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A Family Affair

 

From 1950, when I did my first film job, to 1966, when we started shooting Star Trek, I felt like a professional orphan. The studios represented homes, and those actors who worked there under contract were part of the immediate "family." Those of us who "jobbed in" for a few days work, were at best, distant cousins or merely temporary guests who were allowed to visit but didn't actually belong.

In sixteen years I never had a studio job that lasted longer than two weeks. My dressing rooms and parking places, if I got one at all, had temporary name cards, easily removed the day the job was over. I never realized how deeply I needed to be accepted into one of those "families."

When it finally happened, when Star Trek went into production and I was asked to come to stay, I was in for quite a surprise. In many ways the acceptance was everything I expected. I cheerily waved to the guard at the front gate every day and got a very warm welcome in response. Drivers ahead or behind me had to stop, state their business and hope that the gate would swing open for them.

My name plate was secured to the dressing room door with reassuring screws and my name was painted on my parking space!

My fellow artists were all my brothers and sisters and I had several parent figures: directors, producers and studio heads.

But there are tensions and misunderstandings in the closest families. When I had need of goods and services which I felt were necessary to do my job properly I naively assumed that the parents to whom I submitted my requests would see the need and react appropriately!

Not so. Fathers very often reject a son's request as being "not necessary," "too expensive," "if I do it for you, I have to do it for all the others," etc., etc.

There is a little item which establishes the boundaries of the relationship between a studio and its actors. It's known as a contract. Before it is signed, everything is negotiable. Salary, billing, dressing room, expense money, phones, parking spots . . . everything! After it is signed, goodwill takes over.

When the Spock character became as successful as it did, I felt I was a son who was doing his share to carry the family load. The studio legal department saw me as a menace. "He's getting popular and he's going to want more than he contracted for. That's trouble."

Much later I was to learn to anticipate all my reasonable needs and have them built into the contracts to avoid misunderstandings. But in the meantime we played some interesting games.

Ten days after the show went on the air I was handed my first batch of fan mail. It consisted of about eight or ten letters which pleased me greatly. Over the years I had received an occasional fan letter, and at one time had inquiries from people who wanted to start a fan club. However, it was obvious during those times that there was never enough excitement about any particular job or group of jobs I had done to warrant that kind of fan activity. I was very unprepared for the onslaught that was about to take place.



I sat down during a lunch hour that day and personally responded to each of the letters and personally signed each of the photographs with a handwritten note.

Several days later another batch of mail was brought—this time it consisted of about forty or fifty letters. These I did during breaks in shooting and during a couple of lunch hours. About a week later three or four hundred letters arrived. The personal touch was now out of the question.

Within a couple of months my mail was being delivered in sacks and it tallied up to approximately ten thousand pieces of mail per month. Fan clubs were springing up like weeds all over the country. This presented a new series of problems since there were expenses involved in handling all these matters.

The following is a series of memos resulting from the cost of handling fan mail and fan club communications:

 

Desilu Productions Inc.

Inter-Department Communication

TO: LEONARD NIMOY

FROM:EDPERLSTEIN

DATE: JUNE 12, 1967

SUBJECT: FAN MAIL

Dear Leonard:

For the past several weeks J have been consulted with respect to the operation in regard to your personally handling your fan mail and have iterated myself many times with regard to the agreement that I made with respect to our obligations to you in this connection. For purposes of clarification to you and the others receiving copies of this memo, I would like to iterate the agreement that was made.

1. Desilu, in addition to your compensation, agrees to pay you $100 towards your secretary and equipment needs for your personally handling the fan mail.

2. All equipment is to be furnished by you other than that specifically enumerated herein below. We agree to furnish you the following:

a. The photographs of you that we select.

b. All postage with respect to fan mail which the studio would normally cover under its existing fan mail facilities.

c. Stationery designated by Desilu for fan mail and not your own personal unapproved stationery. Envelopes will be furnished by Desilu.

It is not intended nor was it specifically agreed that we would furnish you with pencils, pens, etc. which we assumed you would furnish yourself as we also contemplated that you would furnish your own typewriter and other equipment.

From the requests that you have made and which I have rejected and which we will charge you for items such as staplers, staples, pens, pencils, pencil sharpener, memo pads, special stationery, applications for membership in Leonard Nimoy Fan Club and any expense in connection with fan clubs is something that we are not responsible for as this goes beyond the STAR TREK series and which I personally consider a personal item of expense.

This is not a witch-hunt but rather a business letter asserting rights on behalf of profit participants, including the network, the producer of the show, Desilu Studios and other profit participants. None of the profit participants or interested members have raised nor are aware of your requests nor have they raised any specific beef concerning your requests and concerning the charges. As I said, there have been many inquiries regarding proper classification and charges and it has come to the point where in my opinion this memo is necessary.

If you have any questions concerning this memo, pro or con, then I would welcome your reply and for this purpose I invite you to use, free of charge, an inter-office memo.

I urge you once again to consider this memo in the vein it was intended for clarification of those charges which are properly to be absorbed by Desilu and that which is to be considered personal and your personal items of expense.

cc: Herb Solow

Gene Roddenberry

Gene Coon

Bob Justman

Leo Pepin

Bill Eatherly

Shirley Stahnke

Bob Winslow

Dick Sternberg

 

TO: ED PERLSTEIN

FROM: LEONARD NIMOY

DATE: June 13, 1967

RE: FAN MAIL

 

Dear Ed:

I want to thank you very much for taking the time to send me your memo clarifying—or attempting to clarify our agreement as regards to: fan mail, supplies, etc. My impression is that there are two (2) primary issues raised in your memo, and I should like to deal with them forthwith so that we may arrive at a satisfactory understanding.

The first issue seems to be that which has to do with the provision of pens, pencils, etc. I hasten to assure you that my secretary and I have managed to steal enough pens and pencils from various offices around the studio, so we will no longer need to make requests in this area for some time.

The second area deals with those expenses and I quote from your memo: ". . .in connection with fan clubs . . . that we are not responsible for, as this goes beyond the Star Trek Series and which I personally consider a personal item of expense." In this area we may have to create a sub-division, since not all of the 160 fan clubs could, in all fairness, be considered completely personal. I list herewith a few examples of some of the clubs which might fall out of the "personal" category:

"Crew of the Enterprise"—Mobile, Alabama

"Star Trek Association"—Los Angeles, Calif.

"Spock"—Los Angeles, Calif.

"The Enterprise II"—Oceanside, Calif.

"The Star Trek Club"—Jackson Heights, New York

"Enterprise, Inc."—Great Neck, New York

"Star Trek"—Elmira, N.Y.

"Vulcanian Enterprises"—Brooklyn, N.Y.

"Star Trekkers"—Brooklyn, N.Y.

Those are some examples of the clubs which I feel fall most predominantly in the Star Trek area, and can not in all fairness be considered "personal" clubs.

Then there are those which I feel we should split. For example:

"Nimoy Enterprise"—San Jose, Calif.

"Leonard 'Spock' Nimoy Fans, Inc."—B.C. Canada

"Yomin Enterprises"—Pontiac, Michigan

(The name of the ship in this case being spelled forward and my name being spelled backward—perhaps, we ought to go for a 75% vs. 25% split of the expense.)

In fairness to all parties involved may I suggest that we arrange for a periodic audit of the fan club files in order to determine where the expenses should rightfully fell. Perhaps, Price-Waterhouse would be available for such an audit, and we could arrange for a dramatic presentation of the findings in a sealed envelope.

Yours for fair and equitable allocation of expenses,

LEONARD NIMOY

 

At this point, Bob Justman, our production manager and eventual co-producer got into the act. Bob has a brilliant imagination and a lovely sense of humor, but let him speak for himself:

 

TO: ED PERLSTEIN

FROM: BOB JUSTMAN

DATE: June 14, 1967

SUBJECT: FAN MAIL

Dear Ed:

I have received copies of correspondence between Leonard Nimoy and yourself recently. With respect to Mr. Nimoy's memo of June 13th, I should like to report to you that I have noticed that pens and pencils have been disappearing from my office at a phenomenal rate. I don't have proof, so I don't think that I can logically accuse anyone of these thefts. However, I staked out my office the other night in an attempt to identify the guilty party.

Unhappily, some unknown assailant sneaked up behind me and clamped a fiercely vise-like grip upon me somewhere between my neck and shoulder. I lost consciousness within a split second and did not awaken until several minutes later. To my dismay, I noted that there were more supplies missing from my office. Whoever attacked me and stole my supplies must have been endowed with a quite superior sense of hearing, as I am certain that I made no noise and, in fact, was quite careful to breathe as lightly as possible. There is one very strange feet which has emerged from this incident. I had rather cleverly concealed a naked razor blade within my pencil box, so that whoever would be stealing my pencils would have an opportunity to slice open his or her finger. Upon investigating my now empty pencil box, I discovered a slight amount of the oddest green liquid present on the razor blade and around the bottom of the pencil box. I can't imagine what it can be. It certainly isn't blood, as we all know that human blood is red.

Incidentally, getting back to fen mail. This past season I have received three fan letters. I answered them posthaste. Please send me fifteen cents to cover postage.

Sincerely,

BOB JUSTMAN

cc: Leonard Nimoy

Herb Solow

Gene Roddenberry

Gene Coon

 

TO: ED PERLSTEIN

FROM: SPOCK

DATE: JUNE 15, 1967

RE: FIRST AID

Dear Mr. Perlstein:

I should like to file a complaint about the first aid facilities here at the studio.

It seems that late one night last week, while doing some very important work in my office I had a minor accident and cut a finger. I went to the first aid office only to discover that they are closed after shooting hours. I think it highly illogical to assume that accidents only take place during shooting hours.

What can be done?

SPOCK

CC: Herb Solow

Gene Roddenberry

Gene Coon

Bob Justman

 

 

Within a month after the show went on the air I had telephone problems. There was one phone on the sound stage and between cast and crew there were about 50 people receiving and making calls. I was getting calls for press interviews and personal appearances from all over the country. It wasn't always possible for me to come to the phone because most of the time we were rehearsing and shooting. The message slips would pile up and when I got a break I would go to the phone and try to return some of the calls only to find people waiting in line. The next closest phone was a pay booth on the studio street outside the sound stage. This meant precious minutes wasted going to and from the pay phone and very often it too was occupied with people talking.

I spoke to the production manager about my problem and requested that the studio put in a telephone into my trailer dressing room which was on the sound stage. He told me that he would pass on my request and I heard nothing about it for the next week. I raised the question again and was told that Herb Solow, head of TV production for the studio, was aware of my request and wanted to discuss it with me.

I assumed that this meant there was a financial question involved. There was no telephone deal in my contract. Therefore, I would be required to pay for it myself. I decided not to bother Solow. He was a very busy man and this was a minor matter. I told the production manager that involving Solow would be unnecessary, I would pay for the phone myself.

Another week went by and I heard nothing. The situation was getting critical. Much of my phone business was to eastern cities. By the time I got finished with the day's shooting it was far too late to get in touch with the people on the East Coast.

I raised the subject again, and once more was told that I would have to discuss it with Solow. He finally came to my dressing room to state his position. There were several actors on the lot who wanted phones. I could not be allowed to have one since it would set a precedent. Other actors would want to follow suit. "Herb," I said, "there seems to be a breakdown in communications. I have already agreed to pay for the phone myself." "I know that," he answered, "but I can't let you have the phone." I asked him to explain. He said, "If the other actors find out you have it, they'll want one. I'll tell them you're paying for it, but they won't believe me. There'll be a lot of hard feelings."

Eventually I was able to persuade Herb that the studio was losing money if I had to go to the pay phone while the company waited for me. I got the phone. And I paid for it myself.

In the spring of 1967 we started production on the second season of Star Trek shows. I hired Teresa Victor to take care of my fan mail on a full-time basis. It soon became obvious that it was physically impossible for her to take care of my mail and handle other office responsibilities as well. We turned the fan mail over to a service which specializes in that work. During the hiatus between the first and second seasons we had renegotiated my contract with the studio. The new terms included a raise in salary, and the studio was to provide me with a permanent dressing room furnished as an office. During the first season I had only the portable trailer on the sound stage. Teresa moved into the office and assumed her duties. All calls were put through to her and she coordinated my activities. Travel plans, requests for personal appearances, photo sessions and interviews with the press, etc.

The office consisted of two small rooms each approximately twelve feet square with a small bathroom in between.

There was a window in each room, but no cross ventilation. As summer came on and the temperature rose, the room became unbearably hot. We needed an air conditioner.

I approached Morris Chapnick who was an assistant and troubleshooter for Herb Solow, the studio head. Morris promised "to check into it." Several days went by. "Morris, what about my air conditioner?"

"I checked the contract," he said, "and it doesn't call for anything except office furnishings." "Morris," I said, "that's true, there's nothing in the contract about an air conditioner, but the office is practically useless without it." He said, "I'll see what I can do." A few days later some workmen arrived and installed a small exhaust fan in the top of one window. It was completely ineffective.

A couple days later the heat was intense. I told Teresa to lay down on the floor and play unconscious. Then I called the studio nurse. When she arrived I told her I'd found Teresa on the floor, obviously passed out from the heat. The nurse applied some cold compresses and Teresa "revived." Then I called Chapnick and told him of the incident. He checked with the studio nurse. In two days we had an air conditioner.

All of the foregoing could easily come under the heading of "Fun and Games." There was a lot of intense emotion connected with it at the time, but in retrospect it all seems rather silly. Much more important was the ongoing effort to successfully exchange ideas within the family with regard to the nature and quality of the scripts and, of course in my case, with particular emphasis on the Spock character.

The following are samples of memos I sent to various producers during the production years. They deal with some specific script problems, and more important, my constant and increasing concern with the preservation of the best and the most important elements of Spock.

The response to these memos, if indeed any was forthcoming, was usually in the form of conversation or a specific script change. There were many more discussions on character and script than these few memos would indicate. Particularly during the first two years there were constant discussions with Gene Roddenberry and eventually, Gene Coon. Most of these were fruitful. During the third season, when Roddenberry and Coon had departed the series, the communication between me and the story editor and producer was not nearly as successful. It finally reached the point where communication between them and me came to a total standstill. The final memo in this chapter clearly indicates the depth of my frustration.

 

TO: GENE RODDENBERRY

DATE: MAY 18, 1967

CC: Gene Coon

FROM: LEONARD NIMOY

RE: "Amok Time"

Dear Gene:

Have just finished reading the yellow cover version of "Amok Time" and am very, very happy with it. I think that the story very successfully involves all of our central characters in strong and meaningful relationships. There's a strong line of suspense and emotional contact throughout the script.

Whatever criticisms I do have relate primarily to the latter part of the script. On Page 51, Kirk says to McCoy, "You said, this fight might save his life." I don't feel that this idea is completely clear. That is, in what way can Kirk save the life of Spock by fighting him? From Scene #87 into Scene #105, we lose touch with Spock and therefore do not have any indication of what his attitude is about the fight; or more specifically about the feet that he is to fight Kirk since Kirk has been chosen as the challenger. We have had interplay between Kirk and McCoy showing their feelings about Kirk having to fight Spock but no reference to Spock's attitude or his point of view. I feel this needs to be developed so that we can get some insight as to what Spock's condition is. Is he so far out of it that he doesn't even know who he's fighting? Or, does he feel torn by the idea of having to fight Kirk?

Beginning on Page 64, approaching the tag of the show, I feel that we may be cheating ourselves of a more powerful payoff to what has been essentially a very strong script. A suggestion would be that because of the nature of Spock's emotional experience with Kirk in the sick bay, that perhaps the two of them be in there alone. I feel uneasy about Spock showing that emotion over Kirk's supposed death in the presence of McCoy and Christine. I think that Spock would go off and do that by himself. But, since he believes Kirk to be dead I think we have an opportunity for him to express that emotion in the presence of the supposedly dead Kirk.

The tag of the show too, I believe is cheated by the fact that Spock goes off on a rather lame mission (to get some soup ... I believe). Couldn't we wrap up more powerfully with a strong three scene between Kirk, Spock and McCoy?

All in all, a very gratifying script to read and am looking forward with great pleasure to shooting it.

Sincerely,

LEONARD NIMOY

 

TO: GENE RODDENBERRY

DATE: February 21, 1968

FROM: Leonard Nimoy

RE: Mr. Spock/Star Trek

Dear Gene:

It gives me great pleasure to know that it is you sitting behind the Producer's desk talking the stories with the writers for the new season. Deep inside me, I feel that your talent, your taste, and your efforts, will again make "Star Trek" and "Mr. Spock" a fulfilling experience, in spite of the amazingly complex pressures which exist in this project. In short, I do believe that our goals are the same, and I would like to take this opportunity to express a few thoughts pertaining to Mr. Spock.

During the first season "Mr. Spock" was the First Officer of the Enterprise, intelligent and resourceful in command when the occasion demanded it. He was the Science Officer of the Enterprise, using a vast background of knowledge and capable of correlating information in the amazingly logical and computer like way in order to make scientific determinations. He was, sometimes right, sometimes wrong, but could definitely be relied upon to have an individual and unique point of view. His loyalty often was dramatized by circumstances, rather than simple lip service. His Vulcan soul may someday burn in hell for the things he did and said to support his human friend, but he bit his tongue and did it because that was his duty as he saw it. He sometimes saved a life, or once or twice even the Enterprise, because he as a Vulcan was able to accomplish something which was beyond human action. He was precise, very mysterious, physically powerful, and even mystical. I could go on and on, but suffice it to say that in a brief time there were built into this character far more dimensions than one finds in a group of characters put together on television.

Public response indicated that we had done a groovy thing.

The Scientists admired his logical precise and scientific mind. The Hippies dug his cool and his mysticism. The lads revelled in his strength and his sharp dry wit, to say nothing of his fascinating ears.

 

SECOND SEASON

I shall try and be fair. There were some very gratifying moments. But looking back from this vantage point, Spock seems to have added up to:

1) A raised eye-brow

2) "Fascinating" . . . "Logical" . . . "Illogical" . . .

3) The "Spock pinch"

4) "I am sorry Captain, but at the present time, and with the present information, I am unable to give you anything more specific than that" . . .

5) "The planet is Class M, Captain, not unlike your Earth, and capable of supporting human life" . . .

6) Some comedy sketch dialogue between Spock and McCoy, often petty in nature, and usually capped with "Gentlemen, will you please stop the bickering amongst yourselves, I need answers not arguments." (Captain Kirk)

Gene, I can't tell you how many times scenes were introduced with: Kirk and Spock enter, followed by several pages of dialogue during which we cut to Spock for a raised eyebrow, and finally Kirk and Spock leave. There were times when the writer had so completely forgotten that he had introduced Mr. Spock into the scene that he forgot to have Spock make the exit with Kirk, and tag the scene simply with Kirk leaves.

It would be as if Shakespeare had written "To be or not to be . . ." to be played by two characters instead of one. Often, Bill and I found ourselves equivocating over the problem of the piece during the second and third acts, in spite of the fact that we felt the audience must be way ahead of us, but we couldn't arrive at a solution because it was too early in the play. For example: Briefing room scenes seemed to be designed to kill time by explaining to each other that we did not know what was going on, or what to do about it.

 

Captain Kirk: To be ...

Mr. Spock: . . .or not to be ...

Dr. McCoy: Yes, that is the question . . .

Captain Kirk: I've made my decision . . .

Dr. McCoy (angrily): Jim, you've endangered thousands of lives . . .

Mr. Spock: (His eyebrows slowly rise . . .)

 

Believe me, I know that piece and harmony are vital in a series situation, but must it be reduced to this:

Spock enters bridge, approaches Captain's chair . . .

Spock: Captain, I believe I found the . . .

Kirk: The answer, Mr. Spock?

Spock: Yes Captain, I am convinced that the planet is…

Kirk: Infested, Mr. Spock?

Spock: Yes, Captain, with a rare and unique disease which is capable of ...

Kirk: Making itself invisible to our sensors, Mr. Spock.

Spock: Precisely, Captain . . .

Kirk: Exactly what I had expected, Mr. Spock. . . Good work. What are the odds, Mr. Spock?

Spock: I would say, approximately 47.3 to 1, Captain.

Kirk: I'll take that chance . . . Prepare phasers, Mr. Sulu.

 

Please, Gene, let Captain Kirk be a giant among men, let him be the best damned Captain in the fleet, let him be the best combat officer in the fleet, let him be the greatest lover in the fleet, let him be capable of emerging unscathed from a brawl with five men twice his size, but above all let him be a LEADER, which to me means letting your subordinates keep their dignity.

 

TO: GENE RODDENBERRY

TO: GENE COON

TO:BOBJUSTMAN

TO: JOE PEVNI

FROM: LEONARD NIMOY

RE: "DEADLY YEARS"

I would like to refer you to the feet that in the past we have established that Vulcan life span is approximately 3 times that of humans. That being the case Spock being on the high side of 50 (page 23), leaves some question as to whether that age is meaningful, perhaps the best thing to do is to drop the Vulcan age entirely, or be much more specific about it, and actually point up the fact that Spock may be aging to the point of 100 years or more, which would bring him more in line with some of the aging processes that are taking place with the other people.

 

Act III—Page 40

I believe we're missing a very valuable opportunity in having Captain Stocker interrogate Kirk and the other witnesses at Kirk's hearing. This could in effect be a very powerful or dramatic scene between Kirk and Spock, since it is strongly established that Spock does not want the hearing to take place at all, and we'd have some excellent drama to play, if with that sub-text working, Spock is forced not only to attend, but to actually prosecute.

The marvelous payoff available here is that having successfully prosecuted as he "logically" must, Spock refuses to take command as Stocker suggests. This would very dramatically emphasize Spock's "logical" position in prosecuting and his loyal position in refusing to replace the Captain.

 

Scene #63

Again, should be a 'Kirk-Spock' scene. In the prosecution we have, in effect, Barney Greenwald prosecuting Captain Queeg as he rightfully must, in spite of the fact that he believes in Queeg and does not want to destroy the man. Now, we have an opportunity to play a marvelously fresh facet of the relationship between Kirk and Spock. Kirk, the aging father figure, who is shocked and hurt by Spock who is kind of a son figure who has turned on his father. In this scene we get a chance to play "Willy Loman" and "Biff," Willy in a paranoid condition (Captain Kirk) taking everything personally. Spock, trying to calm him, and wishing there were some way he could point out to him that there is nothing personal, no personal betrayal involved.

 

Page 71—Scene 87

Spock and McCoy exit. McCoy to give Spock a shot in sick bay.

 

Page 72

Kirk turns to Spock and says, "Mr. Spock, take over." Sorry Captain, Spock no here, he gone to sick bay.

 

TO: FRED FRIEBERGER

DATE: MAY 6, 1968

CC: BOB JUSTMAN

FROM: Leonard Nimoy

SUBJECT: "The Last Gunfight"

Dear Fred:

As per our phone conversation, here are whatever ideas I could put together before leaving. Aside from the other problems discussed, I believe that "Spock" should start working on constructing his device (whatever that is going to be), no later than scene #31. Perhaps on Page 18, where "Kirk" says, "I have no intention of letting a bunch of primitives kill my people and myself." At this point, if not earlier, I believe that we must begin to introduce the concept that we are here because of a scientific or telepathic force, and that we must find a scientific or telepathic way in which to combat it. If "Kirk" begins to initiate his relationship activity at this point, "Spock" should begin to initiate his scientific activity.

To me, it makes more sense that "Spock" would be trying to build a communicator, or some kind of electronic signalling device, rather than a phaser. I think that his primary aim should be to get out of here, rather than to win a fight, since we must accept that we can not do that. If we continue to play the idea that we could win this fight then we deny the whole premise which is, that we are the "Clantons" and we will lose in any fight.

Perhaps this idea could be dramatized in "Spock" wanting to use the gunpowder from the bullets in order to build his equipment. The others might be interested in maintaining the use of their weapons, while "Spock" points out the futility of weapons in trying to beat the history involved.

 

Scene #46: The horse gets through the force field, and "Kirk" is knocked off. I didn't get a response about this on the phone, and I must point out that a force field is something that we have established as simply being an invisible wall. It does not choose between man and beast. I think we take a very dangerous license here in terms of the future, for the sake of what I consider at best, a mediocre joke.

A new thought, if the sets are to be facades, then shouldn't we suspect or even understand that the whole thing is an illusion and, therefore, try earlier on in some way to telepathically or through self-hypnosis or whatever, eliminate the illusion?

Also, how about time? Should we consider it as real in terms of what the clock says, or should we give some thought to that area in terms of possibly even setting the clock back or trying to adjust it in order to change the flow of events?

 

Question: If the sets are not real, it therefore follows that we know that the whole thing is an illusion, therefore, this is not the real gunfight at the "O.K. Corral," therefore, we do not necessarily have to die in the gunfight. Maybe we have to deal with that, in order to maintain the suspense.

 

Scene #109:

"Kirk" instructs "Spock" to eliminate only the reality of the bullets. It becomes clear that he wants the rest of the stuff preserved, specifically so that we can engage in a brawl with the "Earps." As you get to know me better, you'll find that this thing, this type of thing, irks me very much. I am bored by the fights we get into, and can bear them only if they are thoroughly motivated and integrated into the script. In this case, we might just as well have the "Captain" say, "Just eliminate the bullets, "Spock," because I want to have a big fight here."

 

Question: If the "Melkotians" are powerful enough to create an environment in which "Spock's" device fails, why do they let us win the fight with the "Earps"?

 

I am sorry I can't be more helpful. It seems in this case I must choose the role of "The Devil's Advocate"! Wish you the best, and will be in touch when I get back.

 

Peace!

Leonard Nimoy

 

TO: Gene Roddenberry, Doug Cramer

DATE: October 15, 1968

Fred Freiberger, John Reynolds

FROM: LEONARD NIMOY

GENTLEMEN:

During the first season of "Star Trek," a character named "Mr. Spock" was established in the series. This character had pointed ears, extremely high intelligence, was capable of brilliant leaps of deductive logic, could contact people's minds, could tick off data about Earth, space, time, etc. as though he had memorized libraries on the subject, was extremely powerful physically, had a great deal of pride, and a few other things, which in general made him a smart ass.

Now we all know that nobody, but nobody likes a smart ass, and above all a continuing character in a TV series must not only be liked, but well liked! Therefore, I can well understand the efforts this season to change this character's image, so that he will be more acceptable to the American public.

Now we are embarked on re-doing a show that we did during the first season when it was originally entitled, "Dagger of the Mind," with guest star, James Gregory. A story of a planet which supports a mental institution. The title has been very cleverly disguised, and we are now calling it, "Whom Gods Destroy." Since evidently the show was effective the first time around, we have managed to retain much of the story line for the second shooting.

I note one major difference which is evidently indicative of the drastic change in the "Spock" character. In "Dag­ger of the Mind," "Spock" picked up some valuable information by mind-melding with a man whose mind was terribly disturbed, and "Spock" was able to gather information from him only through the mind-to-mind contact which Vulcans are capable of. In our current episode, "Spock" is confronted with what would seem to be a rather simplistic situation. He walks into a room, phaser in hand, and is confronted by two "Kirks." One is obviously his real Captain and the other is an imposter.

Question: Can Spock handle the situation using his deductive logic, the phaser in his hand, his previous experiences with Kirk, his mind-meld, or any of the other imaginative techniques that a smart ass Vulcan would normally use? The answer is: NO.

Not only is he unable to cleverly, dramatically, and fascinatingly arrive at a solution, he also proves to be a lousy gun hand, since he allows the two men to become embroiled in a brawl while he stands there holding a phaser, not sure whether he should shoot one or both, or maybe just let them fight it out and "hope that the best man wins."

Now I'm given to understand that a fight between the two "Kirks" is absolutely vital to our series. I guess I can understand that from a production point of view. It seems that most series are cutting down, or cutting out violence, and I guess "Star Trek" will corner the market with this kind of sub-rosa activity.

My primary interest in contacting you gentlemen, is my concern over my lack of experience in playing dummies. Perhaps you could arrange to get me educated in this area. Maybe if I watched some "Blondie" episodes and watched "Dagwood" as a role model I could pick up some pointers. Or better still, I could get right to the bottom line by wearing some braids and feathers and learning to grunt, "Ugh, Kimosabee"?

Any suggestions?

Hopefully,

Leonard Nimoy

 

 

Why?

 

Today there are active Star Trek fan clubs throughout the world and several Star Trek conventions scheduled throughout the United States each year. The interest in the show does not seem to diminish. Why? There is an ancient Chinese curse, exquisite in its irony, which says, "May you live in interesting times."

The Star Trek years, during and since the filming of the show, have been years of dramatic ferment, political polarization, sexual revolution, drug abuse and a multitude of other turbulent events. The characters in the Star Trek series are a family. Tied to each other through common interests and loyalty. Diverse in their backgrounds, there is a deep mutual respect for each others talents and individuality. In this atmosphere, there is a place for any individual capable of making a contribution of value. People are judged on their merit without regard to origins or personal philosophies. There is a healthy common goal. To explore, to find answers, solutions to troubling problems and to share their solutions with all intelligent life.

There is hope. In the 22nd century, we exist. We have survived the atomic and hydrogen age. We have contacted intelligent life on other planets. We have joined in an inter-galactic federation to work together for the common good. We are useful to ourselves and to others, we respect truth, and recognize that beauty exists in many diverse and interesting forms. We have survived the wasting and near destruction of earth's natural resources. We fight dictatorship and political demagoguery, and we win. It is a good place to be and a good time to be there.

Violence is de-emphasized and certainly not glorified. Life is precious. The prime directive, although we dangerously skirted the edges several times, states that we shall not interfere with the natural development of any society. No doubt there are many young people who would like to exist in that environment and hopefully make a contribution to it.

Recently, I noticed that the city of Detroit had set a record of dubious distinction by going 48 hours without a homicide. Mark Twain's beloved Mississippi River is suspected of being contaminated with cancer-producing water, food prices have skyrocketed, young men murder their entire families for no apparent reason. Victims of terrorist attacks in the Middle East scream for revenge through desecration of the bodies of the attackers. A major military figure raises the spectre of anti-Semitism, sounding very much like the Fascists of the 1930s. In Viet Nam we left our bodies, our blood, and our self-respect. George Orwell's 1984 concepts of "doublethink" and "newspeak" have crept into our society. Public faith in political leaders is shattered. Science finds easier funding for destructive weapons than for cures. Who can care? Who has the stamina and the emotional fortitude to continue to hope that conditions will right themselves? Is it any wonder that millions stay home on Election Day?

I was stopped one day by a lady in a subway station in New York City. She said, "Excuse me, sir, but I have keen powers of observation. Aren't you the man on that series in space?" I agreed that I was. She said, "It's a very fine show, but some of the stories are too fanciful. You should make them more down-home." I guess she avoided "down-to-earth" because it might have come off as a bad pun. But Star Trek was down-to-earth. If the problems we dealt with on the show were examined beyond the most superficial glance, they would be discovered to be earth problems. Overpopulation, pollution, racism, destruction of natural resources, blind fear of anything new or foreign, unemployment, drug abuse, the machine and electronic device replacing the worker, etc., etc. If these stories were told in obvious earth terms, that lady could not have withstood the onslaught.

In the face of all this, wouldn't it be wonderful if the U.S.S. Enterprise actually existed? If there were another, parallel universe populated by people who have been through all this and could help us get through it? How many other TV series could successfully serve as the basis for a course of study in philosophy or sociology as Star Trek has?

At its best, Star Trek was about something. It carried a thematic thrust missing in most TV shows. Yes, there was adventure, futuristic weapons, romance and other entertaining elements. But most of the shows, and certainly the series, were about something, revealing and dealing with the flaws of existence as a means of ennobling life.

Why? Why does a generation raised under the influence of Dr. Spock relate to Mr. Spock? Is Spock embraced and welcomed because mankind is troubled by the march of events? Here is an ET of superior intelligence and abilities. Capable of making difficult decisions free of ego and pressure, and emotional needs. Dealing (supposedly) only with the facts in each case and the logical conclusions. The period in which Spock arrived was one of polarization over major political and social issues. The war in Viet Nam, the drug culture, the black revolution, assassinations, etc. Perhaps Spock represents a wise father figure to whom humans could turn for solutions to thorny problems. In many cases humans are torn between doing the right thing, and doing the expedient thing. "I know what's right, but if I do that, what will my neighbors say, what effect will it have on my family? What will it cost me?" Spock seems to be free of these tensions. In the Vulcan culture, one simply does what is right.

Perhaps a connection with another fictional character would be useful. Since I played Spock, I have been offered the role of Sherlock Holmes on several occasions. In fact, Gene Roddenberry suggested it as a series idea for me several years ago. I finally did the Holmes character in January of 1975 in a fifteen minute program produced by Kentucky Educational Television to be used in an Earth-Space Science series for junior high school students. The film was produced in Lexington, Kentucky and featured the characters of Sherlock Holmes and Dr. Watson. The idea was very clever. To use the Holmes and Watson characters and their reknowned capabilities as detectives to demonstrate to the students how a scientist uses inductive reasoning in scientific exploration. A globe is delivered to Holmes' apartment and he is challenged to discover the contents and nature of its interior without breaking the surface.

The film was directed by George Rasmussen and the script, written by Richard L. Smith, was a joy to play. As much as any other element involved in the making of the decision to play it was a comparison written by Smith delineating the similarities and differences between Mr. Spock and Sherlock Holmes. This was included with the script which was first sent to me and read as follows:

 

Sherlock Holmes is first and last a creature of intellect. Moreover, his interests are narrowly specialized. His nature bears certain similarities to the character of Mr. Spock, but the differences are important.

For example, although both men are intellectual and unemotional, the reasons are different. Spock has subjugated his emotions through iron discipline while, in Holmes' case, they have atrophied through inattention.

Spock is always phlegmatic, but Holmes is often nervous and agitated. His nerves almost pop out of his skin at times, and we can always read his thoughts in his face. Holmes' temperament is basically artistic, although his intellect is entirely objective and rational. Unlike Spock, Holmes could never be part of a team, especially in a secondary role.

Spock, we sense, is a man of profound conflict and tension, the human side of his nature may have been crushed and imprisoned but we watch him, fascinated, and wait for it to some day break free.

There is no conflict within Sherlock Holmes. The artistic and scientific sides of his nature complement each other. Everything that does not serve his single purpose has been allowed to wither away. In his childlike simplicity, he is like some Nobel Laureate in Physics. Holmes likes and respects Watson, but he recognizes the differences between them. Their relation is that of a man and his dog, one which may have saved his life on occasion.

 

For me the key connection between Spock and Holmes lies in their ability to solve problems, to cut through rhetoric, lies, deception, and fantasy. TV detectives are very popular. Audiences have faith in them. Jack Webb's Sergeant Joe Friday reduced useless conversation with a withering Spock-like line, "Just give us the facts, Ma'am." Perhaps Spock, with his superhuman intellect, is the greatest detective of them all. Because we know that Spock is part human and we suspect him of being compassionate, possibly even a secret humanist, we feel safe in placing our fate in his hands. Certainly he would never make a decision which, though logical, would be anti-human.

In Albert Camus' dramatized version of the Caligula story, the mad emperor resorts to "logic" as a means of alleviating the economic problems of the state. As the need for money arises, wealthy people are simply executed and their money confiscated.

Logic alone might someday dictate the extermination of millions of innocent people in order to relieve overpopulation, food shortages and other ecological problems. In that case, we would turn to Spock the scientist and hope that he would find brilliant scientific ways to fulfill mankind's needs rather than eliminate portions of mankind.

So this particular ET, or type of ET, is superior in his decision-making abilities and in his scientific knowledge. But we trust that he will apply these superior assets to our benefit. Maybe he'll even answer some important questions for us.

NIMOY: Spock, what is life?

SPOCK: A state of being.

NIMOY: Let me put the question another way: Why is there life?

SPOCK: Yours or mine?

NIMOY: Anyone's.

SPOCK: You've missed my point . . .

NIMOY: Which?

SPOCK: "Yours or mine" ... I was trying to suggest something.

NIMOY: You've lost me . . .

SPOCK: How can that be? To have lost something is to be unaware of where it is. You are still here. NIMOY: It's just an expression. I meant I don't understand.

SPOCK: Your question is based on a personal conjecture. "Why is life" suggests that there is a single reason for all of life.

NIMOY: Is that wrong?

SPOCK: Is that necessary?

NIMOY: Many people are troubled by this question. They feel somehow that their lives would be enriched if they knew why they are here.

SPOCK: Are you religious?

NIMOY: I think so.

SPOCK: Then, perhaps you are here because God wants you to be.

NIMOY (stunned): Spock, I'm really surprised to hear you say that. Do you mean it?

SPOCK: Why does that matter? We are investigating possibilities. Does that one appeal to you?

NMOY: Possibly. At times.

SPOCK: Do you believe in the concept of service to mankind?

NIMOY: I think so.

SPOCK: Then perhaps you are here to be of service.

NIMOY: Suppose neither of those possibilities satisfies a particular individual?

SPOCK: We've only suggested two. Aren't the possibilities endless? And why do you feel responsible for supplying the answer for everyone? Have you chosen that as your reason for existence?

NIMOY: Then each person has to find his own?

SPOCK: "Has to . . ." That would seem to suggest an emotional need, to which I find it difficult to relate.

NIMOY: Are you going to hide behind that mask of logic? SPOCK: Are you angry with me?

 

The teenager coping with the fiercely complex problems of adolescence often feels very much alone. His friends or peers are understanding, but they too are faced with the same problems and have no solutions. They can only commiserate. Parents claim to have the answers, but they are short on patience and understanding. Then, too, the child-parent competition makes it difficult for the child to accept the parent's solutions. They seem old-fashioned, or at best, out of touch with contemporary attitudes. Too often, the parent's advice is couched in very emotional terms. Spock easily resolves this dilemma. He has superior insight. He can quickly understand the nature of the problem. He has studied the human race. He is a pure authority on the subject. He has no axe to grind because he is so totally secure. He certainly can not be accused of being old-fashioned. He is future. He can be compassionate in his judgment and dispassionate in his help. To the young female, there is no sexual threat. Spock is asexual. She need not fear that he will take advantage of her. In fact, quite the contrary. He probably becomes an object of sexual fantasy because he is at once safe and challenging. This would be even more true with more experienced females.

I was doing some homework one day. Without being conscious of doing it, I was quietly singing a song by Jacques Brel:

 

If we only have love

We can reach those in pain

We can heal all our wounds

We can use our own names.

 

If we only have love

We can melt all the guns

And then give a new world

To our daughters and sons . . .

 

I was startled by Spock's voice from behind me. "What is that song?"

 

NIMOY: Well, it's a poetic idea. It suggests that we could all get along with each other if there is common love.

SPOCK: Do you believe in this concept as a possibility?

NIMOY: I see nothing wrong with believing that mankind could someday find a real brotherhood.

SPOCK: There is no need to be defensive. . . .

NIMOY: Spock, there are some things which we humans care about that may seem strange, even ridiculous to you. What's wrong with a little hopeful poetry?

SPOCK: It is not the poetry I am curious about. I understand it. It scans fairly well, and some of the images are quite lovely. Poetry has an important place in Vulcan literature.

NIMOY: Then what's your point?

SPOCK: The poet suggests that love can stand aloneas an emotional entity.

NIMOY: Where does he do that?

SPOCK: "If we only have love, we can melt all the guns."

NIMOY: What he means is that if people love each other, there wouldn't be any more wars.

SPOCK: Illogical.

NIMOY: Why?

SPOCK: War is the result of a breakdown in reason. It is an emotional confrontation. To eliminate war, it would be necessary to eliminate emotion. Love, being an emotion, would thereby be eliminated as well.

NIMOY: Are you saying that we can't have love and reason?

SPOCK: Most human literature would suggest that reason disappears in the presence of love.

NIMOY: Under the influence of a drug, you once fell in love.

SPOCK: True ...

NIMOY: When it was over, I heard you say, "I was happy for the first time in my life ..."

SPOCK: Your typically human assumption is that I had lived a deprived life, and have now at least had an insight into a blissful state.

NIMOY: Isn't that what you meant?

SPOCK: Not necessarily. My statement can also be interpreted to mean, "I have had an experience peculiar to the human race."

NIMOY: That's not what it sounded like when you said it.

SPOCK: That is a matter for individual interpretation.

NIMOY: Didn't you like the experience?

SPOCK: I can understand that you would want me to like it.

NIMOY: Why?

SPOCK: Because you want me to be like you. To value the things you value and to give support and credence to your life style.

NIMOY (losing patience): Look Spock, all of this is very interesting. But you did say you were happy. By definition that's a pleasant and emotional experience.

SPOCK: I know this is difficult for you. But please try to understand. I said, "I was happy for the first time in my life," in the same sense that a visitor to America might say, "I had a hamburger for the first time in my life." Of course, most Americans would like to hear him add ". . . and I loved it."

NIMOY: Spock, you're impossible.

SPOCK: Are you angry with me?

 

Spock is a good man to have around. He is brilliant, dignified, loyal and cool. In a crisis where humans stumble, Spock functions with logical efficiency. He is extremely honest and incorruptible. He seems to be compassionate, although he would deny it because that borders on emotionalism.

There is a suspicion that Spock has knowledge which could be very helpful to a troubled humanity. I have been contacted by metaphysical organizations. One group told me that I had been chosen for the Spock role because I was a carrier of ideas, concepts of which I myself might not be aware. That my real function in the series was to prepare mankind for the future and to relieve public tensions about phenomena which were bound to come. This particular group communed in the Nevada desert and had personal and direct contact with extraterrestrials who visited them and took members of the group on short rides on their spacecraft. They could reveal themselves to me, they said, because I would be capable of accepting and understanding. However, they felt the public would be hostile and needed further education through roles like mine.

Spock is a safe and comforting, even desirable resolution of the extraterrestrial question. Many people have gone to great lengths in writing to me about the effect he has had on their lives. They often tell movingly that he demonstrated a dignified way for the individual to function in what, for many, is a hostile society. If there are extraterrestrials and if we are to encounter them or be visited by them, most people would be relieved if they were all like Spock.

Young people are fascinated by the "Spock neck pinch," a grip which applied by a Vulcan to the neck and shoulders renders a human unconscious. Most preteenagers want a demonstration, preferably on a friend. One can't help but wonder what the reaction would be if Spock were one of a group of Vulcans on board the Enterprise. The existence of one Vulcan whom we all know, trust and love, is all well and good. But suppose there were several Vulcans bound together in a political action group? "One is O.K., but when his friends and relatives move in ... there goes the neighborhood."

It is easy to forget that Spock was created by humans. And if he does in fact represent elevated concepts of life, its value and its meaning, then those elevated concepts must be credited to the human race. Personally I find this an enormously exciting challenge—to try to live up to the broader vision and deeper perception that I helped build into this fictional character.

 

 


Date: 2015-02-28; view: 1025


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