In anticipation of the Italian Global Series Festival, which will preview “Star Trek: Strange New Worlds” Season 4 and celebrate “Star Trek’s” 60th anniversary, Nicholas Meyer shared his experiences with the franchise in an interview with Variety. Meyer, known for directing “Star Trek II: The Wrath of Khan,” also discussed his work on the Netflix series “Medici – Masters of Florence” and the evolving television landscape.
The Italian Global Series is marking 60 years of “Star Trek.” Could you share your thoughts on how the series has evolved since you directed the films?
I can’t offer much insight into the series’ evolution since I haven’t followed it closely. My involvement began with the second movie because the first film, despite being a costly production at $45 million in 1979, was financially successful. They planned another film but with a significantly reduced budget. Harvee Bennett, a talented television producer known for shows like “Rich Man Poor Man,” “The Six Million Dollar Man,” and “The Bionic Woman,” was brought on board.
What were the expectations for the project?
The challenge was to create a better movie than the first with half the budget. Bennett confidently claimed he could make five films for that amount. Our budget ended up being around $11.2 million. They sought a writer, going through multiple drafts. Initially, I didn’t understand “Star Trek” from watching it on TV.
I overlooked the show’s intriguing elements, like the ability of people from diverse backgrounds to unite for a greater cause. That aspect initially escaped me.
I found the costumes unimpressive and wasn’t sure what to make of it, but I admired Harve Bennett. He mentioned that the fifth draft was on its way. In the interim, I realized the show reminded me of something I enjoyed. At 13, I was captivated by Captain Horatio Hornblower’s adventures. Do you know the Hornblower novels?
I’m afraid I haven’t read them.
The novels depict a Royal Navy captain during the Napoleonic Wars, clearly inspired by Lord Nelson, having various adventures and romantic encounters. At 13, the idea of Kirk as Hornblower in space clicked for me.
The festival has highlighted the increasing intersection of cinema and television. What changes have you observed in both mediums?
We are experiencing a technological convergence, partly due to shorter attention spans. Even film students struggle to watch full-length movies. Content is becoming short, 32-second vertical dramas, predominantly financed from China. Years ago, Jeffrey Katzenberg’s Quibi, which invested in short phone episodes, was ahead of its time. It didn’t succeed then, but the concept works now.
Do any distinctions remain between film and TV?
A key difference lies in the commitment to an experience, akin to attending a theater, opera, or ballet. You make an effort to be part of a communal event with strangers, sharing an experience that is both communal and deeply personal. That collective journey often leaves a lasting impact.
My concern with television and mobile content is the loss of this shared experience. Bringing people together through art is vital, and I believe theater, in all its forms, is crucial for humanity. Losing this could be detrimental.
Do you notice a significant difference in how series are structured or written?
It varies based on whether it’s a single event, a limited series, or an ongoing series. Ongoing series, much like Charles Dickens’ or Alexandre Dumas’ serialized novels, allow for character development over time. With shows like “Breaking Bad,” you can trace Walter White’s transformation. However, capturing and maintaining audience interest amid attention span challenges is increasingly difficult, with many formulaic constraints. While cliffhangers have always been effective, the competitive and cultural restrictions make it tougher to stand out.
