Podcast appearances and mentions of bob justman

Kicking off the 12th season of The Trek Files, we're taking a look back at planning Star Trek's third season in 1968. Bob Justman sent a memo in February of that year to Gene Roddenberry with his suggestions of which cast members should be kept and at what rate. Joining us to discuss the memo is someone from that very cast: Walter Koenig who you know as "Chekov!" Document and additional references: Star Trek Cast Option Pickups - February 26, 1968 All episodes and documents: The Trek Files on Memory Alpha Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

Kicking off the 12th season of The Trek Files, we're taking a look back at planning Star Trek's third season in 1968. Bob Justman sent a memo in February of that year to Gene Roddenberry with his suggestions of which cast members should be kept and at what rate. Joining us to discuss the memo is someone from that very cast: Walter Koenig who you know as "Chekov!" Document and additional references: Star Trek Cast Option Pickups - February 26, 1968 All episodes and documents: The Trek Files on Memory Alpha Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

Kicking off the 12th season of The Trek Files, we're taking a look back at planning Star Trek's third season in 1968. Bob Justman sent a memo in February of that year to Gene Roddenberry with his suggestions of which cast members should be kept and at what rate. Joining us to discuss the memo is someone from that very cast: Walter Koenig who you know as "Chekov!" Document and additional references: Star Trek Cast Option Pickups - February 26, 1968 All episodes and documents: The Trek Files on Memory Alpha Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

The faster Star Trek: The Next Generation ramped up production for its first season, a very real crisis loomed: they didn't have enough scripts. Bob Justman wrote to Gene Roddenberry in no uncertain terms about the production's needs, and we've got Mike DeMeritt to help us pick apart the details. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

The faster Star Trek: The Next Generation ramped up production for its first season, a very real crisis loomed: they didn't have enough scripts. Bob Justman wrote to Gene Roddenberry in no uncertain terms about the production's needs, and we've got Mike DeMeritt to help us pick apart the details. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

The faster Star Trek: The Next Generation ramped up production for its first season, a very real crisis loomed: they didn't have enough scripts. Bob Justman wrote to Gene Roddenberry in no uncertain terms about the production's needs, and we've got Mike DeMeritt to help us pick apart the details. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

It might seem like a given that a TV series must be written to fit a budget. In the early days of "Star Trek: The Next Generation," a serious concern between Gene Roddenberry and Bob Justman was to keep the scripts under control. Returning guest Mike DeMeritt joins The Trek Files to help parse the intersection of creativity and commerce. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

It might seem like a given that a TV series must be written to fit a budget. In the early days of "Star Trek: The Next Generation," a serious concern between Gene Roddenberry and Bob Justman was to keep the scripts under control. Returning guest Mike DeMeritt joins The Trek Files to help parse the intersection of creativity and commerce. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

It might seem like a given that a TV series must be written to fit a budget. In the early days of "Star Trek: The Next Generation," a serious concern between Gene Roddenberry and Bob Justman was to keep the scripts under control. Returning guest Mike DeMeritt joins The Trek Files to help parse the intersection of creativity and commerce. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

Bob Justman busily pitched ideas in the earliest days of TNG, including the reworking of a classic story. It may not have made it to screen exactly as he saw it, but certain story elements did stick around. Ben Robinson joins The Trek Files to talk about Bob's contributions and "The Most Dangerous Game." See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

Bob Justman busily pitched ideas in the earliest days of TNG, including the reworking of a classic story. It may not have made it to screen exactly as he saw it, but certain story elements did stick around. Ben Robinson joins The Trek Files to talk about Bob's contributions and "The Most Dangerous Game." See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

Bob Justman busily pitched ideas in the earliest days of TNG, including the reworking of a classic story. It may not have made it to screen exactly as he saw it, but certain story elements did stick around. Ben Robinson joins The Trek Files to talk about Bob's contributions and "The Most Dangerous Game." See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

Bob Justman spelled out some of the possible terminology and ranks to be used aboard the new Enterprise for Star Trek: The Next Generation. We welcome back "Enterprise" Assistant Director Mike Demerrit to talk about creative development and the little details on this week's The Trek Files. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

Bob Justman spelled out some of the possible terminology and ranks to be used aboard the new Enterprise for Star Trek: The Next Generation. We welcome back "Enterprise" Assistant Director Mike Demerrit to talk about creative development and the little details on this week's The Trek Files. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

Bob Justman spelled out some of the possible terminology and ranks to be used aboard the new Enterprise for Star Trek: The Next Generation. We welcome back "Enterprise" Assistant Director Mike Demerrit to talk about creative development and the little details on this week's The Trek Files. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

A detailed budget and a memo from Star Trek producer Bob Justman spell out the very real need to keep on top of production expenses when it came to makeup supplies on TOS. We welcome back Michael Westmore to talk about keeping the ship running and what actors actually steal from the set. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

A detailed budget and a memo from Star Trek producer Bob Justman spell out the very real need to keep on top of production expenses when it came to makeup supplies on TOS. We welcome back Michael Westmore to talk about keeping the ship running and what actors actually steal from the set. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

A detailed budget and a memo from Star Trek producer Bob Justman spell out the very real need to keep on top of production expenses when it came to makeup supplies on TOS. We welcome back Michael Westmore to talk about keeping the ship running and what actors actually steal from the set. See the documents: facebook.com/thetrekfiles Visit the Trekland site for behind-the-scenes access and exclusive merchandise.

Continuing our discussion of Susan Oliver's career, George Pappy joins The Trek Files this week to share insights into Susan's work as a director. In an industry notoriously difficult for women, Susan had secured a few directing credits and hoped to continue on Star Trek: The Next Generation. See the documents: Facebook.com/TheTrekFiles

Continuing our discussion of Susan Oliver's career, George Pappy joins The Trek Files this week to share insights into Susan's work as a director. In an industry notoriously difficult for women, Susan had secured a few directing credits and hoped to continue on Star Trek: The Next Generation. See the documents: Facebook.com/TheTrekFiles

Continuing our discussion of Susan Oliver's career, George Pappy joins The Trek Files this week to share insights into Susan's work as a director. In an industry notoriously difficult for women, Susan had secured a few directing credits and hoped to continue on Star Trek: The Next Generation. See the documents: Facebook.com/TheTrekFiles

It's a constant in the TV business: the collision of production and promotion. On at least one occasion in 1967, Herb Solow complained to Bob Justman that that local promos were taking up production resources on Star Trek. Our guest, John Wentworth, reminds us that even decades later it was a familiar refrain. See the documents: facebook.com/thetrekfiles

It's a constant in the TV business: the collision of production and promotion. On at least one occasion in 1967, Herb Solow complained to Bob Justman that that local promos were taking up production resources on Star Trek. Our guest, John Wentworth, reminds us that even decades later it was a familiar refrain. See the documents: facebook.com/thetrekfiles

It's a constant in the TV business: the collision of production and promotion. On at least one occasion in 1967, Herb Solow complained to Bob Justman that that local promos were taking up production resources on Star Trek. Our guest, John Wentworth, reminds us that even decades later it was a familiar refrain. See the documents: facebook.com/thetrekfiles

Gerald Fried is back on The Trek Files! The legendary composer sits down with Larry to discuss his time with Star Trek (composing the scores for four episodes) as well as the inherent differences in writing music for Gilligan's Island and the merits of Lost in Space. Our document this week takes a peek behind the curtain as Bob Justman seeks a composer for "Plato's Stepchildren" with his sardonic wit intact. See the documents: facebook.com/thetrekfiles

Gerald Fried is back on The Trek Files! The legendary composer sits down with Larry to discuss his time with Star Trek (composing the scores for four episodes) as well as the inherent differences in writing music for Gilligan's Island and the merits of Lost in Space. Our document this week takes a peek behind the curtain as Bob Justman seeks a composer for "Plato's Stepchildren" with his sardonic wit intact. See the documents: facebook.com/thetrekfiles

Gerald Fried is back on The Trek Files! The legendary composer sits down with Larry to discuss his time with Star Trek (composing the scores for four episodes) as well as the inherent differences in writing music for Gilligan's Island and the merits of Lost in Space. Our document this week takes a peek behind the curtain as Bob Justman seeks a composer for "Plato's Stepchildren" with his sardonic wit intact. See the documents: facebook.com/thetrekfiles

This week on the podcast, Tony and Laurie recap all the Star Trek Day news, offering up their theories on Discovery‘s “cataclysmic event” and the possibilities for a Strange New Worlds/Lower Decks crossover. They also look at clues that Jason Isaacs might be returning to the franchise, and review “Terminal Provocations,” the latest episode of Star Trek: Lower Decks. As they wrap things up with their Trekbits suggestions, Tony talks about interviewing Bob Justman back in the earliest days of TrekMovie. Links to topics discussed in the pod News: Star Trek Day legacy panels roundup Star Trek: Discovery season 3 trailer  Star Trek Day Discovery panel with Alex Kurtzman, Michelle Paradise, and David Ajala Star Trek Day Strange New Worlds panel with Anson Mount, Rebecca Romijn, Ethan Peck, Davy Perez, Akela Cooper, Henry Alonso Myers, and Akiva Goldsman Jason Isaacs “Takes The Fifth” On Lorca’s Possible Return Star Trek Day Lower Decks panel with Mike McMahan, Tawny Newsome, Jack Quaid, Noël Wells, and Eugene Cordero, plus mid-season trailer Other mentions: Clippy Star Trek: The Next Generation‘s “The Nth Degree” Star Trek: Voyager‘s “Day of Honor” Star Trek: The Animated Series‘ “The Practical Joker” Perd Hapley Trekbits: Tony: All The Asians on Star Trek podcast Laurie: Inside Star Trek: The Real Story by Herbert F. Solow and Robert H. Justman Tony’s interview 2007with Bob Justman: Part 1 and Part 2  

This week on the podcast, Tony and Laurie recap all the Star Trek Day news, offering up their theories on Discovery‘s “cataclysmic event” and the possibilities for a Strange New Worlds/Lower Decks crossover. They also look at clues that Jason Isaacs might be returning to the franchise, and review “Terminal Provocations,” the latest episode of Star Trek: Lower Decks. As they wrap things up with their Trekbits suggestions, Tony talks about interviewing Bob Justman back in the earliest days of TrekMovie. Links to topics discussed in the pod News: Star Trek Day legacy panels roundup Star Trek: Discovery season 3 trailer  Star Trek Day Discovery panel with Alex Kurtzman, Michelle Paradise, and David Ajala Star Trek Day Strange New Worlds panel with Anson Mount, Rebecca Romijn, Ethan Peck, Davy Perez, Akela Cooper, Henry Alonso Myers, and Akiva Goldsman Jason Isaacs “Takes The Fifth” On Lorca’s Possible Return Star Trek Day Lower Decks panel with Mike McMahan, Tawny Newsome, Jack Quaid, Noël Wells, and Eugene Cordero, plus mid-season trailer Other mentions: Clippy Star Trek: The Next Generation‘s “The Nth Degree” Star Trek: Voyager‘s “Day of Honor” Star Trek: The Animated Series‘ “The Practical Joker” Perd Hapley Trekbits: Tony: All The Asians on Star Trek podcast Laurie: Inside Star Trek: The Real Story by Herbert F. Solow and Robert H. Justman Tony’s interview 2007with Bob Justman: Part 1 and Part 2  

This is the story of the United Space Ship Enterprise. Assigned a five year patrol of our galaxy, the giant starship visits Earth colonies, regulates commerce, and explores strange new worlds and civilizations... or words to that effect. On a Tuesday in August, 1966, the Star Trek braintrust of Gene Roddenberry, Bob Justman and John D. F. Black hurriedly crafted what would become one of the most famous opening narrations in television history. Celebrating Star Trek Day, The Trek Files takes you behind the scenes in this week's episode. See the documents: facebook.com/thetrekfiles

This is the story of the United Space Ship Enterprise. Assigned a five year patrol of our galaxy, the giant starship visits Earth colonies, regulates commerce, and explores strange new worlds and civilizations... or words to that effect. On a Tuesday in August, 1966, the Star Trek braintrust of Gene Roddenberry, Bob Justman and John D. F. Black hurriedly crafted what would become one of the most famous opening narrations in television history. Celebrating Star Trek Day, The Trek Files takes you behind the scenes in this week's episode. See the documents: facebook.com/thetrekfiles

This is the story of the United Space Ship Enterprise. Assigned a five year patrol of our galaxy, the giant starship visits Earth colonies, regulates commerce, and explores strange new worlds and civilizations... or words to that effect. On a Tuesday in August, 1966, the Star Trek braintrust of Gene Roddenberry, Bob Justman and John D. F. Black hurriedly crafted what would become one of the most famous opening narrations in television history. Celebrating Star Trek Day, The Trek Files takes you behind the scenes in this week's episode. See the documents: facebook.com/thetrekfiles

This is the story of the United Space Ship Enterprise. Assigned a five year patrol of our galaxy, the giant starship visits Earth colonies, regulates commerce, and explores strange new worlds and civilizations... or words to that effect. On a Tuesday in August, 1966, the Star Trek braintrust of Gene Roddenberry, Bob Justman and John D. F. Black hurriedly crafted what would become one of the most famous opening narrations in television history. Celebrating Star Trek Day, The Trek Files takes you behind the scenes in this week's episode. See the documents: facebook.com/thetrekfiles

What if Star Trek The Next Generation had an android character as a regular? The idea was on Bob Justman's mind in October 1986 when he sent a memo to Gene Roddenberry suggesting they get in touch with Gene's old friend Isaac Asimov. The Trek Files welcomes back Dr. Erin Macdonald to talk about AI, science and robotics in Trek! See the documents: facebook.com/thetrekfiles

What if Star Trek The Next Generation had an android character as a regular? The idea was on Bob Justman's mind in October 1986 when he sent a memo to Gene Roddenberry suggesting they get in touch with Gene's old friend Isaac Asimov. The Trek Files welcomes back Dr. Erin Macdonald to talk about AI, science and robotics in Trek! See the documents: facebook.com/thetrekfiles

What if Star Trek The Next Generation had an android character as a regular? The idea was on Bob Justman's mind in October 1986 when he sent a memo to Gene Roddenberry suggesting they get in touch with Gene's old friend Isaac Asimov. The Trek Files welcomes back Dr. Erin Macdonald to talk about AI, science and robotics in Trek! See the documents: facebook.com/thetrekfiles

What if Star Trek The Next Generation had an android character as a regular? The idea was on Bob Justman's mind in October 1986 when he sent a memo to Gene Roddenberry suggesting they get in touch with Gene's old friend Isaac Asimov. The Trek Files welcomes back Dr. Erin Macdonald to talk about AI, science and robotics in Trek! See the documents: facebook.com/thetrekfiles

In the early days of The Next Generation, "Crusher" meant Wesley and his mother would likely have not been seen after the pilot episode. A memo from Bob Justman to Gene Roddenberry suggests ways to develop the boy's relationship with Picard and what might have been between the Captain and Beverly. See the documents: http://facebook.com/thetrekfiles

In the early days of The Next Generation, "Crusher" meant Wesley and his mother would likely have not been seen after the pilot episode. A memo from Bob Justman to Gene Roddenberry suggests ways to develop the boy's relationship with Picard and what might have been between the Captain and Beverly. See the documents: http://facebook.com/thetrekfiles

In the early days of The Next Generation, "Crusher" meant Wesley and his mother would likely have not been seen after the pilot episode. A memo from Bob Justman to Gene Roddenberry suggests ways to develop the boy's relationship with Picard and what might have been between the Captain and Beverly. See the documents: http://facebook.com/thetrekfiles

In the early days of The Next Generation, "Crusher" meant Wesley and his mother would likely have not been seen after the pilot episode. A memo from Bob Justman to Gene Roddenberry suggests ways to develop the boy's relationship with Picard and what might have been between the Captain and Beverly. See the documents: http://facebook.com/thetrekfiles

The New Adventures of Star Trek Quest Generation of the Future! How many possible permutations of the title would be kicked around before settling on Star Trek: The Next Generation? Bob Justman has some fun in a late 1986 memo to Gene Roddenberry with many variations on a theme. See the documents: http://facebook.com/thetrekfiles

The New Adventures of Star Trek Quest Generation of the Future! How many possible permutations of the title would be kicked around before settling on Star Trek: The Next Generation? Bob Justman has some fun in a late 1986 memo to Gene Roddenberry with many variations on a theme. See the documents: http://facebook.com/thetrekfiles

Sürgősségi vészjelzéssel riasztja a K-7 űrállomásra Kirk kapitány legénységét a Föderáció mezőgazdasági megbízottja, hogy az Enterprise erőforrásaival őriztesse az állomáson tárolt gabonát. Míg Kirk a riadó miatt neheztel a feletteseire, egy simlis kereskedő agresszíven nyomuló seftelése kontrollálhatatlan tribbliszaporulatot eredményez az Enterprise és az állomás fedélzetén, miközben a kikapcsolódni vágyó klingon látogatók is feszültséget és kocsmai zavargásokat gerjesztenek. Aktuális adásunk témája a ’Szőrös veszedelem’ című epizód. Rövid hírszekció: • A Voyager 25. évfordulójára keményfedeles könyv és Janeway életrajz érkezik. Hogyan képzeljük el a sorozat méltó megünneplését? • Kitekintésképpen a The Mandalorian előzeteséről is beszélgetünk: a sorozat új lehetőségeket nyit meg Star Wars a franchise számára? • A Ronald D. Moore nevével fémjelzett űrversenyes sci-fi sorozat, a For All Mankind első 3 része már megtekinthető. A kibeszélő tartalmából: • Az epizód népszerűsége ellenére Bob Justman (rendezőasszisztens, később producer) és Fred Freiberger (a harmadik évad producere) nem szerették ezt az epizódot: szerintük a karakterek önmaguk paródiái lesznek, a harsány humor pedig az életszerűség rovására megy, a Star Trek egyszerűen nem vígjáték. Roddenberry maga is komolyabb irányba szerette volna terelni a franchise-t. • Az epizódhoz 500 darab tribbli készült, némelyik motorizált volt, hogy mozoghasson. Később a gyűjtők elkapkodták őket, bár néhányan még hosszú ideig kallódtak a díszletek között. • Az epizód alapját képező forgatókönyv David Gerrold első professzionális munkája, amelyet értékesített. Mivel a Star Trek Joseph Pevney szavaival “halálosan komoly” lett a későbbiekben, Gerrold csak a rajzfilmsorozatban tudta megvalósítani a folytatást. • A tribblik és az epizódban szereplő karakterek későbbi megjelenéséről is beszélgetünk, emellett pedig a klingon ügynök kevésbé vígjátékba illő eredetére és hátterére is kitérünk.

Bob Justman sends a memo to Gene Roddenberry just before TNG's "Encounter at Farpoint" goes in front of the camera. Director Corey Allen has his own approach which Bob reminds Gene may need some oversight. Talking more about director quirks with us this week, returning guest Dave Rossi! See the document: http://facebook.com/thetrekfiles

Bob Justman sends a memo to Gene Roddenberry just before TNG's "Encounter at Farpoint" goes in front of the camera. Director Corey Allen has his own approach which Bob reminds Gene may need some oversight. Talking more about director quirks with us this week, returning guest Dave Rossi! See the document: http://facebook.com/thetrekfiles

Bob Justman sends a memo to Gene Roddenberry just before TNG's "Encounter at Farpoint" goes in front of the camera. Director Corey Allen has his own approach which Bob reminds Gene may need some oversight. Talking more about director quirks with us this week, returning guest Dave Rossi! See the document: http://facebook.com/thetrekfiles

He is an unsung hero from The Original Series. Associate producer Bob Justman was a key figure in keeping the production side of Star Trek functioning on time ...and on budget. He came to Star Trek in 1965 and started at the beginning, working on the first pilot, The Cage. Justman stayed until 1968, working on 14 of the 24 shows in the third season. Like Gene Coon, Bob Justman had a real impact on the show while he was there. He was a major player in getting Star Trek off the ground and functioning as a production. On this episode of 70s Trek, co-hosts Bob Turner and Kelly Casto tell you about Associate Producer Bob Justman. Show Notes          Robert "Bob" Harris Justman was born July 13, 1926 in Brooklyn          ⁃        As a boy he really liked Science Fiction          ⁃        His father Joseph Justman was in the produce business. He and his partners did very well.          ⁃        In 1944, Bob signed up for the draft. He didn’t get drafted so he went to the draft board and asked why he wasn’t drafted. They said he wasn’t needed. He told them he wanted to go so they sent him the PE building in LA for a physical. He failed due to his eye sight. He protested so they sent him to Ft MacArthur to get a real physical and made it.          ⁃        While Bob was in the Navy during WW II his father, Joseph, founded the Motion Picture Center studio          ⁃        He rented it to Lucille Ball and Desi Arnaz and in 1950 they bought. The studio became part of Desilu Studios.          ⁃        When Bob returned from the navy he worked at the produce firm. He didn’t get paid very well so when his dad asked him to come to LA to work in the motion picture business he decided to leave the produce firm and go to LA.          ⁃        He hung around the studio for a time until his money ran out. He then went to one of the producers and asked for a job. This landed him his first job working on the film “Three Husbands” as a production assistant Justman had quite a career in film and TV as a Production Assistant and Assistant director prior to TOS          ⁃        Production assistant on such films as          ⁃        1951's          ⁃        The Scarf (featuring Celia Lovsky),          ⁃        New Mexico (featuring Jeff Corey and John Hoyt)          ⁃        M (featuring Norman Lloyd and William Schallert)          ⁃        He Ran All the Way (also with Norman Lloyd),          ⁃        1952's          ⁃        Japanese War Bride (with George D. Wallace),          ⁃        Red Planet Mars          ⁃        Abbott and Costello Meet Captain Kidd (with Leonard Mudie)          ⁃        1953's          ⁃        The Moon Is Blue - made in 2 version an english version and a german version          ⁃        The Moonlighter.          ⁃        Assistant Director and producer          ⁃        To be an assistant director you had to be in the Director’s Guild. At the time, to get in the Guild you had to be either the son of a member or be nominated by a studio which was only allowed one nomination a year. He didn’t have either but he requested to be accepted anyway. After waiting an agonizing 30 minutes for an answer the president of the Assistant Directors Counsel, Bob Aldrich, went to him, shook his hand and said, “Welcome brother”          ⁃        everyone starts as a 2nd assistant director. It only took Justman about a year to become 1st assistant director which was unheard of          ⁃        After Superman Justman was approached to be 1st assistant director on a series of 3 films called “The Americans” which never saw the light of day          ⁃        As an assistant director, Justman worked with director Bob Aldrich on several projects.          ⁃        They first worked together on the 1952-53 NBC series The Doctor, - This was his first AD job          ⁃        after which they collaborated on such films as Kiss Me Deadly (1955) and          ⁃        Attack (1956, featuring William Smithers).          ⁃        Justman's other films where he was assistant director included;          ⁃        The Big Combo (1955, featuring John Hoyt and Whit Bissell),          ⁃        Blood Alley (1955, starring Paul Fix),          ⁃        While the City Sleeps (1956, with Celia Lovsky)          ⁃        Director - Fritz Lang          ⁃        Noticed Justman looking at his set plans and Lang spent time to explain the plans to him even though Justman was the 2nd AD          ⁃        This was technics that Justman used in the future          ⁃        Lang had issues with John Drew Barrymore          ⁃        Barrymore looked to his wife for direction instead of Lang which did not make him very happy          ⁃        Green Mansions (1959, starring Nehemiah Persoff), and          ⁃        1962's Mutiny on the Bounty (featuring Antoinette Bower, Torin Thatcher and stunts by Paul Baxley).          ⁃        Justman was also an assistant director on television shows such as          ⁃        The Adventures of Superman (1953-58, 78 ep)          ⁃        associate producer for all 78 episodes and          ⁃        assistant director on the classic series during its 1954-55 season.          ⁃        Justman says that George Reeves was a trooper given what he was put thru          ⁃        One time the wire broke and he dropped down to the cement          ⁃        Justman learned early to schedule certain shots very carefully. As an example he tells a story about how Reeves would drink his lunch so when he would do the spring-board jump out the window he sort of missed and hit his knees on the window sill          ⁃        The Thin Man (1958-59, 31 ep)          ⁃        Northwest Passage (1958-59, 13 ep)          ⁃        Philip Marlowe (1959-60, 26 ep)          ⁃        Alcoa Presents One Step Beyond (1959-1961)          ⁃        Produced at the same time as the more well-known The Twilight Zone (1959)          ⁃        Some stars included Cloris Leachman, Warren Beatty, Jack Lord, Christopher Lee, Elizabeth Montgomery, Donald Pleasence, and William Shatner,          ⁃        Dr. Kildare (1961-66, 6 ep)          ⁃        Was asked by the President of MGM TV if Justman new any composers. Justman had heard some of Jerry Goldsmith’s scores and recommended him. As we talked about in Episode XXX This was one of Goldsmith’s breakout opportunities.          ⁃        Justman and Goldsmith have never met          ⁃        The Outer Limits (1963-65, 20 ep)          ⁃        He served as the assistant director for all 20 episodes and a Production Manager in 1964          ⁃        Appeared in the 1964 episode "A Feasibility Study" (directed by Byron Haskin, written by Joseph Stefano, and starring David Opatoshu)          ⁃        Worked with Shatner on “Cold Hands, Warm Heart” (1964)          ⁃        Sally Kellerman, James Dohan          ⁃        Lassie (1965-66, 4 ep)          ⁃        My Friend Flicka (1956-57)          ⁃        While the City SleepsFritz Lang          ⁃        In Oct 1964 Justman met GR at Desilu to talk to him about Associate Producer role for the first TOS pilot “The Cage”. Justman recommended Byron Haskin saying that he (Justman) did not have enough post production experience          ⁃        first to call Gene Roddenberry "The Great Bird of the Galaxy," drawn from a throwaway line from the original series episode "The Man Trap" That takes us to October 1964. Gene Roddenberry was in pre-production for Star Trek’s first pilot, The Cage and he needed an associate producer. An Associate Producer’s job is to do the dirty work on a show. This person makes sure both the production and post-production phases are running smoothly for every episode. They are also responsible for making sure each episode doesn’t run over budget. So with a show as complicated as Star Trek was going to be, Gene needed an experienced hand. He asked James Goldstone who had worked with Gene on The Lieutenant if he had any suggestions. He recommended Bob Justman. Justman met with Gene for about 30 minutes and Gene offered him the job. While Justman really wanted it, he turned down Roddenberry’s offer. He felt Star Trek’s post-production needs would be great, and he was afraid he didn’t have the experience to get the job done. But they also needed an experienced assistant director. Justman was, at the time, working on The Outer Limits. But Desilu’s Executive in Charge of Production, Herb Solow, called and asked if Justman could work for Star Trek temporarily, just 6 weeks. And that was it. The deal was done and Justman came to Star Trek. Now the original position that Justman had interviewed for, associate producer, went to Byron Haskin. He was an experienced producer, but was hard to get along with. And as work started on The Cage, he and Roddenberry butted heads a lot. Rodenberry would want a certain effect on a shot, and Haskin would tell him it couldn’t be done. Period. He gave Gene no alternative ideas. Often times, Justman was in the middle of these disputes trying to nudge Haskin to come up with something Work on The Cage finished, and NBC rejected it. But invited Roddenberry to try again. When Star Trek was offered to do the second pilot, Gene asked Justman back. This time, though, he gave him the job of associate producer. Gene had had enough of Haskin. Because of the budget on the 2nd pilot, when post-production finished on it, so did Justman’s job. This was the summer of 1965. But Desilu had attracted a number of pilot projects that needed produced. So Solow decided to make Justman the associate producer on all of them. This way he could stay at Desilu and be close by if Star Trek was picked up. Some of the work he did included Desilu’s other big show, Mission Impossible. Star Trek was picked up by NBC in March 1966. And Justman’s first task was to move the starship sets from the soundstage where the 2nd pilot was shot, to a new soundstage that would be its home for the series. This was actually a monumental task. Each section had to be removed, crated and put back into place on the new soundstage in exactly the same configuration. The move resulted in some of the sets being redesigned, and reworked for the series. One of those sets was the bridge that got a big make over. As the show started production, it was Justman’s job to make sure all the little details were taken care of. Some of this work included analyzing scripts and establishing production budgets for them, Making sure production on one episode, production and post production on a 2nd were all moving forward simultaneously and on schedule. Any issues for any shows in any of these stages, were Justman’s to work out. Along with his day-to-day duties, Justman also acted in one episode of the series, though he is not creditied for it, He is the voice of a security guard in the episode Conscience of the King. He also found time to come up with a story idea. He came up with the basic story for the episode Tomorrow is Yesterday. In fact, he laid that story out in a memo to Gene on April 12, 1966. When he didn’t hear anything for 8 months, he sent a reminder to Gene about the idea. At that point, the show was hungry for scripts, so Roddenberry approved of the idea and assigned Dorothy Fontana to write the screenplay. But in his second memo, you cans ee a little of Justman’s wit. He wrote at the end, “Please let me hear from you at your earliest convenience, as otherwise I feel I shall be forced to sell this story idea to “Time Tunnel.” ” That’s just one example of Justman’s wit, and it is pretty legendary. He would often let his sarcastic sense of humor and dry wit fly in memos. An example of his humor can actually be seen in the closing credits of the show. For Herb Solow’s credit, Justman intentionally chose a picture of the Balok dummy from the Corbmite Maneuver and positioned Solow’s credit just under the glaring eyes of Balok. Justman later wrote in the Book Inside Star Trek, “I thought it a fitting tribute, as did Herb, who thanked me profusely, thereby depriving me of some heavy-duty gloating. I still have the original credit and display it in my office at home, suitably framed in the cheapest, junkiest frame I could find.” And there’s another incident that speaks to Justman’s humor. The show was shooting a script that was still being written by Roddenberry. The last shot was about to be completed, and if they didn’t get the new pages for the next scene, they would be forced to shut down production. That costs money! So Justman went to Gene’s office. Roddenberry kept writing away, and didn’t acknowledge Justman. Justman waited a few minutes and finally asked, him, “How much longer Gene?” Roddenberry ignored him and kept writing. Justman waited some more. At one point Gene looked up, thinking about something, ignored Justman, and went back to work. Justman later wrote, “He shouldn’t have done that. I climbed up onto his desk and stood there, looking down at him. ‘That’ll teach him to ignore me, I thought.” After a few minutes more, Gene finally ripped the pages free of the typewriter, finished scribbling on them, and without looking at Justman, reached up and handed them to him. Without saying anything, Justman jumped down and went to the set. This became a standard routine through the 1st and 2nd seasons of the show. Whenever Gene was still writing, Justman would jump up on his desk and wait for the pages. But there’s a little addendum to this story. There came a time when Justman tried to get in Gene’s office and the door was locked. He realized that there was an electronic latch on the door that, when Justman entered the outer office, Gene’s secretary would activate. Not to be out done, Justman waited until the secretary left on an errand. Found the switch and unlocked Gene’s door. Then without saying a word, he entered Roddenberry’s office, walked past Gene who was busy writing, and exited through another door at the other end of the office. Justman wrote, “We never discussed it, not even in later years. It was our own private joke and it helped cement an already close friendship.” The 2nd year of Star Trek was by far its best. It’s when all the right people were active in the right positions. Speaking of positions, Justman told Roddenberry at this time that he wanted to move up to a full producer’s position for Star Trek’s third season, and Gene agreed it was probably time. With the letter writing campaign at the end of the 2nd year, Star Trek’s third season was guaranteed. But it wasn’t going to go the way anyone thought it would. NBC first told Roddenberry that Star Trek would be on at 7:30 on Monday. Then it changed the position to Friday at 8:30. But, it finally settled on Fridays at 10pm, a time when Star Trek’s core audience would not be home watching TV. It was this move by NBC that prompted Roddenberry to move out of his producer role and become the Executive Producer of the show. That position is further up the chain of command, and has nothing to do with the day-to-day operations. Roddenberry had, in effect, quit Star Trek. As pre-production for the third season began, the show had no story editor. So Justman jumped in and started reading and analyzing stories and scripts. Then he would forward his thoughts to Gene. Roddenberry never responded and seldom read Justman’s reports. To make matters worse, there was no one to rewrite scripts. Justman urged Roddenberry to hire someone. Gene finally got back to him and said, “Good news Bob, Star Trek’s going to have a new producer this year.” Justman thought gene was about to say, “It’s you.” Instead, Roddenberry said, “Fred Freiberger’s coming in as our new producer…” Hustman was stunned. “Gene, I thought I would be producer.” “You will,” said Roddenberry. “You’ll be a co-producer.” The new studio, Paramount, and NBC wanted an experienced hand at the help of such a complicated show. Justman was viewed as a nuts and bolts guy, and Roddenberry didn’t fight for him. Justman’s attitude toward Star Trek never recovered. In fact the morale of the entire cast and crew began to sink. Star Trek was not a fun place to work anymore. Gene was now gone. Frieberger had to labor to understand the show. And the bulk of the daily chores fell on Justman. He later wrote, “I was alone, struggling against insuperable odds.” Without Roddenberry, the writing process was no longer about good stories. It was now just budget-driven. Justman wrote, “There were no highs and no lows---just a boring in-between…The Star Trek I knew, and was proud to be a part of, was no more.” He expressed his concerns to paramount’s head of TV, Doug Cramer. Cramer asked Justman to stay and promised him his pick of future pilots to work on if he did. Justman said he’s love to do a pilot for Cramer, but he wanted out of his contract. Paramount came back and offered more money, but that wasn’t what Justman wanted. Justman was burned out. That’s when Herb Solow called. He was now the head of MGM Television and he offered Justman a full producers job on the pilot for “Then Came Bronson.” He quit Paramount the next day and, according his own words, became persona non grata at Paramount for the next 18 years. After Star Trek, Justman went on to work on shows like Search and Man from Atlantis. In 1987, he rejoined Gene Roddenberry and others from The Original Series on Star Trek The Next Generation. He served as Supervising Producer for 17 episodes in the first season. In 1996, he and Herb Solow published their book, Inside Star Trek: The Real Story. If you haven’t read this one, it is a very captivating look at what was going on behind the scenes at Star Trek. Bob Justman died of Parkinson’s Disease in 2008.

Families on the Enterprise? This was a big question among the producers who assembled in the early days of The Next Generation, well before the show's first bible had been written. In this memo, Bob Justman makes a case for dealing with relationships, kids and what the crew is doing when they are off duty. Larry is joined this week by special guest Lisa Klink! See the document: facebook.com/thetrekfiles

Families on the Enterprise? This was a big question among the producers who assembled in the early days of The Next Generation, well before the show's first bible had been written. In this memo, Bob Justman makes a case for dealing with relationships, kids and what the crew is doing when they are off duty. Larry is joined this week by special guest Lisa Klink! See the document: facebook.com/thetrekfiles

Families on the Enterprise? This was a big question among the producers who assembled in the early days of The Next Generation, well before the show's first bible had been written. In this memo, Bob Justman makes a case for dealing with relationships, kids and what the crew is doing when they are off duty. Larry is joined this week by special guest Lisa Klink! See the document: facebook.com/thetrekfiles

With everything else that had to be considered before launching Star Trek for the next generation, there was the matter of bridge logistics. In early 1987, Bob Justman found himself ruminating over how the layout of the bridge would dictate what crew could be on hand to drive the plots forward. Larry Nemecek is joined this week by John Champion to discuss Justman's revisions to the TNG bible. See the document: facebook.com/thetrekfiles

With everything else that had to be considered before launching Star Trek for the next generation, there was the matter of bridge logistics. In early 1987, Bob Justman found himself ruminating over how the layout of the bridge would dictate what crew could be on hand to drive the plots forward. Larry Nemecek is joined this week by John Champion to discuss Justman's revisions to the TNG bible. See the document: facebook.com/thetrekfiles

With everything else that had to be considered before launching Star Trek for the next generation, there was the matter of bridge logistics. In early 1987, Bob Justman found himself ruminating over how the layout of the bridge would dictate what crew could be on hand to drive the plots forward. Larry Nemecek is joined this week by John Champion to discuss Justman's revisions to the TNG bible. See the document: facebook.com/thetrekfiles

Bob Justman shares an idea with Gene Roddenberry for a potential new piece of hardware on the Enterprise. This week, The Trek Files welcomes back Paramount executive Dave Rossi to get to the bottom of the holodeck and how part of the inspiration comes from the sci-fi classic Soylent Green. See the document: http://facebook.com/thetrekfiles

Bob Justman shares an idea with Gene Roddenberry for a potential new piece of hardware on the Enterprise. This week, The Trek Files welcomes back Paramount executive Dave Rossi to get to the bottom of the holodeck and how part of the inspiration comes from the sci-fi classic Soylent Green. See the document: http://facebook.com/thetrekfiles

Bob Justman shares an idea with Gene Roddenberry for a potential new piece of hardware on the Enterprise. This week, The Trek Files welcomes back Paramount executive Dave Rossi to get to the bottom of the holodeck and how part of the inspiration comes from the sci-fi classic Soylent Green. See the document: http://facebook.com/thetrekfiles

Cut yourself a slice of pecan pie and use it as ransom in a coerced cultural exchange as we consider "Prime Factors"!Producer and writer Eric A. Stillwell joins the show this week to talk about an early episode of Star Trek: Voyager that he wrote the story for, along with David R. George III. When Voyager meets the Sikarians, a race with technology that could cut their journey home in half, they're ready to trade everything they have to shorten their trip. However, the Sikarians have their own version of the Prime Directive, and the ideological clash that results threatens to fracture the crew's fragile unity!Eric has worked in Hollywood for over 30 years and helped Trek return to primetime TV in the 1980s, going from a Paramount page to a writer and story editor for Star Trek: The Next Generation. On this episode, we talk about the origins of "Prime Factors", its roots in Assignment: Earth, its connection to The Treasure of the Sierra Madre, flipping the Prime Directive on its head, turning Tuvok traitor, the perils of imperialism, and his struggle (along with David George) to get credit for his contributions!Eric also wrote the story for a little episode called "Yesterday's Enterprise", Entertainment Weekly's pick for best TNG episode, and we talk the origins of that idea and why Captain Garrett is named after a pizza place. Plus, Eric shares behind-the-scenes stories of his 10 years working on Trek, from being hired by Bob Justman, to naming Romulans for Maurice Hurley, to ghostwriting for Majel Barrett-Roddenberry, to pitching to Michael Piller, to giving character advice to Patrick Stewart and Jonathan Frakes, to the career-threatening shenanigans of David Livingston's son! Also, Eric talks about the "space ghost pitch board," bringing Tasha Yar back to life, Tarantino's "Yesterday's Enterprise," having your Original Series sequel pitches shot down, and he shares the inspiration for his book with David George and Armin Shimerman, "The 34th Rule"!When Eric asks, "Do you really want to hear these stories?", the answer is, "Yes!" You do!Get the story of the story with Eric's book, "The Making of Yesterday's Enterprise"!https://amzn.to/2BYMLvGRead Eric, Dave, and Armin's novel, "The 34th Rule", and check out Dave's DS9 book, "The Long Mirage"!The 34th Rulehttps://amzn.to/2LBI2iZThe Long Miragehttps://amzn.to/2LBF9ibListen to our episode about "Yesterday's Enterprise"!http://enterprisingindividuals.com/blog/2016/07/25/enterprising-individuals-episode-7/Follow Eric on Facebook!https://www.facebook.com/eric.stillwellHear our live episode with Melinda Snodgrass from CONvergence 2018!https://www.patreon.com/posts/20122260Share some pecan pie recipes with us on Facebook and Twitter!http://www.facebook.com/eistpodhttp://www.twitter.com/eistpodBuy us a spatial trajector on Patreon!http://www.patreon.com/eistpodSubscribe to the show on iTunes!https://itunes.apple.com/us/podcast/enterprising-individuals/id1113165661?mt=2

Cut yourself a slice of pecan pie and use it as ransom in a coerced cultural exchange as we consider "Prime Factors"!Producer and writer Eric A. Stillwell joins the show this week to talk about an early episode of Star Trek: Voyager that he wrote the story for, along with David R. George III. When Voyager meets the Sikarians, a race with technology that could cut their journey home in half, they're ready to trade everything they have to shorten their trip. However, the Sikarians have their own version of the Prime Directive, and the ideological clash that results threatens to fracture the crew's fragile unity!Eric has worked in Hollywood for over 30 years and helped Trek return to primetime TV in the 1980s, going from a Paramount page to a writer and story editor for Star Trek: The Next Generation. On this episode, we talk about the origins of "Prime Factors", its roots in Assignment: Earth, its connection to The Treasure of the Sierra Madre, flipping the Prime Directive on its head, turning Tuvok traitor, the perils of imperialism, and his struggle (along with David George) to get credit for his contributions!Eric also wrote the story for a little episode called "Yesterday's Enterprise", Entertainment Weekly's pick for best TNG episode, and we talk the origins of that idea and why Captain Garrett is named after a pizza place. Plus, Eric shares behind-the-scenes stories of his 10 years working on Trek, from being hired by Bob Justman, to naming Romulans for Maurice Hurley, to ghostwriting for Majel Barrett-Roddenberry, to pitching to Michael Piller, to giving character advice to Patrick Stewart and Jonathan Frakes, to the career-threatening shenanigans of David Livingston's son! Also, Eric talks about the "space ghost pitch board," bringing Tasha Yar back to life, Tarantino's "Yesterday's Enterprise," having your Original Series sequel pitches shot down, and he shares the inspiration for his book with David George and Armin Shimerman, "The 34th Rule"!When Eric asks, "Do you really want to hear these stories?", the answer is, "Yes!" You do!Get the story of the story with Eric's book, "The Making of Yesterday's Enterprise"!https://amzn.to/2BYMLvGRead Eric, Dave, and Armin's novel, "The 34th Rule", and check out Dave's DS9 book, "The Long Mirage"!The 34th Rulehttps://amzn.to/2LBI2iZThe Long Miragehttps://amzn.to/2LBF9ibListen to our episode about "Yesterday's Enterprise"!http://enterprisingindividuals.com/blog/2016/07/25/enterprising-individuals-episode-7/Follow Eric on Facebook!https://www.facebook.com/eric.stillwellHear our live episode with Melinda Snodgrass from CONvergence 2018!https://www.patreon.com/posts/20122260Share some pecan pie recipes with us on Facebook and Twitter!http://www.facebook.com/eistpodhttp://www.twitter.com/eistpodBuy us a spatial trajector on Patreon!http://www.patreon.com/eistpodSubscribe to the show on iTunes!https://itunes.apple.com/us/podcast/enterprising-individuals/id1113165661?mt=2

As the premise for the Star Trek: The Next Generation pilot episode was hashed out, Supervising Producer Bob Justman sent Gene Roddenberry a memo asking that he consider the social and psychological effects of sending a crew of families on a lifelong journey. We are joined in this episode by someone who was there from the very start, Dorothy "D.C." Fontana, to share her insights into what made TNG tick. See the document on our Facebook page: http://www.facebook.com/thetrekfiles

As the premise for the Star Trek: The Next Generation pilot episode was hashed out, Supervising Producer Bob Justman sent Gene Roddenberry a memo asking that he consider the social and psychological effects of sending a crew of families on a lifelong journey. We are joined in this episode by someone who was there from the very start, Dorothy "D.C." Fontana, to share her insights into what made TNG tick. See the document on our Facebook page: http://www.facebook.com/thetrekfiles

As the premise for the Star Trek: The Next Generation pilot episode was hashed out, Supervising Producer Bob Justman sent Gene Roddenberry a memo asking that he consider the social and psychological effects of sending a crew of families on a lifelong journey. We are joined in this episode by someone who was there from the very start, Dorothy "D.C." Fontana, to share her insights into what made TNG tick. See the document on our Facebook page: http://www.facebook.com/thetrekfiles

A year before Star Trek: The Next Generation debuted, David Gerrold sent a memo to Gene Roddenberry, Ed Milkis and Bob Justman about the Enterprise crew tackling philosophical ideas. How does this have repercussions on Star Trek more than 30 years later? Find out in today's episode of The Trek Files!

A year before Star Trek: The Next Generation debuted, David Gerrold sent a memo to Gene Roddenberry, Ed Milkis and Bob Justman about the Enterprise crew tackling philosophical ideas. How does this have repercussions on Star Trek more than 30 years later? Find out in today's episode of The Trek Files!

A year before Star Trek: The Next Generation debuted, David Gerrold sent a memo to Gene Roddenberry, Ed Milkis and Bob Justman about the Enterprise crew tackling philosophical ideas. How does this have repercussions on Star Trek more than 30 years later? Find out in today's episode of The Trek Files!

John Champion discusses his podcast's ambitious goal of analyzing every episode of every incarnation of Star Trek.