These Are The Voyages, TOS, Season One
Page 42
Lawrence Montaigne, after playing the Romulan bad guy, said, “I’ll be honest with you, most of us weren’t overly excited about doing this. We had no idea what a Star Trek was. There was very little information available of what was going on. I was thinking, like, ‘Oh God, I’m in a vacuum here.’ But like I said, I was just happy to be working with Mark Lenard again.” (119a)
Day 7, July 28, 1966. Work continued on the Romulan bridge. Production wrapped at 1:30 p.m., a half day over, but no one in the front office was complaining. Robert Justman said McEveety directed “Balance of Terror” with “great energy” and “style.”
Post-Production
August 1 through December 5, 1966. Music score recorded on September 20, 1966.
Robert Swanson was back in the editor’s chair with Team #1. He and his staff had cut the other Star Trek episode filmed to date, which required an abundance of interaction between actors and optical effects (“The Corbomite Maneuver,” which The Anderson Company had yet to deliver).
Fred Steiner scored this, his fourth episode for the series, the same day as the music for “The Corbomite Maneuver.” Steiner continued to conjure up memorable melodies creating a sense of tension, victory, defeat and, for the finale, sadness. And he continued to do all this while working blind, creating music to go along with images -- such as spaceships and plasma energy torpedoes -- that had yet to be seen.
Steiner also recorded a new version of the series theme song, to replace the more outer-spacey sounding one conducted by Alexander Courage. For this reboot, Steiner jettisoned the electric violin heard during the main title credits of “Where No Man Has Gone Before,” “Mudd’s Women,” “The Enemy Within,” “The Man Trap,” “The Naked Time,” “Charlie X,” “What Are Little Girls Made Of?,” “Dagger of the Mind,” and “Miri,” -- the first nine episodes to air on NBC -- in favor of a more traditional action-adventure arrangement, led by a prominent brass section. It would first be heard on “The Corbomite Maneuver,” the tenth episode to broadcast over the network, as well as “Balance of Terror” and throughout the rest of the first season.
New frontiers in photo effects (Courtesy of Gerald Gurian)
It was with “Balance of Terror” that Film Effects of Hollywood took over for The Howard Anderson Company as the primary supplier of photographic optical effects for Star Trek. The company had stepped in, without credit, to help out with “The Enemy Within” when Anderson fell behind. Now, with this episode, Film effects took the lead.
Linwood Dunn, the company’s 62-year-old owner, had shot optical photography for King Kong in 1933 and its much beloved 1949 bastard child, Mighty Joe Young. With offices on the RKO lot, Dunn was the man who filmed the famous RKO Pictures intro. Now those same offices were part of the Desilu studios complex and this allowed the 11-foot, 2-inch Enterprise to be shipped to Dunn whenever the Andersons weren’t using it (his was the only other optical house to handle the valuable miniature).
The optical effects work is impressive for 1966. The new shots of the Enterprise moving through space surpassed anything yet provided by the Andersons. The Romulan Bird-of-Prey, debuting in this episode, was a detailed miniature, approximately a yard across, designed and built by Wah Chang over a two-week period. The miniature was delivered to Film Effects to be painted and photographed. This, along with the weaponry fired by both the Romulan ship and the Enterprise, explosions in space and numerous viewing screen matte shots, catapulted the optical effects cost to $47,336 ($340,000 in 2013) -- higher than any other episode in the series. Just as worrisome to Robert Justman as the cash outlay was the time taken to create these effects.
On November 9, one month before the mandated NBC delivery date of “The Corbomite Maneuver,” for which Justman had yet to see a single optical effect, he sent an anxious memo to his colleagues, pleading that the scripts be written to contain less need for optical photography. His warning:
Right now I am concerned with making the Air Date on “Balance of Terror,” which is supposed to air on December 15th, 1966. “Balance of Terror” finished shooting on July 28th, 1966. Need I say more?
“Balance of Terror” took over four months to clear post. Only “The Corbomite Maneuver” had taken longer -- a staggering five months.
With the new sets, and all those optical effects, the price tag for this episode far exceeded the studio allowance, topping off at $236,150 ($1.7 million in 2013). It was a hard hit, but all involved believed it a worthwhile expense ... except perhaps those who ran Desilu.
Release / Reaction
Premiere air date: 12/15/66. NBC repeat broadcast: 8/3/67.
RATINGS / Nielsen 30-Market report for Thursday, Dec. 15, 1966:
The Dating Game, having replaced The Tammy Grimes Show on ABC, was proving to be a prime-time hit, although its high ratings wouldn’t last for long. Star Trek’s excellent “Balance of Terror” had to settle for second spot, a half a ratings point above the CBS staple My Three Sons. At 9:00, as ABC’s top show, Bewitched, took the lead, CBS had the television premiere of the 1964 hit drama Baby, the Rain Must Fall, starring Steve McQueen, Lee Remick and Don Murray. And this dropped Star Trek to third place.
When “Balance of Terror” came around for the second time on NBC, TV Guide awarded it the editor’s pick -- a “CLOSE-UP” listing. Without McQueen on CBS this night, the Nielsens painted a much different picture.
RATINGS / Nielsen National report for Thursday, August 3, 1967:
Star Trek won its time slot, against both its 8:30 p.m. competition and the 9 p.m. movie on CBS -- the television premiere of 1965’s Genghis Khan, starring Omar Sharif in the title role, with Stephen Boyd, James Mason, Telly Savalas, and Eli Wallach.
During the summer months, with longer days, many American families on vacation and traveling, and the three U.S. networks filling their primetime schedules with repeats, the overall audience numbers were lower than during the other seasons of the year. Nonetheless, A.C. Nielsen estimated 10,650,000 households were watching Star Trek this week. On top of this, numerous trade sources (Variety, The Hollywood Reporter, and Broadcasting magazine) reported in the 1960s that Star Trek had an audience of roughly 20,000,000 people. These sources were estimating two people per household, and then factoring in Nielsen’s estimate (to use this week as an example) of 10,650,000. These impressive numbers did not include families watching on NBC stations throughout Canada.
Vincent McEveety credited the success of “Balance of Terror” to strong characterizations -- particularly Kirk and the Romulan commander. He said, “They were very heroic characters pitted one against the other, and it dealt with the length to which people would go for their honor. It was a morality play, [and] terribly gripping.” (117-1)
D.C. Fontana felt this was one of Star Trek’s “very best episodes,” and Roddenberry placed it among his Top Ten.
From the Mailbag
Received December 12, 1966, the week following the premiere broadcast:
Dear Mr. Roddenberry... Do you smoke Kools? I’m trying to because they help to sponsor Star Trek, but I must confess I do not care for menthol.... I shall watch repeats and re-runs so long as I am privileged to see them. When the day comes that the films are stored away, the only robbery I could ever seriously contemplate would be to rob those vaults to see even once again the beautiful, the vivid, the quixotic, chimerical Star Trek. Sincerely, Miss Sebie L.
Memories
John D.F. Black said, “Paul Schneider was a sweet man, and I liked his work. He was the father of the Romulans. Not Gene, not me, not anyone else -- but Paul Schneider. And when he came up with the Romulan characters, they were so wonderful -- I mean, they were full. I liked that script a lot.” (17)
Stephen Mines, after dying in his first and only Star Trek, said, “When my son saw it, he said, ‘What was Spock thinking? Why did he save that one jerk [Stiles] and leave you to die? Couldn’t he have grabbed each of you under one arm?’? (119aa)
Lawrence Montaigne said, “I hadn’t been watc
hing it. My mother called and said, ‘Hey, you’re on television.’ Well, I’ll watch Mark Lenard read the phone book, so I switched it on. I was very pleased, I really was. I wasn’t sure what Star Trek was about, but I remember it was enjoyable. And I thought I did an adequate job. But what I really liked was the interplay between me and Mark.” (119a)
Mark Lenard said, “The Romulan Commander was one of the best roles I ever had on TV. At conventions, I used to say that the role of Spock’s father [from ‘Journey to Babel’] was the one I preferred because a big cheer would go up when I said that. I think it was because Sarek was part of the family. In many ways, I did enjoy that role, but I think the more demanding role and the better acting role was the Romulan Commander.” (107-2)
Gene Roddenberry said, “That one worked very well. Mark Lenard did well, showing the different layers to that character. A man much like Kirk, but serving on the other side. The hardest thing about war [is] you’re fighting for what you believe, fighting for your country, but so is the other guy. And one of you doesn’t go home.” (145)
Paul Comi, in 1990, recalled that, “I was teaching a class in acting at the University of Southern California recently and I was approached by a young man who told me how much he enjoyed my character on Star Trek. I mean, this kid could hardly have been born when ‘Balance of Terror’ was made. That amazes me.” (35)
Pete Sloman, who covered this episode for De Forest Research, said, "I liked ‘Balance of Terror.’ I thought it was extremely well done. It was a rip-off of The Enemy Below – that sort of classic thing where you’ve got two guys trying to outwit one another – but I liked that one a lot." (158a)
Paul Schneider’s final word from 1991: “[‘Balance of Terror’] holds up remarkably well.” (154)
And Vincent McEveety’s, from 2011: “That was another of my favorites. Wonderful writing. I like that show a lot.” (117-4)
15
Episode 9: WHAT ARE LITTLE GIRLS MADE OF?
Written by Robert Bloch
(with Gene Roddenberry, uncredited)
Directed by James Goldstone
NBC publicity photo (Courtesy of Gerald Gurian)
NBC’s press release, September 28, 1966:
The search for a long-missing archaeologist leads the USS Enterprise to an underground colony of hostile and near-human robots, in “What Are Little Girls Made Of?” on NBC Television Network’s colorcast of Star Trek, Thursday, Oct. 20.... Capt. James Kirk (William Shatner) locates scientist Roger Korby (Michael Strong) only to become a prisoner and guinea pig in a mad experiment to create a civilization of mechanical beings. Unable to cope with the unreasoning robots which Korby has at his command, Kirk realizes his only hope is Korby himself, but is stunned by a revelation about the long-lost scientist.
Korby’s fiancée, ship’s nurse Christine Chapel, must now decide where her true loyalties lie, with the man she loves or the Captain she serves under. To add to her confusion, Korby has manufactured a near perfect duplicate of Kirk... and a beautiful female android named Andrea.
The theme: the age-old battle of Man versus Machine ... and defining what is human.
SOUND BITES
- Dr. Korby, about Andrea: “Remarkable, isn’t she? Notice the lifelike pigmentation, the variation in skin tones. The flesh has warmth. There’s even a pulse, physical sensation...” Nurse Chapel: “How convenient.” Korby: “You think I could love a machine?” Chapel: “Did you?”
- Korby: “Love can’t exist at all when it’s predictable. There must be imperfection -moments to be lied to, worshiped, hated -- anger, fear. Andrea is incapable of that. She has no meaning for me. No emotional bond exists. She simply obeys orders.”
- Kirk, to his duplicate: “Eating is a pleasure, sir. Unfortunately, one you will never know.” Kirk’s duplicate: “Perhaps. But I’ll never starve, sir.”
- Korby: “Can you imagine how life could be improved if we could do away with jealousy, greed, hate?” Kirk: “It can also be improved by eliminating love, tenderness, sentiment. The other side of the coin, Doctor.”
ASSESSMENT
“What Are Little Girls Made Of?” is underrated. The writing is engaging, the direction stylish, the acting compelling. The photography and lighting combine together to create shadowy pictures textured and rich with drama. The sets, for their time, are impressive. And the theme -- that all-important statement -- rings clear as a bell. It speaks of what it is to be human and how our flesh is part of our being -- remove the biological elements in a person and the inner soul goes as cold as the arctic surface of Exo III.
We have a mad scientist. Korby says, “No one need ever die again! No disease, no deformities, even fear can be programmed away, replaced with joy! I sit here offering a practical heaven, a new paradise.” But he is more than merely obsessed. He is less than human now, in denial and desperate to get back among the true living, and be accepted.
There are surprising and chilling moments. In one, the imposter Kirk tricks Nurse Chapel into divulging information about her loyalty. After she suggests that he eat something, he pushes a plate of food away and says, “Androids don’t eat, Miss Chapel.”
And there is tragedy. Korby had no choice but to trade his body for intellectual immortality. His flesh was dying. He chose to give up his physical being to preserve his mind. In the end, he pleads with Chapel, “It’s still me, Christine. Roger. In this android frame... I’m the same as I was before... better... no death for me, ever. I’m the same! A direct transfer -- all of me! Wholly rational... human, but without a flaw!”
Even with all that works and all the effective elements, there are also some glaring omissions. Spock barely registers in this story. He is utilized less here than in any other episode. McCoy is absent -- for the first of only three times in the series. Scott, Sulu, Uhura and Rand are also missing. And our home in space, the Enterprise, is visited only briefly. There is no humor; there is no optimism. “Little Girls” may be classic drama, but the type that is often underappreciated: a tragedy. Add to this that the scenery -- with the exception of the shapely Sherry Jackson -- is cold and uninviting. At the end of the day, despite its plusses, less Spock, less McCoy, less Enterprise, and less hope, add up to ... less.
THE STORY BEHIND THE STORY
Script Timeline
Robert Bloch’s story outline, ST #8: March 19, 1966.
Bloch’s revised story outlines, gratis: March 28 & April 4, 1966.
Bloch’s 1st Draft teleplay: April 12, 1966.
Bloch’s Revised 1st Draft teleplay, gratis: April 26, 1966.
Bloch’s 2nd Draft teleplay: May 6, 1966.
John D.F. Black’s script polish (Mimeo Department “Yellow Cover 1st Draft”): mid-May, 1966.
Black’s second script polish (“Yellow Cover Rev. 1st Draft”): June 15, 1966.
Gene Roddenberry’s rewrite (Final Draft teleplay): July 25, 1966.
Additional page revisions by Roddenberry: July 26, 1966.
Roddenberry’s second rewrite (Rev. Final Draft teleplay): July 27, 1966.
Additional page revisions by Roddenberry:
July 30 & 31, Aug. 1 & 3, and Sept. 12, 1966.
Robert Bloch, a fan of author H.P. Lovecraft and the horror genre, had already, at age 49, written scores of short stories -- enough to fill 15 published volumes. He’d also written 11 novels, including Psycho, for which he won the Edgar Allan Poe Award and caught the eye of Alfred Hitchcock. Hitchcock, besides directing the famous movie based on Bloch’s book, hired its writer to contribute scripts for Alfred Hitchcock Presents. Bloch also wrote for the macabre NBC series, Thriller, hosted by Boris Karloff.
Bloch attended a screening of “Where No Man Has Gone Before” at Desilu in March of 1966. He was intrigued by what he’d seen and, with his standing in the literary world, was immediately offered a chance to write for the series.
It may have been a case of “writer’s Bloch,” because the story Bloch pitched borrowed many elements from Lovecraft’s 1936 novella, At
the Mountains of Madness, among other stories. In Madness, explorers discover an ancient frozen city in the Antarctic built by aliens known as “Elder Things.” As the exploration team goes deeper into the city of ice, they find underground caverns which lead them to learn the fate of “The Great Old Ones,” who were killed off by the “Shoggoths,” things they created to build the city and perform various tasks. Discovery turns to jeopardy when the explorers find that the Shoggoths still exist.
In Bloch’s Star Trek story, the Antarctic was swapped out for an ancient glacial planet; the aliens known as “The Great Old Ones” were now merely “The Old Ones”; and the exploration team was now marooned scientists. The underground caverns remained but, instead of an ancient city, these catacombs housed ancient facilities with android-making equipment. Instead of Shoggoths, Bloch gave us Ruk, an android who, like the Shoggoths, killed off his makers.
The title came from the question and its answer found in an early 19th century nursery rhyme: “What are little girls made of? Sugar and spice and everything nice.” However, the “people” we meet here, including the girl named Andrea, are made of very different ingredients.
Bloch was happy to be writing for Star Trek, just as Roddenberry was proud to have a writer of Bloch’s stature. Bloch’s pleasure was conveyed in the note he sent on March 19 accompanying his first try at a story outline. He cheerfully said:
Crew to Captain: Mission accomplished -- I think. Standing by for further orders. Over. Robert Bloch. (RB9-1)