Thor Thordarson), Labrador (Pétur Hafsteinn Bjarnason), and Truenorth Productions (Leifur B. Dagfinnsson) vied for the opportunity to provide local production services. This would have been the first time a Star Trek movie was filmed outside of the United States. The plan was that two weeks of filming would take place there during Spring 2008, but, as it turned out, no filming whatsoever was ever done in Iceland. A location scout was also sent to British Columbia, Canada, but, in the end, the movie was filmed entirely in the United States. [161] [162] [163]

Many of the scenes featuring interior locations on Vulcan were filmed at the SkyRose Chapel in Whittier, California. These included the conversation between young Spock and Sarek, as well as Spock's confrontation with the Vulcan committee. [164] [165]

In early April, some second unit work took place on location in Bakersfield, California, which stood in for Iowa (the birthplace of James T. Kirk). While shooting in Bakersfield – near Highway 119 – on 8 April 2008, an automobile accident occurred in front of the set in which a car being driven by the location's site manager (a local official in charge of the site) crashed head-on into a truck. A passenger in the car and the driver of the truck were injured but survived, and the crash did not disrupt filming. [166] [167]


Industrial Light & Magic provided the special visual effects for the film. This was the company's seventh film project for the Star Trek franchise, the last being 1996's Star Trek: First Contact. Santa Barbara Studios did the VFX for Star Trek: Insurrection and Digital Domain provided the effects for Star Trek Nemesis. Visual Effects Supervisor Roger Guyett anticipated that Star Trek would use about 1,000 visual effects shots, [168] though the number had increased to over 1,300 by August. [169]

The first cut of the film was completed in July 2008. This cut was screened for studio executives at Paramount Pictures sometime in the last week of July and received a very positive response. [170]

Post-production on Star Trek was completed on 23 December 2008. The film spent just under nine months in the post-production process, the second longest in the franchise behind Star Trek: The Motion Picture. The final step in the process was sound editing, provided by Academy Award-winning sound designer Ben Burtt (best known for his work on the Star Wars films) and supervising sound editor Mark Stoeckinger. [171]


See also: Star Trek (soundtrack)

The film's score was written by Academy Award-winning composer Michael Giacchino. He created a new version of the original theme by Alexander Courage in the score, along with new themes he created for the film. The original theme made a comeback for the ending credits. Giacchino admitted personal pressure in scoring the film, stating "I grew up listening to all of that great [Trek] music, and that's part of what inspired me to do what I'm doing… You just go in scared. You just hope you do your best. It's one of those things where the film will tell me what to do." [172] [173] [174]

Finding a new musical direction for Star Trek proved challenging. "I wrote maybe 20 or so versions of the main theme and all of them sounded like Star Trek music – like big space opera music. And every time JJ and I would sit and listen to it JJ would say 'it just doesn't sound like our movie.'" Lindelof suggested Giacchino concentrate more on Kirk and Spock's friendship, and the main theme, specifically the Kirk/Enterprise theme came out of that. Spock's theme developed out of a variation of the main theme that the producers liked. [175]

The score was recorded at the Sony Pictures Scoring Stage in Culver City, California. The scoring session was comprised of a 107-piece orchestra and forty-person choir. Giacchino composed new themes for the film, some of which were stylistically created as subtle homages to past Star Trek composers, Jerry Goldsmith and James Horner. An erhu was used to create Spock's theme; the same instrument was used for the Romulans, except in their case, the sound was processed and distorted. Several members of the music department wore clothing resembling Starfleet uniforms during the scoring session. [176] The score was released by Varèse Sarabande Records on 5 May 2009.


  • This is the second movie, the first being Star Trek II: The Wrath of Khan, to begin on James T. Kirk's birthday, in this case the actual day of his birth.
  • Aspects of Spock's life, like Sarek explaining his marriage to Amanda as "the logical thing to do", young Spock being bullied by Vulcan kids for having a Human mother, and later turning down the Vulcan Science Academy to Sarek's disappointment, were first mentioned in the Star Trek: The Original Series episode "Journey to Babel" and the Star Trek: The Animated Series episode "Yesteryear".
  • Hikaru Sulu reveals that his advanced combat training is in fencing. Sulu was first seen fencing in the original series episode "The Naked Time". Abrams later states he thought it a good idea to turn out that Sulu was in fact "a ninja". (Star Trek DVD commentary)
  • Delta Vega in the film is a reference to an unrelated planet from the TOS episode "Where No Man Has Gone Before". In an interview with, writer Roberto Orci said, "We moved the planet to suit our purposes. The familiarity of the name seemed more important as an Easter egg, than a new name with no importance." [177]
  • When Kirk and McCoy first see the Enterprise in space the scene resembles the scene from Star Trek: The Motion Picture when the Enterprise refit is shown for the first time or the similar scene in Star Trek IV: The Voyage Home with the new USS Enterprise-A. This was the general idea in Abrams' view. (Star Trek DVD commentary)
  • When the cadets are assigned to the various ships prior to the destruction of Vulcan, one cadet, Fugeman, is assigned to Regula I, a station seen prominently in Star Trek II: The Wrath of Khan.
  • There is an established relationship between Spock and Uhura in this film. There have previously been hints of flirtation between the two characters. In "Charlie X", Uhura sings a teasing song about Spock while he plays accompanying music on the Vulcan lyre, eliciting a rare smile from him. In " The Man Trap", Uhura makes an attempt to get Spock to flirt with her, asking him to tell her she's an "… attractive young lady." The famous interracial kiss was originally to be between Uhura and Spock. [178] However, according to scriptwriters Roberto Orci and Alex Kurtzman, they only noticed these moments after coming up with the relationship for the film. [179]
  • At the end of the film, Admiral Christopher Pike is in a wheelchair. This is an allusion to Fleet Captain Christopher Pike from the original timeline who was crippled by delta radiation when a baffle plate had ruptured and then confined to an advanced wheelchair. [180] However, unlike in the Original Series, Pike isn't scarred or mute and in the next film is seen walking without the wheelchair, albeit with a cane.
  • Nero's statement that the Federation had done nothing as Romulus was destroyed by the supernova makes it look as though the Federation simply held still while their (former) enemies faced destruction. However, Jean-Luc Picard's statements in PIC: "Remembrance" elaborate on that and make Nero's anger much more understandable: In fact, the Federation had initially agreed to mount a large-scale evacuation to help the Romulans who were threatened by the supernova, but deliberately chose to abandon it.
  • The sequence where Nero forces the Centaurian slug down Captain Pike's throat is a tribute to the Ceti eel sequence from Star Trek II: The Wrath of Khan, even including similar dialogue. [181]
  • While taking the Kobayashi Maru test, Kirk's comic nonchalance extends to him casually munching on an apple as the Klingons attack. In the Genesis cave in Star Trek II: The Wrath of Khan, Kirk eats an apple while explaining to Saavik how he beat the Kobayashi Maru test. (In the DVD commentary on the film, it is noted that this was a coincidence.)
  • Dr. McCoy refers to Spock as a "green-blooded hobgoblin." In "Bread and Circuses", McCoy referred to Spock as a "pointed-ear hobgoblin." McCoy also frequently referred to Spock as "green-blooded" throughout the classic series and the films.
  • Spock Prime tells Kirk "I have been, and always shall be, your friend", which were his dying words to an older Kirk in Star Trek II: The Wrath of Khan, and, recalling that conversation, his first words after his fal-tor-pan in Star Trek III: The Search for Spock.
  • In order to bring Kirk aboard the Enterprise as a patient, McCoy injects a vaccine to protect against viral infection from Melvaran mud fleas. The fleas were previously mentioned in "Canamar".
  • On Delta Vega, Montgomery Scott mentions that he had used "Admiral Archer's prized beagle" to test his long-distance transporter theories, though the beagle had yet to turn up as of his meeting with Kirk and Spock Prime (which he speculated led to his "exile"). Writers Alex Kurtzman and Roberto Orci have confirmed that this Admiral Archer was indeed Jonathan Archer. [182] [183] Jonathan Archer would be 145 years old at the time of Scotty's exile, but Humans are long-lived in Star Trek; Orci noted the appearance of Leonard McCoy in "Encounter at Farpoint". However, it is unlikely that Porthos would still be alive at that time. J.J. Abrams intends the dog to reappear upon his leaving the Star Trek films. (Star Trek DVD commentary)
  • When Nero discovers Spock commandeering the Jellyfish, he yells, "SPOOOOOCK!" This is likely a nod to the scene in Star Trek II: The Wrath of Khan where Kirk yells Khan's name in a similar fashion.
  • When the younger Spock approaches the pilot's seat in the Jellyfish, the location's design is that of the IDIC, a symbol of the Vulcan people. Also, in reaction to the ship's controls, Spock says "Fascinating… "
  • Chief Engineer Olson, who dies almost instantly on an away mission, is conspicuously dressed in a red space jump suit, a nod to the original series phenomenon of a hitherto unknown ensign dressed in red always being the first to die in any away mission. (Star Trek Special Edition DVD) Greg Ellis, who played Olson, had previously appeared on Star Trek, in the Star Trek: Deep Space Nine finale "What You Leave Behind", as Ekoor, one of the few Cardassians to survive the Dominion massacre.
  • Uhura orders a Klabnian fire tea, three Budweiser Classics, two Cardassian sunrises, a Slusho, and a Jack Daniel's at the Shipyard Bar. J.J. Abrams has previously used Slusho in the film Cloverfield and the television series Alias. Uhura's drink order is the first reference to the Cardassians in a Star Trek production set in the 23rd century. The Cardassians debuted in the 24th century Star Trek: The Next Generation episode "The Wounded", and were mentioned in the 22nd century Star Trek: Enterprise by the Organians in "Observer Effect" and one was seen at a repair station Enterprise NX-01 visited in "Dead Stop". The mention of Budweiser is a nod to the shooting location for engineering – a Budweiser plant.
  • As Kirk climbs out of the shuttle on Delta Vega, his backpack reads "NCC-1701-D." The USS Enterprise-D, commanded by Captain Picard, had this registry number.
  • At one point, Doctor McCoy tells Kirk that "A little suffering is good for the soul." In "The Corbomite Maneuver" Kirk asks McCoy "Aren't you the one who always says a little suffering is good for the soul?" and McCoy dryly replies "I never say that".
  • McCoy has a beard in civilian life, just as he did in Star Trek: The Motion Picture.
  • While trying to decipher the origins of Nero and his ship and crew, Spock says "Once you have eliminated the impossible, whatever remains, however improbable, must be the truth." In Star Trek VI: The Undiscovered Country, Spock says the same thing while investigating the mysteries surrounding Chancellor Gorkon's assassination. The line ultimately derives from the Sherlock Holmes stories and novels by Sir Arthur Conan Doyle, and was also quoted by Data in "Data's Day".
  • When Kirk first meets Scott on Delta Vega, a tribble can be seen and heard on his desk.
  • Kirk emotionally compromises Spock in order to gain command of the Enterprise as he did in "This Side of Paradise".
  • At the end of the film, right after Spock Prime says "To boldly go where no man has gone before…", the Enterprise goes into warp, similar to the Star Trek: The Next Generation series opening sequence.
  • This is the last Star Trek film to use the 2002-2012 Paramount Pictures logo.

Deleted and expanded scenes[]

Several scenes appear in the shooting script that are absent from the theatrical release. [184] Some have appeared on the Star Trek DVD releases.

  • A scene prior to the film's opening sequence shows Spock's birth and a conversation between Amanda Grayson and Sarek.
  • When the Narada is disabled by the Kelvin's attack, several Klingon warbirds decloak and surround Nero's ship.
  • Preceding his joyride in a Corvette, scenes establish the child James T. Kirk residing with his older brother George and their uncle Frank while Winona Kirk is away. James is forced to wash the Corvette (which had in fact belonged to their late father) in a subsequent scene when, upon opening the visor above the drivers' seat, the keys fall into his lap, and he decides to steal it.
Narada deleted scene

The unfinished Narada surrounded by Klingon ships in a deleted scene

  • Several scenes establish that Nero and his crew were taken to Rura Penthe and had been held there for several years. It is suggested that Nero formulated his plan for destroying the Federation while imprisoned. Klingons – as all are masked, it is unclear whether or not they bear the effects of the augment virus – interrogate Nero (at one point, having realized he was from the future, theorized that he likely knows about Federation defenses, and that they might be able to work together) and torture him with a Centaurian slug (in the hopes of getting red matter technology for themselves), a tactic Nero uses later in the film. Nero attempts to endure the torture by focusing on memories of his wife. A later scene shows Nero escaping the prison planet to resume his plan (the scene used in the trailer where Nero says "The wait is over" comes as he frees Ayel). Interviews with J.J. Abrams and the Star Trek DVD commentary indicates that they didn't want to address whether the Klingons in this film would look like they did in the original series, affected by the augment virus, or appear with forehead ridges as they did in the films and subsequent series although the helmets have the ridges on them, which is a nod toward the later look of the Klingons. Two images from this plot line were in fact included in the final film – the last shot of the Centaurian slug sequence, looking straight down at Nero, was used to show Nero aboard the Narada when Ayel comes in and informs him that the Jellyfish is about to emerge from the black hole, while the image of a shirtless Nero at work on Rura Penthe appears during Spock Prime's mind-meld with Kirk.
  • The Gaila/Uhura dorm room scene and Kobayashi Maru scenario is slightly expanded to show how Kirk reprogrammed the test. After Kirk responded to "I love you" with "That's so weird", he explains that it's because he has written her a note, its contents too hard to say in person, that he needs her to open at precisely 3 pm the next day. At the appointed time, Gaila – a technician on the test – opens the letter, which reads "Gaila – I'm sorry. Jim", before downloading a virus which reprograms the scenario. (In the DVD commentary it was stated that this is why Gaila has her arms crossed during the entirety of Kirk's subsequent hearing.) Another scene includes Kirk running into and attempting to apologize to an Orion woman within the Enterprise corridors that he thought was Gaila.
  • In one scene, Ayel expresses the Narada crew's desire to return to Romulus following the destruction of Vulcan and suggests to Nero that the plan for destroying the Federation be abandoned. Nero declines the suggestion and kills Ayel for displaying signs of mutiny. This is noted as being a significant difference from the theatrical release, since Ayel is involved in the film's final scenes.
  • As Spock Prime leaves the hangar following the conversation with his younger self, he passes Sarek, whose bewildered look (similar to the one his son had upon apparently seeing Kirk aboard the Enterprise) is captured by the cameras.


The novelization of Star Trek, written by Alan Dean Foster, shows several expanded sequences including some deleted scenes. In the novel, Winona is given an inhibitor that would help delay the birth of James until the Kelvin's return to Earth. However, the impacts to the ship by the Narada's attack cause her to go into early labor. For the scenes where she's off-planet, Kirk's Uncle Frank from a deleted scene and his step-father from the final cut are merged, as "Frank" is, in fact, his step-father. In several instances after Kirk is commissioned by Captain Pike, Kirk is referred to as "Lieutenant Kirk." The novel also further details Nero's motivations for attacking the Federation.

After the elder Spock is informed by young Kirk that Chekov, Sulu, and Uhura all serving aboard the Enterprise – at this point not even bothering to ask if McCoy is as well – he suggests that their meeting on Delta Vega and various other coincidences regarding the Enterprise crew are the result of the timeline attempting to mend itself – as for the one person not yet aboard the ship, Spock had been well aware of Scotty's presence at the outpost, but had deliberately kept his distance, until the arrival of Kirk made it absolutely clear that their being on the same world was no accident. After the young Spock resigns command and leaves the bridge, Uhura and Sulu demand to know how Kirk got aboard the Enterprise; Kirk reveals to the bridge crew about the future Spock and what he told Kirk about Nero and how the past had been changed in an attempt to gain their trust. Kirk also tells them about how they cannot tell their Spock about the elder Spock's presence and the bridge crew agrees not to do so. At the end of the book, when the elder Spock speaks to his younger counterpart (who, upon hearing how his older self convinced Kirk to keep his secret, suggests that the would-be paradoxes were not outright impossible, but the displacement would have to have taken place far earlier for there to be any concern), the young Spock asks Spock Prime if he might call on him occasionally for advice and Spock Prime agrees, saying "Who better to consult with you than yourself?" The first mission under Kirk also includes a new passenger: Archer's dog rematerializes in the Enterprise's transporter room just as the ship warps away from the Solar System.

The novel also makes a number of small quotes and passing mentions regarding certain figures and connecting the main characters to their prime selves:

  • During the skill dome sequence, young Spock identifies the authors of a piece of 20th century Earth music as John Lennon and Paul McCartney, on whom Orci and Kurtzman based the Kirk-Spock relationship.
  • Running for his life on Delta Vega, Kirk mutters under his breath that the drakoulias resembles the "bastard offspring" of a polar bear and a gorilla, the two Earth animals which the monster was modeled after.
  • Noting Kirk's unfamiliarity with Regulation 619, Spock admits that he had forgotten how unimportant such things had been to "his" Kirk.
  • During the bridge discussion after Kirk takes command, Sulu mentions having a doctorate in astrophysics, the field of study his counterpart was in during his first Trek appearance, "Where No Man Has Gone Before".
  • In the midst of their battle with the Narada crew – largely a fistfight rather than a firefight – Kirk, noting that Spock displayed great logic even in combat (defeating the strongest Romulans first before moving on to the weaker ones until there were none left), concludes that he must play a "mean game" of three-dimensional chess, which Spock was in fact so skilled at that he would use the game to save Kirk's career.
  • The transport of Kirk, Spock, and Pike from the Narada back to the Enterprise, shown almost entirely from inside the transporter room and implied to be more difficult than the film suggests, is viewed by McCoy and Uhura, allowing a mention of the doctor's well-known feelings toward the device.

Foster initially refused to do the novelization. The producers flew him to Hollywood to meet with them, the cast, and the director. After having many conversations, Foster accepted the project, rushed to meet deadlines, and had the novel ready for a December 2008 release. Star Trek writers Howard Weinstein and Robert Greenberger mentioned this at the 2009 FarPoint Convention. The novelization also appears to have been written with either a first draft or very early version of the script. Many sequences and dialogues are out of order, missing, or otherwise inconsistent with the film.


Release delay[]

At the time production began, Star Trek was set for a worldwide theatrical release on 25 December 2008. Later, Paramount was reportedly considering bumping up the film's release date one or two days or moving it to 19 December 2008. [185] On 13 February 2008, however, Variety magazine reported that the film's release would be put back, from 2008 to 8 May 2009, in order to take advantage of the summer movie season. [186]

Around the time the delay was announced, a Paramount spokesperson stressed that the change in release date had nothing to do with the film's production or its script. The spokesman stated that the decision was all about box-office potential and the spokesman said that Star Trek is in the same league as such past summer blockbusters as Spider-Man, Shrek, Transformers, and the Star Wars prequels. [187](X) Paramount vice chairman Rob Moore revealed to Entertainment Weekly that another reason the movie was pushed back was so they could "educate people that this is a whole new franchise." [188]


The gala world premiere of Star Trek took place on 7 April 2009 at the Sydney Opera House in Sydney, Australia. The film's cast and crew were in attendance. [189] This was followed by a number of additional premiere events around the world – Austria; Belgium; France; Germany; Japan; Korea; the Netherlands; New Zealand; Russia; Spain; London, UK: 20 April 2009 [190]; Los Angeles, USA.

A few hours prior to the official premiere in Sydney, fans in Austin, Texas were given a surprise screening of the film. The event had been announced as a ten-minute preview following a showing of Star Trek II: The Wrath of Khan, hosted by writers Roberto Orci, Alex Kurtzman, and Damon Lindelof. However, after two minutes the film of The Wrath of Khan appeared to melt. Orci, Kurtzman, and Lindelof proceeded to vamp for a few minutes but were interrupted by a surprise appearance of Leonard Nimoy, who asked the audience if they would like to watch the new film instead. [191]

The official American premiere was held at the famous Grauman's Chinese Theater in Hollywood on 30 April 2009. Attending the event were J.J. Abrams, most of the film crew, and nearly the entire cast. [192]


Although the United States release date was set for 8 May 2009, advance screenings of the film began at 7 pm on 7 May 2009. [193] However, the first worldwide release was in France, Belgium, and the French-speaking parts of Switzerland on 6 May 2009. [194]

For the first time, a Star Trek film was released in IMAX as well as conventional theaters. Although the film was not shot with IMAX cameras, the film was able to be converted to the 70 mm IMAX format. This was the first Trek project since the abandoned Star Trek: IMAX to be considered for the medium. [195] [196]

Star Trek, released in May 2009, was the first Star Trek film released in the summer months since 1989's Star Trek V: The Final Frontier.


Star Trek has received nearly universal acclaim from film critics. Star Trek currently has a 95% "certified fresh" rating on the review aggregator website Rotten Tomatoes, based on 278 reviews, with an average critic's rating of 8.1 on a scale of 10. [197] Based on the findings of Rotten Tomatoes, Star Trek is currently the second-best reviewed mainstream film of 2009, after Up. [198] On the review aggregator website Metacritic, Star Trek has a metascore of 83 out of 100, based on 37 critics' reviews. [199]

Based on listings tracked by Metacritic, twenty-three critics from twelve different publications ranked Star Trek as one of the ten best films of 2009. Among the publications whose critics praised Star Trek as such were Boston Globe, Empire Magazine, The Hollywood Reporter, Miami Herald, New York Daily News, The New Yorker, and the Washington Post. [200]

Bryan Burk recalled, "In general with Star Trek, a lot of people came out saying they really liked it and it wasn't what they thought it was going to be. For me, that was the biggest win." (SFX, issue 270, p. 71)

Despite the praise, some reviews criticized the lack of a classical Star Trek allegory. In Empire's 4/5 review, Colin Kennedy noted the themes "primarily relate to the nature of friendship and teamwork, which is all very well, […] but in a time when the United States is engaged in two wars, the failure to even acknowledge the issues arising from space imperialism and the Prime Directive is to flinch from battle. Harsher critics may even deem it a dereliction of duty." [201]

In a 2013 article about J.J. Abrams, Empire characterized the introduction of Kirk in this film as a prime example of how Abrams juxtaposes the everyday with the extraordinary to create "relatable spectacle," tonally similar to Steven Spielberg's film-making. (Empire, issue 287, p. 77) In 2014, Empire readers ranked Star Trek at #188 in a poll to determine the 301 greatest movies of all time. [202]

In a 2016 interview, Brannon Braga commented, " I thought Star Trek was fantastic. It was beautifully directed and took Trek to a whole other level in terms of action. They had quadruple the budget when we did ours. But the casting was perfect and it was almost an impossible task." Braga also prefers this film to Star Trek Into Darkness. (SFX, issue 270, p. 68)

Jonathan Frakes is disappointed that, despite visiting the set of this film, he wasn't permitted to participate in the making of it. Nonetheless, he approved of this movie. (SFX, issue 270, p. 63)

Box office[]

Star Trek topped the North American box office in its opening weekend, grossing US$75.2 million from Friday through Sunday. It also earned an estimated US$4 million from its Thursday night advance screenings, for a total of US$79.2 million over its first three and a quarter days. [203] It marked the highest opening weekend box office gross of any film in the franchise, surpassing Star Trek: First Contact's opening weekend of US$30.7 million (approximately US$50 million when adjusted for inflation). [204]Star Trek had the sixth highest opening weekend of 2009, following The Twilight Saga: New Moon, Transformers: Revenge of the Fallen, X-Men Origins: Wolverine, Harry Potter and the Half-Blood Prince, and Avatar. [205]

Included in Star Trek's opening weekend gross was US$8.5 million from 138 IMAX venues, setting a new weekend record for IMAX. It surpassed the previous benchmark set by The Dark Knight, which earned US$6.3 million from IMAX screenings in its first weekend. (Star Trek's IMAX record was subsequently beaten by Avatar.) In addition, Star Trek yielded the most-attended start ever for a movie debuting in the second weekend of May, topping 1996's Twister. [206] Star Trek also managed to top many overseas box office charts in its first weekend, grossing US$35.5 million from 54 international markets. [207]

Star Trek ended its domestic theatrical run on 1 October 2009 with a total gross of US$257,730,019, making it the seventh highest grossing film of 2009 in North America. [208] It was the year's highest-grossing film in the United States from Wednesday, 27 May, though Saturday, 27 June, a total of 31 days, after which it was overtaken by Disney/Pixar's Up (which, coincidentally, was also composed by Michael Giacchino). Star Trek has also done good business internationally, earning more from foreign markets than any previous Star Trek films (with the possible exception of Star Trek: The Motion Picture). Star Trek's international gross is US$127,950,428, bringing its total worldwide gross to US$385,680,447. [209]

Awards and honors[]

Star Trek is the first film of the franchise to have won an Academy Award, the Academy Award for Best Achievement in Makeup. It also received three more Academy Award nominations. The National Board of Review named Star Trek one of the Ten Best Films of 2009.

Star Trek received the following awards and honors:

Year Group Award Nominee(s) Result
2008 California on Location Awards Location Professional of the Year – Features Becky Brake Nominated
Assistant Location Manager of the Year – Features Scott Trimble
Kathy McCurdy Won
2009 ACE Eddie Awards Best Edited Feature Film (Dramatic) Mary Jo Markey, Maryann Brandon Nominated
ADG Excellence in Production Design Awards Fantasy Feature Film Production Designer: Scott Chambliss, Supervising Art Director: Keith P. Cunningham, Art Directors: Dennis Bradford, Gary Kosko, Curt Beech, Luke Freeborn, Beat Frutiger, Assistant Art Director: Aaron Haye, Illustrators: James Clyne, Ryan Church, John Eaves, Paul Ozzimo, Set Designers: Andrew Reeder, Dawn Brown Manser, Andrea Dopaso, Jeff Frost, C. Scott Baker, Kevin Cross, Scott Herbertson, Joseph Hiura, Billy Hunter, Harry Otto, Anne Porter, Jane Wuu, Graphic Designer: Clint Schultz, Scenic Artist: Bruce Smith, Set Decorator: Karen Manthey
ALMA Awards Year in Film – Actor Clifton Collins, Jr. (For Star Trek and Crank 2: High Voltage)
Year in Film – Actress Zoe Saldana
Year Behind the Scenes Roberto Orci (Writer Star Trek and Transformers 2, Executive Producer The Proposal and Fringe)
Artios Awards Outstanding Achievement in Casting – Big Budget Feature – Drama April Webster, Alyssa Weisberg Won
Boston Society of Film Critics Awards Best Ensemble Cast Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Simon Pegg, John Cho, Anton Yelchin, Eric Bana, Clifton Collins, Jr., Ben Cross, Bruce Greenwood, Leonard Nimoy, Jennifer Morrison, Chris Hemsworth, Winona Ryder, Tyler Perry, Faran Tahir
Golden Trailer Awards Best in Show Aspect Ratio, Paramount Pictures
Summer 2009 Blockbuster
Best Summer 2009 TV Spot Intralink Film, Paramount Pictures
Best Summer 2009 Blockbuster Poster BLT & Associates Inc., Paramount Pictures
Best Music Aspect Ratio, Paramount Pictures Nominated
IFMCA Awards Film Music Composition of the Year Enterprising Young Men, Music by Michael Giacchino
Film Score of the Year Michael Giacchino
Best Original Score For a Science Fiction/Fantasy Film Won
Phoenix Film Critics Society Awards Best Stunts -
Top Ten Films of 2009
Screen Actors Guild Awards Outstanding Performance by a Stunt Ensemble in a Motion Picture Stunt Coordinator: Joey Box, Stunt Performers: Robert Alonzo, Daniel Arrias, Sala Baker, Steve Blalock, Ben Bray, Mark Chadwick, Ilram Choi, Zach Duhame, Peter Epstein, Jeremy Fitzgerald, Terry Jackson, Craig Jensen, Paul Lacovara, Rob Mars, Mike Massa, Heidi Moneymaker, Mike Mukatis, Courtney Munch, Kimberly Murphy, Chris Palermo, Jim Palmer, Edward Perez, Dan Plum, Damion Poitier, Susan Purkhiser, Mike Snyder, Dennis Scott, Chris Torres, Christina Weathersby, Webster Whinery, Jr., Marcus Young
Teen Choice Awards Choice Movie Actress: Action Adventure Zoe Saldana Nominated
Choice Movie Rumble Chris Pine, Zachary Quinto
Choice Summer Movie: Action Adventure -
Choice Movie Villain Eric Bana
Choice Movie: Action Adventure -
Choice Movie Fresh Face Male Chris Pine
Washington DC Area Film Critics Association Awards Best Ensemble Zoe Saldana, Zachary Quinto, Karl Urban, Eric Bana, Chris Pine, Bruce Greenwood, John Cho, Ben Cross, Anton Yelchin, Simon Pegg, Clifton Collins, Jr.
Best Art Direction Scott Chambliss, Karen Manthey
Austin Film Critics Association Awards Best Film -
Las Vegas Film Critics Society Awards Best Score Michael Giacchino Won
Best Visual Effects Roger Guyett, Russell Earl, Paul Kavanagh, Burt Dalton
National Board of Review Awards Top Ten Films -
Satellite Awards Best Overall Blu-ray Disc Paramount Home Entertainment
World Soundtrack Awards Soundtrack Composer of the Year Michael Giacchino (For Star Trek, Up, and Land of the Lost) Nominated
Hollywood Film Festival Hollywood Movie Award Accepted by Zachary Quinto Won
Scream Awards The Ultimate Scream -
Best Science Fiction Movie
Best Cameo Winona Ryder as Amanda Grayson
Best Director J.J. Abrams
Fight Scene of the Year Kirk vs. Spock
Best Science Fiction Actor Chris Pine as James T. Kirk
Zachary Quinto as Spock Nominated
Best Science Fiction Actress Zoe Saldana as Nyota Uhura
Best Supporting Actor Simon Pegg as Montgomery Scott
Leonard Nimoy as Spock Prime
Breakout Performance – Female Zoe Saldana
Breakout Performance – Male Chris Pine
Best Ensemble -
Best F/X
Best Villain Eric Bana as Nero
Best Scream-Play Roberto Orci, Alex Kurtzman
Holy S***! Scene of the Year Space Dive Onto Orbital Drill
Detroit Film Critics Society Awards Best Ensemble -
Breakthrough Performance Chris Pine
St. Louis Gateway Film Critics Association Awards Best Visual Effects Roger Guyett, Burt Dalton, Russell Earl, Paul Kavanagh
2010 Academy Awards Best Achievement in Sound Editing Mark Stoeckinger, Alan Rankin
Best Achievement in Sound Mixing Anna Behlmer, Andy Nelson, Peter J. Devlin
Best Achievement in Visual Effects Roger Guyett, Russell Earl, Paul Kavanagh, Burt Dalton
Best Achievement in Makeup Barney Burman, Mindy Hall, Joel Harlow Won
ASCAP Film and Television Music Awards Top Box Office Film Michael Giacchino (For Star Trek and Up)
BMI Film & TV Awards BMI Film Music Award Michael Giacchino
BAFTA Film Awards Best Sound Peter J. Devlin, Andy Nelson, Anna Behlmer, Mark P. Stoeckinger, Ben Burtt Nominated
Best Special Visual Effects Roger Guyett, Russell Earl, Paul Kavanagh, Burt Dalton
Broadcast Film Critics Association Awards Best Sound Peter J. Devlin, Paul Massey, Anna Behlmer, Andy Nelson, David Giammarco, Mark Stoeckinger, Alan Rankin, Ben Burtt
Best Visual Effects Roger Guyett, Burt Dalton, Russell Earl, Paul Kavanagh
Best Makeup Mindy Hall, Debra S. Coleman, Joel Harlow, Barney Burman
Best Acting Ensemble Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Simon Pegg, John Cho, Anton Yelchin, Eric Bana, Leonard Nimoy, Bruce Greenwood
Best Sci-Fi/Horror Movie Paramount Pictures, Bad Robot
CAS Awards Outstanding Achievement in Sound Mixing for Motion Pictures Production Mixer: Peter J. Devlin, Re-Recording Mixers: Paul Massey, Andy Nelson, Anna Behlmer
CDG Awards Excellence in Fantasy Film Michael Kaplan
Golden Reel Awards Best Sound Editing – Music in a Feature Film Supervising Music Editor: Stephen M. Davis, Music Editors: Ramiro Belgardt, Alex Levy
Best Sound Editing – Sound Effects and Foley in a Feature Film Supervising Sound Editors: Mark P. Stoeckinger, Alan Rankin, Sound Designers: Ben Burtt, Ann Scibelli, Tim Walston, Supervising Foley Editor: Thomas W. Small, Sound Editors: David Barbee, Charlie Campagna, Harry Cohen, Scott Martin Gershin, Glenn T. Morgan, Geoffrey G. Rubay, Ben Wilkins, Foley Artists: Robin Harlan, Sarah Monat
Best Sound Editing – Dialogue and ADR in a Feature Film Supervising Sound Editors: Mark P. Stoeckinger, Alan Rankin, Supervising Dialogue Editor: Daniel S. Irwin, Supervising ADR Editor: Kerry Dean Williams, ADR Editor: Laura R. Harris
Grammy Awards Best Score Soundtrack Album For Motion Picture, Television Or Other Visual Media Michael Giacchino
Hugo Awards Best Dramatic Presentation, Long Form Screenplay by Roberto Orci and Alex Kurtzman, Directed by J.J. Abrams
MTV Movie Awards Best Breakout Star Chris Pine
Biggest Badass Star
Online Film Critics Society Awards Best Original Score Michael Giacchino
People's Choice Awards Favorite Movie -
Favorite Breakout Movie Actor Chris Pine
Zachary Quinto
Favorite Breakout Movie Actress Zoe Saldana
PGA Awards Outstanding Producer of Theatrical Motion Pictures J.J. Abrams, Damon Lindelof
Saturn Awards Best Director J.J. Abrams
Best Science Fiction Film -
Best Writing Roberto Orci, Alex Kurtzman
Best Production Design Scott Chambliss
Best Special Effects Roger Guyett, Russell Earl, Paul Kavanagh, Burt Dalton
Best Make-Up Barney Burman, Mindy Hall, Joel Harlow Won
George Pal Memorial Award Roberto Orci, Alex Kurtzman
SFX Awards Best Director J.J. Abrams
Best Film - Nominated
Best Actor Zachary Quinto (For Star Trek and Heroes)
Taurus World Stunt Awards Best Fire Mark Chadwick
Best High Work Daniel Arrias, Ilram Choi, Paul Lacovara, Mike Massa, Anthony R. Molinari
Best Specialty Stunt Paul Lacovara, Mike Massa
Hardest Hit Anthony R. Molinari
Best Stunt Coordination and/or 2nd Unit Direction Joey Box, Terry Jackson
VES Awards Outstanding Visual Effects in a Visual Effects Driven Feature Motion Picture Burt Dalton, Special Effects Supervisor; Russell Earl, Visual Effects Supervisor; Roger Guyett, Visual Effects Supervisor; Shari Hanson, Visual Effects Producer
Outstanding Matte Paintings in a Feature Motion Picture Brett Northcutt, Digimatte Lead; Shane Roberts, Masahiko Tani, Dan Wheaton, Digimatte
Writers Guild of America Awards Best Adapted Screenplay Roberto Orci, Alex Kurtzman
Empire Awards Best Director J.J. Abrams
Best Film -
Best Sci-Fi/Fantasy Won
DEG Awards Theatrical Title of the Year Paramount Home Entertainment
2011 SET Awards Honored for Excellence in the Portrayal of Science, Engineering, and Technology Paramount Pictures, Bad Robot


Main article: see Star Trek Into Darkness

On 30 March 2009, it was announced that Paramount was moving forward with a sequel to Star Trek. Roberto Orci and Alex Kurtzman have again been hired to write the screenplay, along with the first film's producer, Damon Lindelof. J.J. Abrams and Bryan Burk will again be producing via Bad Robot, along with Orci and Kurtzman. [210]

At his panel during the Supernova Convention, Perth 2009 in Australia, Karl Urban unofficially announced that he had seen a work in progress version of the script for a sequel, expected in 2011, or later.

Advertising and marketing[]


As of July 2008, Paramount has distributed several teaser posters at various conventions to promote awareness and hype about the film. The first, as stated above, was released on 22 July 2007 (see early discussion and speculation above). A second teaser poster for the new film was introduced at the Comic-Con International in San Diego, California, on 27 July 2007. This poster features a white background with the words Star Trek written in the TOS-style font and comprised of a star field backdrop seen throughout the original television series.

In August 2007, a third teaser poster, this one containing the title inside the arrowhead-shaped Starfleet insignia, was created especially for distribution to the attendees at the Las Vegas Star Trek Convention. As with the second teaser poster, the Vegas poster features the film's release date hyped as "Stardate 12.25.08".

A fourth teaser poster was given away to attendees at the San Francisco Wondercon on the weekend of 24 February 2008, sporting the new official logo, the tagline "Under Construction", and a date of "Summer 2009".

Four teaser posters, each featuring an image of a cast member from the film (Eric Bana, Zoe Saldana, Chris Pine, and Zachary Quinto), were distributed at the 2008 San Diego Comic-Con from 24 through 27 July 2008. When combined, the four posters form the delta shield emblem of the USS Enterprise (and later of all Starfleet). There is also a single one-sheet version of the poster available via mail order from Comic-Con in conjunction with the Intel Corporation. [211] Four similar posters featuring John Cho, Simon Pegg, Anton Yelchin, and Karl Urban were distributed at the Official Star Trek Convention in Las Vegas the following month. [212]

On 10 November 2008, Paramount released the first teaser posters for the films designed for display in theaters, one featuring Pine as Kirk and the other featuring Quinto as Spock. Both posters were black and white, bearing nothing else save for the release date, the official site address, the production company logos for Paramount and Bad Robot, and the Starfleet delta shield emblem. [213]

A cardboard standup promoting the film was also made for display in theaters. The standup consists of the title in large cut-out letters, with each letter featuring the face of a different character from the film (Kirk on the "S", Nero on the "K", etc.) The title is placed upon a dais which contains the tagline ("The Future Begins"), the release date, and an orbital view of Earth. [214]

On 26 March 2009, European posters for Star Trek were posted online. [215] A day later, the US poster for the film was also revealed on MySpace Movies. The poster features the USS Enterprise within a warp effect against a white background, with the tagline "The future begins." [216]

USB card wallpapers[]

A set of nine exclusive wallpapers were released on Star Trek-themed USB cards, with three images per card.

Websites and viral marketing[]

Mysterious Corridor

The mysterious corridor that appears briefly on

A promotional website dedicated to the new film went live at 8:05pm EST on 16 January 2008 and can be found at . The site introduced the new official logo for the film, which was also seen in the teaser trailer. [217] Paramount also set up a page for the movie on the social-networking website Facebook where fans may congregate. [218] [219]

Following the launch of the film's teaser trailer, the official website contained a hidden link to , a viral promotional site supposedly containing "surveillance footage" of the Enterprise under construction. The site features four screens, each for a different "surveillance camera", but only three are active at a time. The inactive camera, however, will sometimes come online and, for a brief instant, reveal an image of a dark corridor. [220] The corridor actually belonged to the USS Kelvin, seen very briefly during George Kirk's brief command of the ship.

Originally located on a subdomain of, the official site moved on 19 February 2008, its address becoming . On 18 July 2008, the site was updated with wallpapers and icons depicting the images from the Comic-Con Star Trek posters in addition to an overall redesign of the site. [221]

Promotional images[]

The first official promotional images from the film were released on 15 October 2008, at six separate movie websites. The images showed Pine, Quinto, Urban, Pegg, Saldana, and Yelchin in costume on the Enterprise bridge; Quinto and Pine; Bana in makeup as Nero; Pine on an icy planet; the USS Kelvin engaged in combat; and a view of the Enterprise bridge. [222]

On 16 October 2008, released two new images, another of the Kelvin in action, and one of Cho in his role as Sulu. [223]

Yet another load of images were released on 17 October 2008, when Entertainment Weekly put up more promotional pictures of Pine, Quinto, Cho, Bana, and Pine and Urban. [224]

Teaser trailer[]

USS Enterprise (alternate reality) under construction, teaser

A first look at the new USS Enterprise

The film's teaser trailer was completed by 30 November 2007. [225] It debuted in theaters on 18 January 2008, attached to Paramount's Cloverfield which, like Star Trek, is produced by J.J. Abrams. [226]

On 21 January 2008, the teaser was made available for viewing at the official site and at Yahoo! Movies . Empire Online uploaded the United Kingdom's version of the teaser that same day. Paramount made the teaser available on a wider basis on 22 January. [227]

The teaser trailer features a glimpse of the remodeled USS Enterprise as it is being constructed, with the construction taking place in a drydock on Earth. Several sound bites recorded during the space race of the 1960s can be heard in the background leading up to a new recording of Leonard Nimoy reciting the famous line, "Space… the final frontier." The opening notes of the original Star Trek series theme music begin playing during Nimoy's voiceover and the unveiling of the Enterprise's saucer section, followed by the sound effect of the original series transporter as the lines "Under Construction" and "Christmas 2008" appear on-screen.

The teaser was shot in October, prior to the start of principal photography on the film. It was filmed on Paramount Stage 25 and also used a part of the Paramount back lot. Half of the stage was enveloped by greenscreen and greenfloor for the insertion of CGI effects, and a giant greenscreen was utilized in the back lot. The shoot involved real welding and the handling of actual welding equipment, so experienced welders were required.

The first welder seen in the teaser was played by Anthony Vitale. Vitale's scene was shot by the film's director, J.J. Abrams. This is unusual since scenes for trailers are generally directed by assistant directors. The rest of the teaser was directed by First Assistant Director Tommy Gormley, however. [228]

According to co-writer Roberto Orci, the message of the teaser is that the future as presented in Star Trek is not as far off as it once was. He also explained the logic of having the Enterprise being built on Earth rather than in space, noting that components of the ship can be built on Earth and assembled anywhere and that the Enterprise is not "some flimsy yacht that has to be delicately treated and assembled." He also feels that it makes more sense to construct the ship within a natural gravity well rather than an area that will require an artificial gravity field. In addition, Orci states that the term "Under Construction" used in the teaser is to convey both a "literal interpretation" that the movie is currently being put together and to convey the idea that the future of Star Trek may be coming soon. [229]

Theatrical trailers[]

The production team was to begin working on the first theatrical trailer in January 2008 with the hopes to have it complete and in theaters by early or mid-summer, [230] however these plans changed once the film's release was pushed back to May 2009.

Editing on the first theatrical trailer was reportedly completed by 4 August 2008, although the visual effects to be seen in the trailer had not yet been finalized. [231] The trailer was enclosed with Quantum of Solace, the latest James Bond film, which opened in the US on 14 November 2008. [232] [233] It became available for viewing in high definition on the official movie site on 17 November 2008 at 10 am PST. [234]

An alternate version of the first theatrical trailer was made available for view at Ain't It Cool News on 25 November 2008. This version is the same as the original for the most part, except that the final shot of Eric Bana's Nero proclaiming "The wait is over" is placed earlier in the trailer and in its place is a shot of Leonard Nimoy as the elder Spock, giving the Vulcan salute and proclaiming the famous line "Live long and prosper." [235]

The incidental music used in the first theatrical trailer was a re-orchestration of Brian Tyler's score from Children of Dune, created by Two Steps From Hell, and titled "Down With the Enterprise". [236] The use of Tyler's score in the trailer came about from its use as a temporary scoring track in early post-production on the movie. [237]

A second theatrical trailer for Star Trek was released on 6 March 2009 in front of select screenings of the film Watchmen. It was originally intended to premiere online the Monday after its release on Apple's Star Trek page , but, after an international version was released ahead of schedule, the online release was made on the same day. As with the first theatrical trailer, incidental music was provided by Two Steps from Hell, being a modified version of the track "Freedom Fighters" from their album Legend. [238] [239]

In a press release, Paramount announced that the second theatrical trailer broke all existing download records at . The HD version of the trailer had more than 1.8 million downloads during its first 24 hours on and had over five million downloads in its first five days. This makes the Star Trek trailer the most popular HD download in the history of the site. [240]

Super Bowl spot[]

A thirty-second trailer for the film aired during Super Bowl XLIII on 1 February 2009. It showed footage from the film not previously seen in the earlier trailers. Star Trek is the first film in the franchise to be given a Super Bowl spot, emphasizing the studio's attempts to draw in a larger audience.

Merchandising and promotional partners[]

The film's merchandising campaign was expected to be the biggest since Star Trek: The Motion Picture back in 1979. [241]

A toy license was awarded to Playmates Toys, which produced action figures for the film, as well as prop toys, playsets and ship models. [242] [243] Corgi's current Star Trek license covers the film, primarily for its Master Replicas brand of collectibles. [244] The company will be producing replicas of the USS Enterprise and a hand phaser. [245]

Quantum Mechanix announced in May 2009 they had secured some merchandising rights as well. The company has developed studio-scale models and 10" replicas of the ships seen in the movie, starting with the USS Enterprise. [246] They had previously been responsible for the construction of models used in the marketing campaign known as "The Enterprise Project". [247]

A novelization of the film written by Alan Dean Foster was published by Pocket Books. Comic book publisher IDW Publishing released a prequel series entitled Star Trek: Countdown from January through April 2009; an adaptation of the movie was released in January 2010, and two follow-up series, Star Trek: Spock: Reflections and Star Trek: Nero have been produced. Rittenhouse Archives produced collectible cards for the movie. T-shirts marketing the film were created and distributed by Junk Food. A video game, Star Trek D-A-C was released by Naked Sky Entertainment. The motion picture soundtrack was released by Varèse Sarabande Records on 5 May 2009. At least one reference book, Star Trek - The Art of the Film, has been licensed.

Burger King promoted a kids meal tie-in for this film, marking the first time Burger King has promoted a Star Trek film. [248] It was also the first time either one of the big two major fast food chains (Burger King or McDonald's) had marketed Trek since the first film's release in 1979. [249] It was revealed in 2009 that the Burger King Star Trek commercials were shot on the set of the Enterprise. Dan Mindel, the cinematographer for Star Trek, also directed photography for the commercials. [250] Alex Beh is an actor who appeared in the Burger King television commercial. [251]

Besides the Burger King deal, Paramount also signed up Kellogg's as a promotional partner to bring Star Trek movie-branded products to grocery stores. A number of Kellogg's brand products offered Star Trek merchandise and memorabilia either by mail or included within the package. Specially-marked boxes of Kellogg's cereals contained a "Beam-Up Badge", of which there are five different designs. Boxes of Frosted Krispies offered a red or blue Starfleet tee by mail, while boxes of Frosted Flakes and packages of Keebler cookies feature offered for a Star Trek 1GB flash drive wristband. Kellogg's various Eggo waffle products offered a 3D Warp Speed Plate by mail, and boxes of Kellogg's Pop-Tarts offered a free pass to see the film. A varying amount of tokens were needed for each mail-order product. [252]

In addition, Paramount promoted the film in collaboration with auto insurance company Esurance, communications companies Nokia and Verizon Wireless, and computer technology companies Lenovo and the Intel Corporation. All of these companies held Star Trek-related contests and sweepstakes and all included pages on their sites containing Star Trek-related content. [253] [254] [255] Esurance Star Trek commercials also played on television and on public radio.

Merchandise gallery[]

Links and references[]


Directed by
J.J. Abrams
Written by
Roberto Orci & Alex Kurtzman
Based Upon Star Trek Created by
Gene Roddenberry
Produced by
J.J. Abrams
Damon Lindelof
Executive Producers
Bryan Burk
Jeffrey Chernov
Roberto Orci
Alex Kurtzman
Director of Photography
Dan Mindel, ASC
Production Designer
Scott Chambliss
Edited by
Mary Jo Markey, ACE
Maryann Brandon, ACE
Costume Designer
Michael Kaplan
Music by
Michael Giacchino
Visual Effects Supervisor
Roger Guyett
Visual Effects Producer
Shari Hanson
David Witz
Associate Producer
David Baronoff
Casting by
April Webster, CSA
Alyssa Weisberg, CSA
Main Cast (in alphabetical order)

John Cho
Ben Cross
Bruce Greenwood
Simon Pegg
Chris Pine
Zachary Quinto
Winona Ryder
Zoë Saldana
Karl Urban
Anton Yelchin
With Eric Bana
And Leonard Nimoy

Chris Hemsworth
Jennifer Morrison

Clifton Collins, Jr.
Faran Tahir
Rachel Nichols

Paramount Pictures and Spyglass Entertainment present

A Bad Robot Production

Unit Production Managers
First Assistant Director
Second Assistant Directors


Stunt Coordinator
Fight Choreographer
ILM Visual Effects Supervisor
ILM Animation Supervisor
ILM Visual Effects Producers
  • Jeff Olson
  • Jill Brooks


Post Production Supervisor
  • Debbi Bossi
Production Supervisor
Production Auditor
Supervising Art Director
Art Directors
Assistant Art Director
Concept Artists
Concept Illustrators
Graphic Designer
Model Maker
Set Designers
Art Department Coordinator
Art Department Researchers
  • Max Daly
  • Amy Lamendola
Storyboard Artist
Delta Vega Creatures, Romulans, Insect and Aliens Designed by
Set Decorator
Assistant Decorator
  • Amanda Moss Serino
Set Decoration Buyer
On-Set Dresser
  • Hector M. Gonzalez
Set Dressers
  • Courtney J. Andersen
  • Richard Andrade
  • Antonio Andraus
  • Marcus Aurelius Epps
  • Chris Larsen
  • Greg Lynch
  • Merdyce McClaran
  • Eric Ramirez
  • Robert Sica
  • Ronald Sica
  • Ryan Steffen
Set Decorating Coordinator
Script Supervisor
Camera Operator / Steadicam
First Assistant Photographer
  • John T. Connor
Second Assistant Photographer
  • Jesse Roth
B Camera Operator
  • Phil Carr-Forester
B First Assistant Photographers
  • Wally Sweeterman
  • Brad Peterman
B Second Assistant Photographer
  • Matt F. Kennedy
Scorpio Head Operator
  • Greg J. Schmidt
Technocrane Operator
  • Brian McPherson
Film Loader
  • Craig M. Bauer
Sound Mixer
Boom Operator
Utility Sound
  • David Fiske Raymond
Video Assist
  • Daniel P. Moore
  • Peter Taylor
First Assistant Editors
  • Julian Smirke
  • Lucyna Wojciechowski
Assistant Editor
  • Kerry J. Blackman
Visual Effects Editor
Visual Effects Assistant Editor
Post Production Coordinator
  • Daniela Catherine Ovi
Chief Lighting Technician
  • Christopher Prampin
Assistant Chief Lighting Technician
  • Chris Weigand
  • Jimmy Ellis
  • Jimmy Harritos
  • Daniel P. Hawking
  • Duane Katz
  • Douglas Kieffer
  • Billy Streit
  • Hootly Weedn
Dimmer Operators
Chief Rigging Electrician
  • John Manocchia
Assistant Rigging Electrician
  • Edward J. Cox
Rigging Electricians
  • Richard M. Burkus, Jr.
  • Craig Campbell
  • James M. Cox
  • John Jack Davies
  • Gomidas Demerjian
  • Brad Thomas Emmons III
  • Sean Emmons
  • Earl D. Gayer
  • John Gutierrez
  • Steve Hastings
  • Ken Longballa
  • Dickinson Luke
  • Richard Maldonado
  • Marc Marino
  • Victor Mendoza
  • David H. Neale
  • Joel A. Ruiz
  • Stephen Saunders
  • Anthony Van Dyk
Fixtures Foreperson
  • Al Demayo
Fixtures Sub Foreperson
  • Mike Visencio
Fixtures Technicians
  • Jesse Mather
  • Tim Speed
  • Phil Hardt
First Company Grip
  • Tom Gibson
Second Company Grip
  • Jason Talbert
Dolly Grip Operators
  • Larry Sweet
  • Michael Wahl
  • Bob Nice Arredondo
  • Jack Chouchanian
  • Don Domino
  • Tommy Donald
  • Jacob Funk
  • Joseph Macaluso
  • Philippe O. Meyer
  • David Salamone
  • Michael Salamone
  • Sean Slattery
First Company Rigging Grip
  • Rick Rader
Second Company Rigging Grip
  • Hilary Klym
Rigging Grips
  • Danny Andres
  • Albert F. Bagley
  • James Degeeter
  • Jared Dewitt
  • Ted Eachus
  • Adam Erler
  • Jason W. Erler
  • William Gilleran
  • Jaime Heintz
  • Rick Johnson
  • George Kallimanis
  • Gary Louzon
  • Philip Noble
  • Nolan Pratt
  • Rick N. Pratt
  • Ignacio Woolfolk
Property Master
Assistant Property Master
Prop Manufacturing Supervisor
Propmaker Foreperson
  • Robert Raineri
  • Brian Barnhart
  • Darryl B. Dodson
  • Jack Jennings
  • Paul J. Preshaw II
  • Jason Rosene
  • Brian Thoman
  • Paul O. Wright
Special Effects Supervisor
Special Effects Shop Operations Supervisor
  • Dale Ettema
Special Effects Set Supervisor
Special Effects Shop Foreperson
  • David F. Greene
Special Effects Senior Technician
  • Albert Delgado
Special Effects Forepersons
  • Terry P. Chapman
  • Danny Cangemi
  • Jeff Jarvis
  • Steve Cremin
  • Greg Curtis
  • David P. Kelsey
  • Clay Pinney
Special Effects Technicians
  • Arnold Peterson
  • Doug Calli
  • Rich Ratliff
  • Jay Bartus
  • Jeremiah Cooke
  • Curtis Decker
  • Jon Djanrelian
  • Eric Dressor
  • Dennis E. Drozdokiski
  • Jim Jolley
  • Joseph Judd
  • Edward Kennedy
  • Jesse Orozco
  • Jeff Pepiot
  • Bryan Phillips
  • Jonathan Tang
  • Tony Vandeneccker
Supervising Location Manager
Assistant Location Managers
Costume Supervisor
  • Linda Matthews
Assistant Costume Designer
Key Costumers
  • Leslie Sungail
  • Hilary Niederer
Key Set Costumer
  • Lisa Doyle
Set Costumers
  • Myron Baker
  • Shelli Nishino
  • Sue Crosby
Additional Costumers
  • Brenda M. Ware
  • Mustapha Mimis
Specialty Costume Supervisor
Specialty Costumers
Dyers / Agers
Manufacturing Foreperson
  • Natasha Paczkowski
Cutter / Fitters
  • Dodson Elliott
  • Nina Badrak
  • Leslie Miller
Table Persons
  • Esther B. Lopez
  • Van Hua
  • Seda Tufenkjian
  • Varsenik Antonyan
  • Madline Hana
  • Hasmig Karagiosian
  • Hermine Keossian
  • Mary Jegalian
  • Antonina Grib
  • Varsenik Korkhmazyan
  • Elizabet Markosyan
  • Karine Avakyan
  • Fahima Atrouni
Assistants to Costume Department
  • Taylor Marie Cornell
  • Samantha Johnston
Costume Illustrators
Makeup Department Head
Key Makeup Artist
Makeup Artists
Hair Department Head
Key Hairstylist
Vulcans and Romulans Created by
Aliens Designed and Created by
Makeup Effects Artists
Makeup Artists
Makeup Effects Technicians
  • Steve Buscaino
  • Robert Freitas
  • Scott Gamble
Casting Assistants
  • Bonita G. Deneen
  • Simone Chavoor
Background Casting Coordinator
Background Casting Associate
Assistants to Mr. Abrams
  • Nicole Phillips
  • Matthew Pitts
Assistant to Mr. Lindelof
  • Noreen O'Toole
Assistants to Mr. Burk
  • Leigh Kittay
  • Adam Gaines
Assistant to Mr. Chernov
Assistants to Mr. Orci & Mr. Kurtzman
  • Alex Katsnelson
  • Tim Jones
Production Coordinator
Assistant Production Coordinators
Production Secretary
DGA Trainees
  • Sean Gerace
Production Assistants
First Assistant Accountant
  • Kelley L. Baker
Second Assistant Accountants
  • Joseph Borrelli
  • Kristy Gomez
  • Diana P. Mejia
  • Dijana Camaj
  • Robin Nicole Williams
Construction Accountants
Payroll Accountants
  • Debi West
  • Maggie Martin
Accounting Assistant
Unit Publicist
  • Gabriela Gutentag
Still Photographer
  • Zade Rosenthal
  • Kim Thio
  • Michael Hird
  • Mike McKean
  • Chris Whitaker
Re-Recording Mixers
Supervising Sound Editors
Special Sound Effects and Montage
Sound Designers
ADR Supervisor
  • Kerry Williams
Dialogue Supervisor
  • Daniel Irwin, MPSE
Foley Supervisor
Dialogue Editor
  • Laura Harris
First Assistant Sound Editor
  • Victor Ray Ennis
Assistant Sound Editor
  • Paul Flinchbaugh
  • Branden Spencer
Sound Editors
  • David Barbee
  • Ben Wilkins
  • Mark Ormandy
  • Charlie Campagna
Foley Artists
Foley Mixer
ADR Mixers
  • Bob Baron
  • Robert Deschaine, CAS
  • Charleen Richards-Steeves
ADR Voice Casting
Re-Recorded at
  • Tim Gomillion
  • Dennis Rogers
  • Matt Patterson
Re-Recording Engineers
  • Bill Stein
  • Paul Pavelka
Music Editor
  • Stephen M. Davis
Assistant Music Editor
  • Alex Levy
Music Orchestrated and Conducted by
Additional Orchestrations by
Music Preparation
  • Booker White
Orchestra Contractor
Vocal Contractor
  • Bobbi Page
Music Recorded and Mixed by
Music Score Coordinator
Music Recorded and Mixed at
  • Streisand Scoring Stage, Sony Pictures Studio
Additional Music Mixed at
  • Eastwood Scoring Stage, Warner Bros. Studio
Music Consultant
Live Environment Design by
  • OOOii
Lead Creative
  • W. Kent Demaine
Senior Developer
  • David August
Concept Artist
3D Artist
  • Paul Luna
24 Frame Video Playback by
  • Cygnet Video
Video Playback Producer
  • Cindy Jones
24 Frame Supervising Engineer
24 Frame Playback Engineer
24 Frame Graphics Engineer
  • Todd Fullerton
24 Frame Playback Operators
  • Jared A. Rosen
  • Arin Artounian
  • For Stars Catering
Craft Service
Construction Coordinator
General Foreperson
  • Dixwell Stillman
Construction Buyer
  • Tony Wright
Propmaker Forepersons
  • Jim Henry
  • Dale Gordon
  • Sasha Madzar
  • Scott Mizagaites
  • Casey Morgan
  • Steven M. Pacheco
  • Jim Roach
  • Richard W. Rose
  • Charles Blackwell
  • David Brenner
  • Anthony Centonze
  • Tony Chavez
  • Lucky Hoerner
  • Anthony R. Imperato
  • Mark Joyce
  • Sergey A. Mazurov
  • David H. McKlveen
  • Edward A. Price
  • Jeffrey J. Valdez
  • Bobby L. Vaughn
  • Mark A. Annis
  • Stephen Getz
  • William Mccarley
  • Desmond P. O'Regan
Chief Labor Foreperson
  • Johnny Barbera
Tool Person
  • Mark Magraudy
Labor Forepersons
  • Mark Martucci
  • Glenn V. Braun
  • Lonnie Haspel
Lead Sculptor
  • John Marshall
  • Leo Rijn
Paint Supervisor
Paint Forepersons
  • Robert Papegaay
  • Robert Campbell
  • Scott P. Shordon
  • Toby Swinehart
Production Painters
  • Sean Sult
  • Michael W. Volz
On-Set Painter
  • Andy Flores
Plaster Supervisor
  • Jared Trepepi
Plaster Forepersons
  • Brian Richard Fernandez
  • Matthew Fuchs
Chief Greensperson
  • Jeff Brown
Greens Foreperson
  • Bryan A. McBrien
  • Tommy Safron

Star Trek Avionics[]

Prop Shop Supervisor
  • Gustavo Ferreyra
Shop Foreperson
  • John Ramsay
  • Bruce Giddens
  • Lynn Garrido
  • Lee Ford Parker
  • Jane Kilkenny
  • Jamie Levin
  • Gilbert Draper
  • Jesse Gabriel Horowitz
  • Walter S. Polan
  • Michael Meade
  • Ed Sussman
  • Vince Borgese
  • David Gallion
  • Anthony McNamara
  • Terry King
  • Salvador Ruiz
  • Alex Rekrut
  • Lucinda A. Foy
Transportation Coordinator
Transportation Captain
  • Tom Whelpley
Transportation Co-Captain
  • Richard Maynes
Transportation Dispatcher
Picture Car Coordinator
  • Tim Woods

Second Unit[]

Second Unit Director
Unit Production Manager
Director of Photography
Stunt Coordinator
Production Coordinator
Assistant Production Coordinator
  • Julie Fay Ashborn
Production Accountant
  • David M. Atkinson
Payroll Accountant
  • Elizabeth Probst
First Assistant Directors
Second Assistant Director
Second Second Assistant Director
  • Stephen P. Del Prete
Camera Operator / Steadicam
First Assistant Photographer
  • Serge Rxtedi Nofield
Second Assistant Photographer
  • Brandon M. Cox
B Camera Operator
  • Dale Myrand
B First Assistant Photographer
  • Dan Ming
B Second Assistant Photographers
  • John R. Woodward
  • Chris Garcia
Film Loader
  • Anders Yarbrough
Key Set Costumer
  • Steven Constancio
Set Costumers
  • David Perrone
  • Gilbert Zamorano
First Company Grip
Second Company Grip
  • Arnold Pena
Dolly Grip Operator
  • Sean Devine
  • Alex Gage
  • Josh Kuykendall
  • Anthony Mollicone
  • Rico Priem
  • George Kallimanis
  • Anthony T. Marra II
Property Master
  • Stephen McCumby
Assistant Property Master
  • Joseph Bergman
Script Supervisor
  • Nicole Rubio
Chief Lighting Technician
  • Adam Harrison
Assistant Chief Lighting Technician
  • Morty Peterson
  • Troy D. Webb
  • Jerry Gregoricka
  • Anthony Gudino
  • Jose O. Harb, Jr.
  • Kyle Kovacs
  • Jonathan Wiener
Sound Mixer
Boom Operator
  • Patrick Martens
Video Assist
  • Tom Loewy
  • Jim Harling
  • Gala Catering
Craft Service
Production Assistants
Aerial Coordinator / Pilot
Aerial Ground Coordinator
  • Cory Fleming
Aerial Director of Photography
Underwater Director of Photography
  • Pete Romano
Romulan and Vulcan Language Consultant
Science Consultant
Bad Robot Visual Effects Consultant
Visual Effects Coordinator
Assistant to the Visual Effects Department
  • Clayton M. Lyons
Visual Effects & Animation by
Associate Visual Effects Supervisor
  • Eddie Pasquarello
Digital Production Supervisor
  • Michael Dicomo
CG Supervisors
  • Joakim Arnesson
  • Thomas Fejes
  • Hilmar Koch
  • Nigel Sumner
Visual Effects Art Director
Digital Matte Supervisor
  • Chris Stoski
Digital Model Supervisors
  • Bruce Holcomb
  • Giovanni Nakpil
Viewpaint Supervisor
  • Ron Woodall
Creature Supervisors
  • James Tooley
  • Karin Cooper
Layout Supervisor
  • Terry Chostner
Roto and Paint Supervisor
  • Beth D'Amato
Sequence Supervisors
  • Richard Bluff
  • Matt Brumit
  • Grady Cofer
  • Brian Connor
  • Jay Cooper
  • Raul Essig
  • Leandro Estebecorena
  • Conny Fauser
  • Gerald Gutschmidt
  • Jeff Grebe
  • Jen Howard
  • Polly Ing
  • Cyrus Jam
  • Katrin Klaiber
  • Francois Lambert
  • Tory Mercer
  • Mark Nettleton
  • Daniel Pearson
  • Jason Rosson
  • Greg Salter
  • Damian Steel
  • Chad Taylor
  • Todd Vaziri
  • John Walker
  • David Weitzberg
Animation Sequence Leads
  • Steve Aplin
  • Colin Benoit
  • Derrick Carlin
Senior Production Manager
  • Jessica Teach
Visual Effects Editor
Production Manager
  • Lisa Todd
Additional Visual Effects Art Direction
  • Yanick Dusseault
Concept Artists
  • Warren Fu
  • Jerome Moo
  • David Yee
Digital Artists
  • Dan Akers
  • Jon Alexander
  • Okan Ataman
  • Trang Bach
  • Al Bailey
  • Katharine Baird
  • Christopher Balog
  • Daniel Bayona
  • Chris Bayz
  • Kevin Bell
  • Jill Berger
  • Jason Billington
  • Matthew Blackwell
  • Jeremy Bloch
  • Aron Bonar
  • Daniel Bornstein
  • Amanda Braggs
  • Steve Braggs
  • James Brown
  • Kela Cabrales
  • Michaela Calanchini-Carter
  • Owen Calouro
  • Marshall Candland
  • Tami Carter
  • Mark Casey
  • Lanny Cermak
  • Kien Geay Chan
  • Kai Chang
  • Cheah Chin Chi
  • Peter Chesloff
  • Paul Churchill
  • Michael Conte
  • Michael Cordova
  • Christopher Crowell
  • Peter Demarest
  • Eran Dinour
  • Kalene Dunsmoor
  • Selwyn Eddy III
  • Katharine Evans
  • Dan Feinstein
  • Simon Fillat
  • Shine Fitzner
  • Jason Fleming
  • Tim Fortenberry
  • Christian Foucher
  • David Fuhrer
  • Robb Gardner
  • Grantland Gears
  • Tau Gerber
  • Angela Giannoni
  • Timothy Gibbons
  • Bill Gilman
  • David Gottlieb
  • Bryant Griffin
  • David Gutman
  • Christian Haley
  • Tyler Ham
  • Craig Hammack
  • Giles Hancock
  • David Hanks
  • Jeff Hatchel
  • Wendy Hendrickson
  • Neil Herzinger
  • Shawn Hillier
  • David Hirschfield
  • David Hisanaga
  • Sherry Hitch
  • Zain Homer
  • Ryan Hopkins
  • Christopher Horvath
  • David Howe
  • Jiri Jacknowitz
  • Danny Janevski
  • Patrick Jarvis
  • Jeff A. Johnson
  • Stephen Kennedy
  • Michael Kennen
  • Drew Klausner
  • Susan Klausner
  • Justin Kosnikowski
  • Matt Krentz
  • Marshall Krasser
  • Kimberly Lashbrook
  • Asier Hernaez Lavina
  • John Legrande
  • Melissa Lin
  • Noll Linsangan
  • Michael Logan
  • Jennifer Mackenzie
  • Dev Mannemela
  • Patrik Marek
  • David Marsh
  • Tia Marshall
  • Marcel Martinez
  • Didier Mathieu
  • Kevin May
  • Regan McGee
  • Vicky McCann
  • Scott Mease
  • Joseph Metten
  • Christopher James Miller
  • Jack Mongovan
  • Carlos Monzon
  • Katie Morris
  • Michelle Motta
  • Betsy Mueller
  • Timothy Mueller
  • Melissa Mullin
  • Brett Northcutt
  • Ben O'Brien
  • Saro Orfali
  • Akira Orikasa
  • Kevin Page
  • Scott Palleiko
  • Frank Losasso Petterson
  • Phil Pham
  • Zoltan Pogonyi
  • Jason Porter
  • Pedro Pozo
  • Scott Prior
  • Ricardo Ramos
  • Satish Ratakonda
  • Michael Rich
  • Anthony Rispoli
  • Shane Roberts
  • Matthew Robinson
  • Elsa Rodriguez
  • Barry Safley
  • Jeff Saltzman
  • Sean Schur
  • Frederick Schmidt
  • Eric Schweickert
  • Misty Segura
  • Paul Sharpe
  • Amy Shepard
  • John Sigurdson
  • Ken Sjogren
  • Ryan Smith
  • Sam Stewart
  • Russ Sueyoshi
  • David Sullivan
  • Andre Surya
  • Jeff Sutherland
  • Masahiko Tani
  • Stephanie Taubert
  • Alan Travis
  • Alex Tropiec
  • Yusei Uesugi
  • Lee Uren
  • Bruce Vecchitto
  • David Washburn
  • Talmage Watson
  • Ronnie Williams, Jr.
  • Dan Wheaton
  • John Whisnant
  • Jeff Wozniak
  • Mark Youngren
  • Dean Yürke
  • Rita Zimmerman
  • Michael Bomgat
  • C. Michael Easton
  • Jean-Denis Haas
  • Geoff Hemphill
  • Makoto Koyama
  • Chris Mitchell
  • Erik Morgansen
  • Marla Newall
  • Rick O'Connor
  • Steve Rawlins
  • Greg Towner
  • Delio Tramontozzi
  • Chi Chung Tse
  • Tim Waddy
  • Andy Wong
Digital Models and Simulation
  • Ken Bailey
  • Leigh Barbier
  • Tim Brakensiek
  • Bradford De Caussin
  • Brian Clark
  • Rene Garcia
  • Maurizio Giglioli
  • Bridget Goodman
  • John Goodson
  • Greg Jonkajtys
  • Greg Killmaster
  • Robert Kosai
  • Jean-Claude Langer
  • Scott May
  • James Orara
  • Brian Paik
  • Steve Sauers
  • Renita Taylor
  • Howie Weed
Associate Production Managers
  • Katherine Farrar
  • Dale Taylor
  • Chrysta Burton
Production Coordinators
  • Stacy Bissell
  • Joseph Bell
  • Hui Ling Chang
  • Melanie Cussac
  • Cheng Peishan
Production Support
  • Matt Baume
  • Terran Benveniste
  • Cathleen Carden
  • Marilyn Chan
  • Benjamin Chua
  • Jennifer Coronado
  • Rachel Galbraith
  • George Gambetta
  • John Giang
  • Larry Hoki
  • Christine Loo
  • Alejandro Melendez
  • David Owen
  • Erik Pampel
  • Nikita Patel
  • Andrew Russell
  • Michael Sanders
  • Marci Velando
Technical Support
  • Sean Bittinger
  • Peter Bogatsky
  • Leah Brooks
  • Chantell Brown
  • Brian Cantwell
  • Jayesh Dalal
  • Jason Griger
  • Maura Hogan
  • Mark Kayfez
  • Charlie Ledogar
  • Brian McGraw
  • Kaz Mori
  • Elona Musha
  • Selma Sabera
  • Toh Zijing
Research & Development
  • Tommy Burnette
  • Andre Mazzone
  • Dan Piponi
  • Jeff Smith
  • Jennifer Suter
  • Vivek Verma
ILM Executive Producer
ILM Senior Staff
  • Chrissie England
  • Lynwen Brennan
  • Miles Perkins
  • Janet Lewin
  • Vicki Dobbs Beck
  • Curt Miyashiro
Additional Visual Effects by
Visual Effects Supervisor
Visual Effects Producer
  • Julian Levi
Digital Effects Supervisor
  • Darren M. Poe
Computer Graphics Supervisor
  • Paul George Palop
Compositing Supervisor
  • Lou Pecora
Digital Production Manager
  • Michelle Jacobs
Animation Lead
  • Erik Gamache
CG Effects Animators
Character Look Development Lead
  • Charles Abou Aad
Character Set-Up Lead
  • Richard Grandy
Character Set-Up Artist
  • George Saavedra
CG Modeling Lead
  • Melanie Okamura
CG Modeling Artists
  • BJ Christian
  • Raul Dominguez
  • David S. Sanchez
CG Lighting Artists
3D Integration Lead
  • David Niednagel
3D Integration Artists
  • Shelley Larocca Courte
  • Alfredo Ramirez
Digital Compositing Lead
  • Ted Andre
Digital Compositors
  • Dan Cobbett
  • Steven Fagerquist
  • Joe Farrell
  • Scott Gastellu
  • Aruna Inversin
  • Jeff Kim
  • Paul Kulikowski
  • Mike Ocoboc
  • Olivier P. Sarda
  • Craig A. Simms
  • Florian Strobl
Digital Matte Painter
  • Vanessa Cheung
Digital Texture Painters
Digital Rotoscope/Paint Lead
  • Viviana Kim
Digital Rotoscope/Paint Artist
  • Ian A. Harris
Digital Plate Restoration
  • Janice Barlow Collier
Visual Effects Editor
  • Kevin LaNeave
Assistant Visual Effects Editor
  • Francisco Ramirez
Color Grader
  • Christopher Savides
Visual Effects Production Coordinator
  • Bron Barry
Digital Coordinators
  • Meagan Condito
  • Brian Holligan
Digital Production Administrator
  • Navjit Singh Gill
Visual Effects Accountant
  • Antonio Freire
Visual Effects Production Assistant
  • Shelby M. Ellis
Executive In Charge Of Production
  • Terry Clotiaux
Additional Visual Effects By
Visual Effects Supervisor
  • Stefano Trivelli
Visual Effects Executive Producer
Visual Effects Producer
Matte Artists
Digital Compositors
  • Nabil Schiantarelli
  • Jan Cilliers
  • Lawrence Littleton
Lead CG Artist
  • Marcus Levere
CG Modelor
  • Steve Norton
Roto Artists
  • Junko Schurgardt
  • Laura Murillo
Additional Visual Effects by
  • Lola VFX
Visual Effects Supervisor
  • Edson Williams
Visual Effects Producer
  • Thomas Nittmann
Visual Effects Associate Producer
  • Ryan Zuttermeister
Inferno Artists
  • Brian Nugent
  • Sean Wallitsch
  • Casey Allen
  • Trent Claus
  • Chris Ingersoll
  • Clark Parkhurst
Digital Matte Painter
  • Mat Gilson
Previsualization by
Senior Previsualization Supervisor
Previsualization Supervisor
Lead Previsualization Artist
Previsualization Artists
Additional Previsualization by
Previsualization Supervisor
  • Nicholas Markel
Previsualization Artists
Additional Special Effects Photography and Miniatures by
Digital Intermediate Provided by
Executive Producer for Company 3 / Colorist
Digital Intermediate Producer
  • Nick Monton
On-Line Editor
  • Rob Doolittle
Digital Intermediate Assist
  • J. Cody Baker
Company 3 Producer
  • Missy Papageorge
Digital Intermediate Account Executive
  • Jackie Lee
Digital Intermediate Technologist
  • Mike Chiado
Processing and Electronic Dailies by
  • FotoKem
Laboratory Dailies Supervisor
  • Mark Van Horne
Video Dailies Colorist
  • Greg Curry
Dailies Film Timer
  • Don Capoferri
FotoKem Post Coordinator
  • Katherine Kane
Deluxe Color Timer
  • Jim Passon
Negative Management
  • Mary Nelson-Fraser
Main Title Designed by
End Titles & Opticals by
  • Pacific Title and Art Studio
Digital Editing Systems Provided by
Font Consultant
  • Richard Massey
Produced in association with

Mind Meld Soundscape by Mark Mangini and Mark Binder

Soundtrack Album on Varèse Sarabande Records

"Theme from Star Trek TV Series"
Written by Alexander Courage & Gene Roddenberry

Written by Michael Diamond, Adam Horovitz & Adam Nathaniel Yauch
Performed by Beastie Boys
Courtesy of Capitol Records
Under license from EMI Film & Television Music

"Awasoruk Jam"
Written & Performed by Cyrano Jones
Courtesy of Bad Robot Music and Video LLC

"Josh Greenstein"
Written & Performed by Cyrano Jones
Courtesy of Bad Robot Music and Video LLC

"Future Blues"
Written & Performed by Doyle Bramhall II
Courtesy of Doyle Bramhall II by arrangement with Bug

The producers wish to thank the following
  • Anheuser-Busch, Inc.
  • Film LA
  • Kern County Film Commission
  • Cal Pine Pastoria Facility
  • Long Beach Generating Plant, LLC
  • City of Long Beach
  • Vasquez Rocks Los Angeles County Park
  • Utah Bureau of Land Management
  • Alaska Department of Natural Resource
  • Tejon Ranch Company
  • LA County Department of Sanitation
  • Rock of Ages, Vermont
  • Cal State University of Northridge
  • American Legion Hollywood Post 43
  • City of San Francisco
  • Volvo
  • JLG
  • Siemens Medical

Color by deluxe®

Filmed in Panavision®

In Selected Theatres

Sony Dynamic Digital Sound
In Selected Theatres

Copyright © MMIX MavroCine Pictures GmbH & Co. KG All Rights Reserved

In memory of Gene Roddenberry and Majel Barrett Roddenberry

Uncredited cast
Uncredited cast from deleted scenes;
Uncredited stunt performers
Uncredited crew
Uncredited Proteus FX Crew

Unconfirmed cast and crew[]

Unconfirmed cast
  • Leslie Alnes as Nurse
  • Fallon Brooks as Starfleet cadet
  • Brad Champagne as Starfleet cadet
  • Sarah Abrams Char as Prisoner [261]
  • Talon DeSoto' as Engineer
  • Claire Doré as Enterprise crewman
  • Aliza Finley as Hurried cadet with clipboard
  • Ian Fisher as Shipyard worker #1
  • Cole Fritch as Klingon prison guard
  • Robert Grant as Starfleet officer
  • Jarrell Hall
  • Monte Hunter as Starfleet cadet
  • Paul Kumar as Kelvin cadet
  • Matthew Jennings
  • Michelle Lang (day player)
  • Anne Lockhart as voice of Kelvin computer
  • Aaron Lynch as Flight Operational Air Safety Conductor
  • Vadim Mantelzak as "Soldier Joe"
  • Owen Martin as Alien cadet / Enterprise crewmember
  • Jessica Mika as Enterprise bridgeport cadet
  • Kristen Rakes
  • Duane Ram as Starfleet cadet
  • Shanequa Reed as Starfleet cadet
  • Larramie Doc Shaw as War builder
  • Joseph Stephens, Jr. as Starfleet cadet
  • Renee Taglia
  • Barron Toler
Unconfirmed stunt performers
  • Justin Riemer – Stunt Performer
  • A.J. Verel – Stunt Performer: Enterprise crewmember
Unconfirmed crew
  • Erik Aguirre – Assistant Construction Buyer
  • Nigel Albermaniche – Sound
  • Damon Allison – Propshop Foreman
  • Michael Avallon – Driver
  • P. Scott Bailey – Leadman
  • William D. Barber – "C" Camera Operator
  • Ted Basso – Production Van Driver Operator
  • Daniel Beals – Production Assistant
  • Matthew E. Bell – Look Development/Color & Lighting
  • Michael Boggs – Scanning Manager
  • Tony Bohorquez – Model Maker
  • James Bolt – Additional Sound Mixer
  • Dana Bonilla – Key Set Production Assistant: Kerner Optical
  • Mateo Bourdieu – First Assistant Camera
  • Lindsey Jayne Boyd – Production Assistant
  • Tony Bridgers – Construction Foreman
  • Margaret Bright-Ryan – Digital Artist
  • Kieran Brown – Paint Gang Boss
  • Alex E. Burns – Transportation
  • Tony Capasso – Construction Gang Boss
  • Mark Carlile – Lighting Technician
  • Derek Casari – Sound Stage Engineer
  • Lyle Christensen – Shotmaker Driver
  • Carol Collini – Makeup Artist
  • Greg Crawford – ADR Mixer (Atlanta)
  • Mark Cueto – Electrician
  • Val I. Deikov – Sculptor
  • Doug Devine – Set Dresser
  • Robin Atkin Downes – ADR Voice
  • William Doyle – Location Consultant
  • Jessica Drake – Dialect/Language Coach
  • Scott Dropkin – Remote Camera Technician (Sparrow Head)
  • Randy Eriksen – Second Unit Property Master
  • Christian G. Ervin – Driver
  • Anaïs Ganouna – Second Unit Camera Production Assistant
  • Danny Gonzalez – Electrician
  • Randy Haynie – Go Cam Rigger
  • Courtney Harrell – Visual Effects Production Coordinator
  • Kurt Herbel – Cable Video Assist
  • Patrick Hoeschen – Electrician
  • Tom Holzhauer – Production Assistant
  • Spencer Jambor – Stand-in for Spencer Daniels
  • Debra James – Production Manager
  • Jim C. Johnson – Gang Boss
  • Chris Jones – Special Effects Technician
  • Simeon Jones – Production Assistant
  • Kory Juul – Lighting Artist: Evil Eye Pictures
  • Tex Kadonaga – Set Designer
  • Jimmy Kaminsky – Driver
  • Jason Kaufman – Prop Shop
  • Rick Kelly – Second Unit Second Assistant Director
  • Lawrence Kim – Art Department Researcher
  • John Knox – Prop Shop
  • Scott M. Leonard – Grip
  • Frank Leasure – Propmaker
  • Alex Lee – Additional Production Assistant
  • Damon Liebowitz – Electrician
  • Eric Lozano – Set Dresser
  • Michelle Maloney – Additional Set Production Assistant
  • Cory Mandel – Sound Re-Recording Mixer
  • Canyon Martens – Set Dresser
  • Matt McDonald – Visual Effects Supervisor: Evil Eye Pictures
  • Frank McEldowney – Greens Foreman
  • Chuck McSorley – Second Unit Property Assistant
  • Vanessa Meier – Second Unit Script Supervisor
  • Michael R. Melamed – Second Unit Second Second Assistant Director
  • Vicky Menke – Assistant Set Production Assistant
  • David Mesloh – Special Effects Technician
  • Ricky Dean Monsey – Production Assistant
  • Melissa Montague – Costume Aging and Dying
  • Glenn T. Morgan [262] – Sound Effects Editor
  • Michael Mosher [263] – Makeup Artist
  • Joe Murray – Production Assistant
  • Dillon Neaman – Production Assistant
  • Andrew Nelson – Costumer
  • Mark Nelson – Pre-visualization Artist
  • Timothy Oakley – Set Graphics
  • Tony Oberstar – Production Assistant
  • Bill O'Donnell – Production Assistant
  • Jason Pomerantz – Digital Artist (IMAX version)
  • Grace Pyke – Additional Costumer
  • Paul Pytlik – Digital Artist (IMAX version)
  • Norbert F. Quiban – Rigging Electrician
  • Chris Quilty – Second Unit Boom Operator
  • Justin Raleigh – Specialty Costume Supervisor: Quantum Creation FX
  • Robert Razavi – Consulting Producer
  • Michael Ray Reed – Stand-in for Anton Yelchin
  • Greg G. Reeves – Rigging Electrician
  • Graham Robertson – Set Dresser
  • Erik Rogers – Senior Digital Intermediate Producer: Company 3
  • Michael Roundy – Special Effects Technician
  • Maury Ruiz [264] – Concept Artist
  • Paul Samaniego – Underwater Camera Production Assistant
  • Scott Schutzki – Set Dresser
  • Paul Sinnott – Costume Assistant
  • Greg Smith – Prop Shop
  • Maciek Sokalski – Digital Compositor: Svengali FX
  • Scott Solan – Sound Utility and Second Unit Sound
  • Chad Stansbury – Sculptor
  • Mike Steaheli – Unit Medic
  • Christopher A. Suarez – Special Effects Technician
  • Donna Tegan Set Production Assistant
  • Thomas "Noe" Welch – Set Dresser
  • C. Jerome Williams [265] – Rotoscope Artist: Lola Visual Effects
  • Mark J. Williams Production Assistant
  • Helen Wilson – Props
  • Steve Wolfe – First Assistant Camera
  • Chris Qi Yao – Matchstick Technical Director
  • Daphne Yap – Concept Artist
  • Dennis Yeager II – Special Effects Technician
  • Ryan Young – Production Assistant
For unconfirmed Digital Domain crewmembers, see Digital Domain#Unconfirmed crew
For unconfirmed ILM crewmembers, see Industrial Light & Magic#Unconfirmed crew


Uncredited companies[]

Unconfirmed companies[]

  • Executive Assurance – Security
  • Filmtools – Expendables
  • – Product Placement
  • On Tour Productions – Transportation Services
  • Panavision Remote Systems – Supertechno Cranes
  • Transportation Resources – Transportation Equipment



2233; 2240s; 2255; 2258; 2387; 313-C; ability; academic suspension; accuser; Airtrax; Aldrin, Buzz; Andorian shingles; anger; annular confinement beam; Antares, USS; apple; Aptera Typ-1; aptitude test; Archer, Jonathan; armada; Armstrong, USS; Armstrong-type; attack; authorization code; autopilot; aviophobia; backpack; Battle of Earth; battle stations; blanket; Bravo-six maneuver; Destruction of Vulcan; Bardeen; bathroom; beagle; bean; Beastie Boys; black hole; Blake; blindfold; brain stem; bravo-six maneuver; Budweiser Classic; car; Cardassian sunrise; cellular phone; Centaurian slug; character reference; christening; Class III neutronic fuel carrier; climbing frame; code of conduct; command officer; Constitution-type escape pod; confiscation; construction zone; commendation; Constitution-class; cortisone; Corvette; Counter; court martial; cupcake; crystal ball; damage report; dead body; deadly force; death; Delta Vega; Delta Vega outpost; delusion; department; Dimassa 01; dock control; ear; Earth; ECS; emotional response; emotional transference; endangered species; Enterprise, USS; ethics; experience; external inertial dampener; extinction; eyeball; Farragut, USS; favoritism; fear; Federation; flag; Flag of California; Flag of the Federation; flask; flight officer; friend; fuckin; Fugeman; General Order 13; General Orders and Regulations; Gerace; Gilliam; "God damn"; grapefruit; "Grande Valse"; Grissom, USS; Grumman F-14 Tomcat; Hangar 1; Hangar 1 vehicle; headache; heart rate; hick; high energy pulse device; hitchhiking; hobgoblin; Hood, USS; hostage; hoverbike; hovercruiser; Hovercruiser 924; Iowa; Iowa State Police; itch; Jack Daniel's; James; jamming signal; Jellyfish; katric ark; Kelvin, USS; Kelvin-type; Kelvin-type shuttlecraft; Kentucky Derby; kilometer; Kirk, George; Kirk, James T.; Kirk, Tiberius; Kirk, Winona; kiss; Klabnian fire tea; Klingon; Klingon prison planet; Klingon warbird; Kobayashi Maru, USS; Kobayashi Maru scenario; kohlinar; Komack, James; Leifer; lie; lightning; lightning storm; lungworm; maneuvering board; marooning; Maximum security zone; Mayflower, USS; Mayflower-type (starships); McGrath; media; medical shuttle; Medical shuttle 37; Melvaran mud flea; meter; Midwest; military shuttle; mining vessel; mirage; Moore; Moore-type shuttlecraft; morphology; motorbike; mouth breather; name; Narada; natural disaster; Newton, USS; Newton-type (starships); Nokia; nosebleed; notebook; numb tongue; Odyssey, USS; orator; Orion; paradox; parking brake; path; PCAP-SYS; Petrovsky; phonology; pi; police; Pomoroy; prank; prod; programming code; Prometheus nectar; protein nibs; quarry; quota; R2-D2; repeat offender; Rader; red alert; red matter; Regula I; rescue mission; Riverside; Riverside Shipyard; Romulan Bird-of-Prey (unnamed); Romulan disruptor pistol; Romulan disruptor rifle; Romulan language; Romulan Star Empire; Romulus; roommate; "Sabotage"; Saurian brandy; Sect 7XT; security protocol; sex; SFC Division; shaker; shield; Shipyard Bar; ships; Shuttle 2 (Enterprise); Ship's log, USS Enterprise (NCC-1701 alternate reality); Shuttle 2 (Kelvin); Shuttle 3; Shuttle 37; Shuttle 43; Shuttle 89; Shuttle 12091; Shuttle 78072; skill dome; Slusho; solar flame; sphere; stallion; starch amyloplast; Starbase 1; stardate; Starfleet Academy; Starfleet Academy Board; Starfleet; Starfleet medical code; Starfleet Regulation 619; Starfleet uniform; startcard; stenographer; storm; straw; subroutine; subspace transmission test; supernova; surname; sweat; syntax; Tagruato; telemetry; Teral'n; towel; townie; toxin; T'Plana-Hath-type (unnamed); Trainer, USS; transporter; transporter control; transporter signal; transwarp beaming; tribble; truck; Truman, USS; turbine; United We Are Strong, United We Will Win; universe; vision loss; volume; vomiting; Vulcan; Vulcan (planet); Vulcan High Council; Vulcan Science Academy; Vulcan ship; water turbine control board; whiz kid; whore; windows; Wolcott, USS; xenolinguistics; yellow creature

Other references[]

Shipyard Bar menu: Chik burger; Earth burger; Fish and chips; Hajjlaran surprise; home base fries; Jestral tea; Mantickian paté; Mareuvian tea; Orion wing-slug; Papalla juice; Prometheus nectar; prune juice; SHM tofu bites; Sinteel pasta; space burger; super combo

Meta references[]

47; Intertitle

Unreferenced material[]

book club; cockaleekie soup; cone; Discount function; Defiant, USS; Endeavour, USS; EM sensor; Exponential discounting; First contact protocol; FC-3 procedure; flo-yo; fractal; gastric stimulator; gold rating; Hawk-dove strategic interaction game; hoverspeeder; Hyperbolic discounter; Jaxa; Lennon, John; Kyoto; McCartney, Paul; MIT; mince and tatties; narcissism; Oxford invitational; quantum cosmology; piece and jam; planetary security; Power signature; Prisoners' dilemma; quark; Quasi-hyperbolic discounter; Spock; Scalar discount; slim-shot; station chief; Square root; T'nag; Universal greeting; Vulcan creature; Vulcana Regar

See also[]

External links[]

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Star Trek Nemesis
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Star Trek Into Darkness