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Star Trek IV:
The Voyage Home

Theatrical release poster by Bob Peak
Directed by Leonard Nimoy
Produced by Harve Bennett
Written by Screenplay:
Steve Meerson
Peter Krikes
Nicholas Meyer
Harve Bennett
Harve Bennett
Leonard Nimoy
Starring See list
Music by Leonard Rosenman
Cinematography Donald Peterman
Editing by Peter E. Berger
Distributed by Paramount Pictures
Release date(s) November 26, 1986 (1986-11-26)
Running time 119 minutes
Country United States
Language English
Budget $24 million
Gross revenue $133 million
Preceded by Star Trek III: The Search for Spock
Followed by Star Trek V: The Final Frontier

Star Trek IV: The Voyage Home is a 1986 motion picture released by Paramount Studios. It is the fourth feature film based on the Star Trek science fiction television series. It completes the story begun in Star Trek II: The Wrath of Khan and continued in Star Trek III: The Search for Spock. Intent on returning home to Earth to face trial for their crimes, the former crew of the USS Enterprise travels to Earth's past in order to save their present from a probe attempting to communicate with long-dead humpback whales.

After directing The Search for Spock, cast member Leonard Nimoy was asked to direct the next feature, and given greater freedom to the film's content. Nimoy and producer Harve Bennett conceived a story with an environmental message. After dissatisfaction with the first script produced by Steve Meerson and Peter Krikes, Paramount hired The Wrath of Khan writer and director Nicholas Meyer, who collaborated with Bennett to rewrite the script.

James Horner, the composer for the previous two films, declined to return; Nimoy's friend Leonard Rosenman was given the job instead.

The film earned four Academy Award nominations, for Best Cinematography, Best Effects, Best Music and Best Sound.



The film begins three months after the events of Star Trek III: The Search for Spock as a large cylindrical object moves through space heading towards Earth, sending out an indecipherable signal and disabling the power of any vessel or station that it passes. As it takes up orbit around Earth, it continues signaling, disrupting the global power system and causing extreme weather patterns to develop over the planet while evaporating the oceans. Starfleet Command, on the last of its power reserves, sends out a subspace signal warning of the danger.

On the planet Vulcan, the former officers of the USS Enterprise are living in exile. Accompanied by the Vulcan Spock, still recovering from his resurrection, the crew takes their seized Klingon starship and head to Earth, intending to face trial for their theft and destruction of the Enterprise. As they enter the solar system, they hear Starfleet's warning and the alien signal; Spock determines that it matches the song of humpback whales, long since extinct on Earth, and that the object will continue to wreak havoc on the planet until it can be answered. The crew devise a plan to slingshot around the Sun to time travel back to the late 20th century and return with a whale, and hopefully two so that they can repopulate the species.

The crew travels back in time to the year 1986, but their ship's power is drained in the process. Hiding their ship using its cloaking device in San Francisco, the crew splits up to accomplish their tasks: James T. Kirk and Spock attempt to locate humpback whales, Montgomery Scott, Leonard McCoy and Hikaru Sulu must create a holding tank for the return trip, and Uhura and Pavel Chekov search for a way to recharge the ship. Kirk and Spock discover a pair of humpback whales—"George" and "Gracie"—in the care of Dr. Gillian Taylor at the Cetacean Institute and learn they will soon be released into the wild. Kirk attempts to learn the tracking codes for the whales from Taylor, but is rebuffed. Scott, McCoy, and Sulu procure the necessary materials for the holding tank by giving the formula to transparent aluminum to a local manufacturer; Uhura and Chekov beam aboard a nuclear-powered aircraft carrier and draw some of its power to recharge their ship, but are discovered. Though Uhura is beamed back, Chekov is captured by the United States Navy and severely injured in an escape attempt. Kirk and the rest of the crew manage to rescue him and return to the ship.

The ship is successfully recharged, but Taylor arrives and tells Kirk that the whales have been moved early. Kirk reluctantly lets her tag along on the ship in order to get the tracking codes. The crew locates George and Gracie before they are killed by whalers, and transport the creatures into the waiting tank. With the intended cargo, the crew returns to the future. On approaching Earth, the ship loses power and crashes into San Francisco Bay. Once released, the whales respond to the probe's signal, causing the object to restore Earth and return to the depths of space. The Enterprise crew's charges are all waived in light of their heroic efforts. Only Kirk is punished for disobeying a superior officer, and is demoted from Admiral to Captain. Having been brought to the future, Taylor takes a position on a science vessel. The crew departs for their new ship, which they learn is the newly-christened USS Enterprise (NCC-1701-A), and depart on another mission.


  • William Shatner as James T. Kirk, captain of the Enterprise. Shatner was initially unwilling to reprise the role of Kirk until his salary was increased to $2 million, and was promised that he could direct the next film.[1] Shatner described The Voyage Home's comic qualities as one "that verges on tongue-in-cheek but isn't, it's as though the characters within the play have a great deal of joy about themselves, a joy of living [and] you play it with the reality you would in a kitchen-sink drama written for today's life."[2]
  • Leonard Nimoy as Spock, the former captain of the Enterprise who was resurrected by the effects of a powerful terraforming device.
  • DeForest Kelley as Commander (Dr.) Leonard McCoy
  • James Doohan as Captain Montgomery Scott
  • George Takei as Commander Hikaru Sulu
  • Walter Koenig as Commander Pavel Chekov– Koenig commented Chekov was a "delight" to play in this film because he worked best in comedic situations.[3]
  • Nichelle Nichols as Commander Uhura
  • Catherine Hicks as Dr. Gillian Taylor, a biologist on 20th century Earth. During production a rumor circulated that the part had been created because Shatner had demanded a love interest, something Kirk had frequently had in the television series but that had been absent in the films; writer Nicholas Meyer denied this, saying that the inspiration for Taylor came from a woman biologist featured in a National Geographic documentary about whales.[4] The choice for Taylor came down to Hicks and another actress. Nimoy invited them to lunch with Shatner and ultimately picked Hicks, as she and Shatner had the better chemistry.[5]
  • Majel Barrett reprised her role as Christine Chapel, the director of Starfleet Command's medical services. Many of her scenes—some reportedly very large—were omitted in the final cut, angering the actress. Her final role in the film consists of one line of dialogue and a reaction shot.[6]
  • Mark Lenard as Ambassador Sarek, Spock's father.[7]
  • Jane Wyatt as Amanda Grayson, Spock's mother. Wyatt commented that although she disliked working with actors who were directing, she found Nimoy an exception because he could concentrate on working with being part of the cast as well as setting up the crew.[3]
  • Robin Curtis as Saavik, a Vulcan member of Starfleet. Saavik's role is largely minimal in the film—originally, she was intended to have remained behind on Vulcan because she was pregnant with Spock's child after they mated in The Search for Spock. In the final cut of the film, all references to her condition were dropped.[6]

Madge Sinclair made an uncredited appearance as the Saratoga captain.[7] Jane Wiedlin made a cameo as a Starfleet officer seen onscreen at Starfleet Command during the chaos caused by the whale probe. John Schuck appears as the Klingon ambassador, Robert Ellenstein as the Federation President, and Brock Peters as Fleet Admiral Cartwright. Grace Lee Whitney reprises her role as Janice Rand.




Producer Harve Bennett collaborated with director Nicholas Meyer to revise The Voyage Home's script.

Leonard Nimoy was asked to return to direct The Voyage Home before The Search for Spock was released. Whereas Nimoy had been under certain constraints in filming the previous picture, Paramount gave Nimoy greater freedom for the sequel. "[Paramount] said flat out that they wanted my vision," Nimoy recalled.[8] In contrast to the drama-heavy and operatic events of previous Star Trek features, Nimoy and producer Harve Bennett wanted a lighter movie that did not have a clear-cut villain.[5] As William Shatner was unwilling to return, Nimoy and Bennett spent eight months considering a prequel concept by Ralph Winter about the characters at Starfleet Academy, before Shatner received a pay increase and signed on to star.[1]

Despite Shatner's qualms,[5] Nimoy and Bennett selected a time travel story where the Enterprise encounter a problem which could only be fixed by something only available in the present day (the Star Trek characters' past). They considered numerous ideas including violin makers and oil drillers, as well as a disease which had its cure destroyed with the rainforests. "But the depiction of thousands of sick and dying people seemed rather gruesome for our light-hearted film, and the thought of our crew taking a 600 year round trip just to bring back a snail darter wasn't all that thrilling!", explained Nimoy. The director then read a book on extinct animals and conceived the used storyline.[1] Nimoy hit upon the idea of humpback whales after talking with a friend—their song added mystery to the story, and their size added logistical challenges the heroes would have to overcome.[9 ]

Nimoy approached Beverly Hills Cop writer Daniel Petrie, Jr. to write the script when a concept that executive producer Jeffrey Katzenberg described as "either the best or worst idea in the world" arose—Star Trek fan Eddie Murphy wanted a starring role. Both Nimoy and Murphy acknowledged his part would attract non-Star Trek fans to the franchise following the rising popularity of Murphy, but it also meant the film might be panned. Steve Meerson and Peter Krikes (The Long Way Home) were hired to write a script with Murphy as a college professor who believes in aliens and who likes to play whale songs. Murphy disliked the part, explaining he wanted to play an alien or a Starfleet officer (Nimoy was unaware of this)[10] and chose to make The Golden Child (a decision Murphy later said was a mistake). Murphy's character was combined with a marine biologist and a female reporter to become Gillian Taylor.[11]

Paramount was dissatisfied with the script, so head of Paramount Dawn Steele asked The Wrath of Khan writer and director Nicholas Meyer to help rewrite the script. Meyer never read the earlier script, reasoning that since the studio did not like it there was no reason to. Instead he and Bennett split up the plot. Bennett wrote the first quarter of the story, up to the point where the crew goes back in time. Meyer wrote the story's middle portion, taking place on 20th century Earth, and Bennett finished with the ending.[12] After 12 days of writing, Meyer and Bennett combined their separate portions.[9 ] In this version, Gillian Taylor stays in 1986 Earth and vows to ensure the survival of the humpback whale despite the paradox it would create. Meyer preferred this "righter ending"[4] to the film version, explaining "The end in the movie detracts from the importance of people in the present taking the responsibility for the ecology and preventing problems of the future by doing something today, rather than catering to the fantasy desires of being able to be transported in time to the near-utopian future."[11] Meyer and Bennett also cut out Krikes and Meerson's idea of the Klingon Bird-of-Prey flying over the Super Bowl (where the crowd assume it is part of the halftime spectacle) and the hint that Saavik remained on Vulcan because she had become pregnant with Spock's child.[11]

Nimoy said Meyer gave the script "the kind of humor and social comment, gadfly attitude I very much wanted".[3] Nimoy added his vision was for "no dying, no fighting, no shooting, no photon torpedoes, no phaser blasts, no stereotypical bad guy. I wanted people to really have a great time watching this film [and] if somewhere in the mix we lobbed a couple of big ideas at them, well, then that would be even better."[13] Meyer's film Time After Time had been largely based in San Francisco, and when he was told by the producers that The Voyage Home had to be set in the same city, he took the opportunity to comment upon cultural aspects not covered by his earlier film, among them punk rockThe Voyage Home's scene where Spock knocks out an annoying punk rocker with a stereo via a Vulcan nerve pinch was based on a similar scene cut from Time After Time.[4]

Meyer described the writing process as running smoothly. He would write a few pages, go to Nimoy and Bennett and show it to them. After a conversation about the pages Meyer would return to his office and wrote some more. Once Nimoy, Bennett, and Meyer were happy, they showed the script to Shatner, who offered his own notes and started the rewriting process over again.[14] The completed script was shown to Paramount executives, who loved it.[9 ]


The alien probe was the responsibility of ILM's model shop. The modelmakers started with Rodis' simple design, which was a simple cylinder with whalelike qualities. The prototype was covered with barnacles and colored. The probe's ball-shaped antenna that juts out from the bottom of the craft was created using a piece of irrigation pipe with machinery to turn the device. Three models were created; the primary 8-foot (2.4 m) probe model was supplemented by a smaller model for wide shots and a large 20-foot (6.1 m) model that used forced perspective to give the probe the illusion of massive dimensions.[15]

During the Earth-based scenes, the 23rd century crew continues to wear their future clothing. Nimoy debated about whether the crew would change costumes, but after seeing how some people in the city dressed, he decided that they would still fit in.[5]


Nimoy chose Donald Peterman, ASC, as director of photography.[16] Nimoy said that he regards the cinematographer as a fellow artist, and that it was important for him and Peterman to agree on "a certain look" that Peterman was committed to delivering. Nimoy had seen Peterman's work and felt that his work was more nuanced than simply lighting a scene and capturing an image.[17]

The film's opening scenes aboard the starship Saratoga were also the first to be shot, with principal photography commencing on February 24, 1986.[7] The set was a redress of the science vessel Grissom bridge from The Search for Spock, which in turn was a redress of the Enterprise bridge created for The Motion Picture. The scenes were filmed first to allow time for the set to be revamped to stand in for the new Enterprise-A at the end of filming.[7]

The Voyage Home was the first real look at how Starfleet Command operated. Bennett and Nimoy visited NASA JPL to learn how a real deep space command center might look and operate. Among its features was a large central table with video monitors that the production team nicknamed "the pool table"; the prop would later find a home in the engine room of the USS Enterprise-D on the television series Star Trek: The Next Generation.[7]

As with previous Star Trek films, existing props and footage were reused where possible to save money. The Voyage Home's Earth-based story required less of this than The Wrath of Khan and The Search for Spock. The Earth Spacedock interiors and control booth sets were reuses from The Search for Spock, although the computer monitors in these scenes featured new graphics (the old reels had deteriorated in storage.) Stock footage of the destruction of the Enterprise and the Bird of Prey moving through space were reused. While the Bird of Prey bridge was a completely new design, other parts of the craft's interior was also redresses (the computer room was a modification of the reactor room where Spock died in The Wrath of Khan.[7]

Vasquez Rocks was used as a stand-in for the alien world of Vulcan

Vulcan and the Bird of Prey exterior was created with a combination of matte paintings and a soundstage. Nimoy had searched for a suitable location for the crew's deliberations to go back to earth, but various locations did not work, so the scene was instead filmed on a Paramount backlot, with creative ways to mask the fact that buildings were 30 feet (9.1 m) away.[5] A wide angle shot of Spock on the edge of a cliff was filmed at Vasquez Rocks, a park north of Los Angeles.[7]

The dream sequence. After all other Bird of Prey bridge scenes were completed, the entire bridge was painted white for the one shot that transitioned into the sequence.

The Voyage Home was the first Star Trek film to extensively film on location (only one day was spent doing so in The Search for Spock.)[9 ]

The Federation council chamber was a large set filled with representatives from many alien races. Production manager Jack T. Collis economized by building the set with only one end; reverse angle shots used the same piece of wall. The Federation President's podium and the actors filling the chamber's seats simply switched positions for each shot. Much of the production was filmed in and around San Francisco in ten days of shooting. The production wanted to film scenes that were instantly identifiable as the city.[18 ] The use of extensive location shooting caused logistical problems; a scene where Kirk is nearly run over by an irate driver required 12–15 cars that had to be repositioned if the shot was not correct, taking a half-hour to reshoot. Other scenes were filmed in the city but used sets rather than real locations, such as an Italian restaurant where Taylor and Kirk eat. In the film, the Bird-of-Prey lands cloaked in Golden Gate Park, surprising some trashmen who flee the scene in their truck. The production had planned to film in the real park (where they had filmed scenes for The Wrath of Khan), but heavy rains before the day of shooting prevented this (the garbage truck would have become bogged down in the mud.) Will Rogers Park in western Los Angeles was used as the stand-in instead.[5]

When Kirk and Spock are traveling on a public bus, they encounter a punk rocker blaring his music on a boom box, to the discomfort of everyone around him. Spock takes matters into his own hands and performs a Vulcan nerve pinch, stunning the man. The inspiration from the scene came from Nimoy's personal experiences with such a character on the streets of New York. "[I was struck] by the arrogance of it, the aggressiveness of it, and I thought if I was Spock I'd pinch his brains out!"[5] The character (credited as "punk on bus") was played by Kirk Thatcher, an associate producer on the film.[19] On learning about the scene, Thatcher convinced Nimoy that he could play the part, and so he shaved his hair into a mohawk and bought clothes to complete the part.[5] It was also Thatcher's idea to have the punk (once rendered unconscious by Nimoy), hit the stereo and turn it off with his face.[19]

The Monterey Aquarium, viewed from the back. The shallow area behind the rocks was turned into a whale tank via special effects; other changes included the addition of a skyline in the background and the removal of several buildings.

Much of the Cetacean Institute was created by using the real-life Monterey Bay Aquarium. A holding tank for the whales was added via special effects to the Aquarium's exterior.[5] For close-ups of the characters watching the whales in the tank, the Aquarium's walls and railings were measured and replicated for a set on the Paramount parking lot. One scene takes place by a large glass through which observers can see the whales (and Spock initiating a mind meld) underwater. This was a combination of footage of actors reacting to a brick wall in the Aquarium (shot from the front) and shots created using a large blue screen at ILM (shot from the back.) The footage of Spock melding with the whales was shot weeks later in a large water tank used to train astronauts for weightlessness.[5]

In the film, Uhura and Chekov visit the aircraft carrier USS Enterprise. The real Enterprise, being at sea at the time, was unavailable for filming, so the non-nuclear powered carrier USS Ranger (CV-61) was used.[20] Oakland International Airport was used for the foreground element of Starfleet Headquarters. Scenes in the San Francisco Bay were shot at a tank at Paramount's backlot.[21]

The scene in which Uhura and Chekov question passersby on the location of nuclear vessels was filmed with a hidden camera. However, the people whom Koenig and Nichols speak to were extras hired off the street for that day's shooting, and, despite legends to the contrary, knew they were being filmed. In an interview with, Layla Sarakalo, the extra who said, "I don't know if I know the answer to that... I think it's across the bay, in Alameda", stated that after her car was impounded because she refused to move it for the filming, she approached the assistant director about appearing with the other extras, hoping to be paid enough to get her car out of impoundment. She was hired and told not to answer Koenig's and Nichols' questions. However, she did answer them and the filmmakers kept her response in the film, though she had to be inducted into the Screen Actors Guild in order for her lines to be kept.[22]

When Sulu, Scotty and McCoy are standing in front of the Yellow Pages ad, they encounter an arguing Asian couple. This scene was supposed to end with Sulu encountering his young ancestor, Akira Sulu, but the child actor hired for the part began to cry and was unable to finish the scene.[5][23]


Industrial Light & Magic created the visual effects. Most shots of the humpback whales were scale models shot at their studio or life-size animatronics shot at Paramount.[13] The USS Enterprise was destroyed in the previous film partly because visual effects supervisor Ken Ralston wanted to build a "more state-of-the-art ship for the next film", but the filmmakers made the less costly decision have the crew return to serve on the duplicate USS Enterprise A, and six weeks was spent repairing the old model. A travel pod from Star Trek: The Motion Picture was also reused for the ending, although the twenty-feet long interior set had to be rebuilt. Michael Okuda joined the Star Trek franchise with The Voyage Home, designing smooth controls with backlit displays for the Federation which were eventually dubbed "Okudagrams". Okudagrams were also used for displays on the Klingon ship, though large buttons remained for that set.[24]

A scale model of the Golden Gate Bridge was used, which was two feet tall at one end and sixteen feet tall at the other. The shorter end was filmed in front, creating a forced perspective which made it look longer. For the alien probe, Ralston had it painted black to make it look more mysterious after viewing the first few shots of it. Computer graphics were used for the crew's time traveling.[21]


James Horner, composer for The Wrath of Khan and The Search for Spock, declined to return for The Voyage Home. Nimoy turned to his friend Leonard Rosenman, who had written the music to, among other films, Fantastic Voyage, RoboCop 2 and three Planet of the Apes sequels.[25]

Mark Mangini served as The Voyage Home's sound designer. He described it as different from working on many other films because Nimoy appreciated the role of sound effects and made sure that they were prominent in the film. Since many sounds familiar to Star Trek had already been established—the Bird of Prey's cloaking device, the transporter beam, et al—Mangini focused on making only small changes to them. The most important sounds were those created by the whales and the probe. Mangini's brother lived closed to biologist Roger Payne, who had many recordings of whale song. Mangini went through the tapes and chose sounds that could be mixed to suggest a sort of language and conversation. The probe's screeching calls were the whale song in distorted form. The humpback's communication with the probe at the climax of the film contained no dramatic music, meaning that Mangini's sounds had to stand alone. He recalled that he had some difficulty with envisioning how the scene would unfold, leading Bennett to perform a puppet show to explain. Nimoy and the other producers were unhappy with Mangini's attempts to create the probe's droning operating noise; after 18 attempts, the sound designer finally asked Nimoy what he thought the probe should sound like, and recorded Nimoy's response. Nimoy's voice was distorted with "just the tiniest bit of dressing" and used as the final sound.[26 ]

The punk music that blares during the bus scene was written by Thatcher after he learned that the audio to be added to the scene would be "Duran Duran, or whoever" and not "raw" and authentic punk.[19] Thatcher collaborated with Mangini and two sound editors (who were in punk bands) to create their own music. They decided that punk distilled down to the sentiment of "I hate you", and wrote a sound to match. Recording in the sound studio as originally planned produced too clean a sound, so they moved to the outside hallway and recorded the entire band in one take using cheap microphones to create the distorted sound intended.[18 ] The song was later used for Paramount's "Back to the Beach".[19] The song is credited to the band 'The Edge of Etiquette.'




The movie begins with a dedication from "the cast and crew of Star Trek" to the memory of the seven astronauts who were killed in the Space Shuttle Challenger disaster on January 28, 1986 (ten months before the film's release).

When released in Europe and South America, the film was given the title The Voyage Home: Star Trek IV and had a prologue narrated by Shatner and scored by Leonard Rosenman reviewing the events of the previous two films. This was included because The Search for Spock had suffered badly overseas due to the hugely-popular science-fiction comedy Ghostbusters and grossed only $10 million. When this film came out, references to the Star Trek brand were cautiously avoided in order to stem a repeat of what happened in 1984. It was included on the European, Asian and South American VHS release (when it came out on DVD, the branding was reverted back to Star Trek IV: The Voyage Home for its worldwide release in 1999 and 2003).[27]

The Voyage Home was the first Star Trek film shown in the Soviet Union. It was screened by the World Wildlife Fund on June 26, 1987 in Moscow to celebrate a ban on whaling. Nimoy and Bennett attended the screening; Nimoy had completed filming Three Men and a Baby the day before and enjoyed visiting Russia, where his ancestors came from. Bennett was amazed the film got the same laughs as it did with an American audience. He said "the single most rewarding moment of my Star Trek life" was when the Moscow audience applauded at McCoy's line at the film's end, "The bureaucratic mentality is the only constant in the universe. We'll get a freighter," which was a clear "messenger of what was to come."[3]

Critical response

The film was a critical and commercial success. It grossed $109,713,132 in the U.S. and $133,000,000 worldwide, against a $27,000,000 budget.[28] Of the first ten films, it sold the second-most tickets and was the second most profitable movie in the series adjusted for 2007 inflation (behind The Motion Picture though both are now surpassed by the eleventh film). On the Special Edition DVD of the film, Leonard Nimoy says that this was the most well-received of all the Star Trek films made to that point. Producer Ralph Winter also added that this film did very well as it was liked by both fans and non-fans of the Star Trek phenomenon. Due to the success of this film, Paramount greenlit a new Star Trek television series (after failing to get one off the ground in 1977). The series ultimately became Star Trek: The Next Generation, which premiered in major markets on September 28, 1987.

USA Today gave a positive review, declaring "Kirk and company turn into the most uproarious out-of-towners to hit the Bay area since the Democrats in 1984," and felt the lack of special effects allowed the actors to "prove themselves more capable actors than ever before." Janet Maslin of The New York Times noted The Voyage Home "has done a great deal to ensure the series' longevity."[13]

Home video

The film was given a "bare bones" DVD release on November 9, 1999 with no extra features. Three and a half years later, a two disc "Collector's Edition" was released with supplemental material but with the same video transfer as the original DVD release. It featured a text commentary by Michael Okuda and an audio commentary from director Leonard Nimoy and star William Shatner.[29]

The film was released on Blu-ray Disc in May 2009 to coincide with the new Star Trek feature, along with the other five films featuring the original crew in Star Trek: Original Motion Picture Collection.[30] The Voyage Home was remastered in 1080p high-definition from the 1999 DVD transfer. All six films in the set have new 7.1 Dolby TrueHD audio. The disc features a new commentary track by Roberto Orci and Alex Kurtzman, the writers of the 2009 Star Trek film.[30][31]


  1. ^ a b c Hughes, 31.
  2. ^ Dillard, 83.
  3. ^ a b c d Dillard, 85-87.
  4. ^ a b c Fischer, 37.
  5. ^ a b c d e f g h i j k Nimoy & Shatner.
  6. ^ a b Gire, 4.
  7. ^ a b c d e f g Okuda.
  8. ^ Lee, 43.
  9. ^ a b c d Special features: "Future's Past: A Look Back".
  10. ^ Pascale, Anthony (2008-07-27). "Exclusive Interview: Leonard Nimoy - Part 2". TrekMovie. Retrieved 2009-01-05.  
  11. ^ a b c Hughes, 32-33.
  12. ^ Fischer, 36.
  13. ^ a b c Reeves-Stevens, 233.
  14. ^ Fischer, 38.
  15. ^ Shay, 4.
  16. ^ Lee, 45.
  17. ^ Lee, 46.
  18. ^ a b Special features: "On Location".
  19. ^ a b c d Plume, Kenneth (2000-02-10). "Interview with Kirk Thatcher (Part 1 of 2)". IGN. Retrieved 2009-12-08.  
  20. ^ Michael Okuda and Denise Okuda. The Star Trek Encyclopedia Second Edition 1997 Pocket Books Page 137.
  21. ^ a b Reeves-Stevens, 240-241.
  22. ^ "Visions of Layla: Taking the Voyage Home" October 27, 2005
  23. ^ William Shatner. Star Trek: Movie Memories
  24. ^ Reeves-Stevens, 236-237.
  25. ^ Breyer.
  26. ^ Special features, "Below-the-Line: Sound Design".
  27. ^ Leao, Gustav (2001-01-19). "'Star Trek IV The Voyage Home' : The Prologue of The European Version". TrekWeb. Retrieved 2009-01-09.  
  28. ^ "Leonard Nimoy Says New Star Trek Movie Will Revitalize the Entire Franchise". Retrieved 2008-01-13.  
  29. ^ Conrad, Jeremy (2003-02-25). "Star Trek IV: The Voyage Home - Special Collector's Edition Review". IGN. Retrieved 2009-12-07.  
  30. ^ a b Pascale, Anthony (2009-02-16). "TrekMovie: CBS & Paramount Announce First Star Trek Blu-ray sets - TOS S1 & All TOS movies coming April/May". TrekMovie. Retrieved 2009-05-15.  
  31. ^ Latchem, John (2009-02-20). "Boldly going onto Blu-Ray". The Gazette: p. D4.  


  • Breyer, Wolfgang (1995). "Interview with Leonard Rosenman". Soundtrack Magazine 14 (55).  
  • Dillard, J.M. (1994). Star Trek: "Where No Man Has Gone Before" — A History in Pictures. Pocket Books. ISBN 0-671-51149-1.  
  • Fischer, Dennis (1987). "Nicholas Meyer; The Man Who Saved Star Trek". Cinefantastique 14 (3/4): 34–39.  
  • Hughes, David (2008). The Greatest Science Fiction Movies Never Made. Titan Books. ISBN 9781845767556.  
  • Lee, Nora (December 1986). "The Fourth Trek: Leonard Nimoy Recollects". American Cinematographer 67 (12): 42–48.  
  • Nimoy, Leonard; William Shatner. (2003-03-04). Star Trek IV: The Voyage Home, Special Collector's Edition: Audio commentary. [DVD; Disc 1/2]. Paramount Pictures.  
  • Okuda, Michael. (2003-03-04). Star Trek IV: The Voyage Home, Special Collector's Edition: Text commentary. [DVD; Disc 1/2]. Paramount Pictures.  
  • Reeves-Stevens, Judith and Garfield (1995). The Art of Star Trek. Pocket Books. ISBN 0-671-89804-3.  
  • Gire, Dan (1987). "Why 'Star Trek IV' Leaves Lt. Savik Stranded on Vulcan". Cinefantastique 17 (1).  
  • Shay, Jody (February 1987). "Humpback to the Future". Cinefex (29).  
  • Star Trek cast and crew. (2003-03-04). Star Trek IV: The Voyage Home, Special Collector's Edition: Special Features: "Future's Past: A Look Back", "On Location", "From Outer Space to The Ocean", "Below-the-Line: Sound Design". [DVD; Disc 2/2]. Paramount Pictures.  

External links

Simple English

Star Trek IV: The Voyage Home
Directed by Leonard Nimoy
Produced by Harve Bennett
Written by Screenplay:
Steve Meerson
Peter Krikes
Nicholas Meyer
Harve Bennett
Leonard Nimoy
Harve Bennett
Gene Roddenberry
Starring See table
Music by Leonard Rosenman
Cinematography Donald Peterman
Editing by Peter E. Berger
Distributed by Paramount Pictures
Release date(s) November 26, 1986
Running time 119 min.
Language English
Budget $27,000,000 (estimated)
Gross revenue $133,000,000 (worldwide)
Preceded by Star Trek III: The Search for Spock
Followed by Star Trek V: The Final Frontier

Star Trek IV: The Voyage Home was the fourth film set in the Star Trek universe. It was made in 1986 by Paramount Pictures. James T. Kirk and his crew have to travel back in time in a Klingon space ship to save the Earth.


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