title: Star Trek: The Motion Picture

text: Dick Rubin handled the film's props, and set up a makeshift office in the corner of stage 9 throughout production. Rubin's philosophy as property master was that nearly every actor or extra ought to have something in their hands. As such, Rubin devised and fabricated about 350 props for the film, 55 of which were used in the San Francisco tram scene alone. Many of the props were updated designs of items previously seen in the television series, such as phasers and handheld communicators. The only prop that remained from the original television series was Uhura's wireless earpiece, which Nichols requested on the first day of shooting (and all the production crew save those who had worked on the television show had forgotten about). The new phaser was entirely self-contained, with its own circuitry, batteries, and four blinking lights. The prop came with a hefty $4000 price tag; to save money, the lights were dropped, reducing the size of the phaser by a third. A total of 15 of the devices were made for the film. The communicators were radically altered, as by the 1970s the micro-miniaturization of electronics convinced Roddenberry that the bulky handheld devices of the television series were no longer believable. A wrist-based design was decided upon, with the provision that it look far different from the watch Dick Tracy had been using since the 1930s. Two hundred communicators were fashioned, but only a few were the $3500 top models, used for close-ups of the device in action. Most of the props were made from plastic, as Rubin thought that in the future man-made materials would be used almost exclusively.


title: Star Trek: The Motion Picture

text: Roddenberry firmly believed that throwaway clothes were the future of the industry, and this idea was incorporated into the costumes of "The Motion Picture". William Ware Theiss, the designer who created the original television series costumes, was too busy to work on the film. Instead Robert Fletcher, considered one of American theater's most successful costume and scenic designers, was selected to design the new uniforms, suits, and robes for the production. Fletcher eschewed man-made synthetics for natural materials, finding that these fabrics sewed better and lasted longer. As times had changed, the brightly multicolored Starfleet uniforms were revised: the miniskirts worn by women in the original series would now be considered sexist, and Wise and Fletcher deemed the colors garish and working against believability on the big screen. Fletcher's first task was to create new, less conspicuous uniforms.


title: Star Trek: The Motion Picture

text: In the original series, divisions in ship assignments were denoted by shirt color; for the movie, these color codes were moved to small patches on each person's uniform. The Starfleet delta symbol was standardized and superimposed over a circle of color indicating area of service. The blue color of previous uniforms was discarded, for fear they might interfere with the blue screens used for optical effects. Three types of uniforms were fabricated: dress uniforms used for special occasions, Class A uniforms for regular duty, and Class B uniforms as an alternative. The Class A designs were double-stitched in gabardine and featured gold braid designating rank. Fletcher designed the Class B uniform as similar to evolved T-shirts, with shoulder boards used to indicate rank and service divisions. Each costume had the shoes built into the pant leg to further the futuristic look. An Italian shoemaker decorated by the Italian government for making Gucci shoes was tasked with creating the futuristic footwear. Combining the shoes and trousers was difficult, time-consuming, and expensive, as each shoe had to be sewn by hand after being fitted to each principal actor. There were difficulties in communication, as the shoemaker spoke limited English and occasionally confused shoe orders due to similar-sounding names. Jumpsuits, serving a more utilitarian function, were the only costumes to have pockets, and were made with a heavyweight spandex that required a special needle to puncture the thick material. A variety of field jackets, leisure wear, and spacesuits were also created; as these parts had to be designed and completed before most of the actors' parts had been cast, many roles were filled by considering how well the actors would fit into existing costumes.


title: Star Trek: The Motion Picture

text: For the civilians of San Francisco, Fletcher decided on a greater freedom in dress. Much of the materials for these casual clothes were found in the old storerooms at Paramount, where a large amount of unused or forgotten material lay in storage. One bolt of material had been handpicked by Cecil DeMille in 1939, and was in perfect condition. The red, black, and gold brocade was woven with real gold and silver wrapped around silk thread; the resulting costume was used for a background Betelgeusean ambassador and, at a price of $10,000 for the fabric alone, was the most expensive costume ever worn by a Hollywood extra. Fletcher also recycled suedes from "The Ten Commandments" for other costumes. With the approval of Roddenberry, Fletcher fashioned complete backgrounds for the alien races seen in the Earth and recreation deck sequences, describing their appearances and the composition of their costumes.


title: Star Trek: The Motion Picture

text: Fred Phillips, the original designer of Spock's Vulcan ears, served as "The Motion Picture"s makeup artist. He and his staff were responsible for fifty masks and makeup for the aliens seen in the film. The designs were developed by Phillips or from his sketches. In his long association with "Star Trek", Phillips produced his 2,000th Spock ear during production of "The Motion Picture". Each ear was made of latex and other ingredients blended together in a kitchen mixer, then baked for six hours. Though Phillips had saved the original television series casts used for making the appliances, Nimoy's ears had grown in the decade since and new molds had to be fabricated. While on the small screen the ears could be used up to four times, since nicks and tears did not show up on television, Phillips had to create around three pairs a day for Nimoy during filming. The upswept Vulcan eyebrows needed to be applied hair by hair for proper detail, and it took Nimoy more than two hours to prepare for filming—twice as long as it had for television.


title: Star Trek: The Motion Picture

text: Besides developing Vulcan ears and alien masks, Phillips and his assistant Charles Schram applied more routine makeup to the principal actors. Khambatta's head was freshly shaved each day, then given an application of makeup to reduce glare from the hot set lights. Khambatta had no qualms about shaving her head at first, but began worrying if her hair would grow back properly. Roddenberry proposed insuring Khambatta's hair after the actress voiced her concerns, believing it would be good publicity, but legal teams determined such a scheme would be very costly. Instead, Khambatta visited the Georgette Klinger Skin Care Salon in Beverly Hills, where the studio footed the bill for the recommended six facials and scalp treatments during the course of production, as well as a daily scalp treatment routine of cleansers and lotion. Collins described Khambatta as very patient and professional while her scalp was shaved and treated for up to two hours each day. Khambatta spent six months following the regimen, (her hair eventually regrew without issue, though she kept her shaven locks after production had ended.)


title: Star Trek: The Motion Picture

text: In the decade between the end of the "Star Trek" television series and the film, many of the futuristic technologies that appeared on the show—electronic doors that open automatically, talking computers, weapons that stun rather than kill, and personal communication devices—had become a reality. Roddenberry had insisted that the technology aboard the "Enterprise" be grounded in established science and scientific theories. "The Motion Picture" likewise received technical consultation from NASA, the Jet Propulsion Laboratory at California Institute of Technology, and the Massachusetts Institute of Technology, as well as individuals such as former astronaut Rusty Schweickart and the science fiction writer Isaac Asimov.


title: Star Trek: The Motion Picture

text: The greatest amount of technical advice for the production came from NASA, who provided "Trek" fan Jesco von Puttkamer as advisor to the film. Roddenberry had known Puttkamer since 1975, when they had been introduced by a mutual friend, the assistant director of astronautics at the Smithsonian Institution. From 1976 until the completion of the film Puttkamer provided the writers, producer, and director with memos on everything technical in the script; the scientist reviewed every line in the script, and was unpaid for his assistance. "Science fiction films, including those of the recent past, have been woefully short of good science advice", he said. ""Star Wars" [is] really not science fiction. I loved it, but it's a fairy tale of princes and knights in another galaxy. The technology was improbable, the science impossible."


title: Star Trek: The Motion Picture

text: During the rewrite of the final scenes, the studio executives clashed with Roddenberry about the script's ending, believing that the concept of a living machine was too far-fetched. The executives consulted Asimov: if the writer decided a sentient machine was plausible, the ending could stay. Asimov loved the ending, but made one small suggestion; he felt that the use of the word "wormhole" was incorrect, and that the anomaly that the "Enterprise" found itself in would be more accurately called a "temporal tunnel".


title: Star Trek: The Motion Picture

text: Filming of "The Motion Picture" began on August 7, 1978. A few small ceremonies were performed before photography began; Roddenberry gave Wise his baseball cap, a gift from the captain of the nuclear carrier "Enterprise". Wise and Roddenberry then cracked a breakaway bottle of champagne on the bridge set (with no liquid inside to damage the readied set). The scene planned was the chaotic mess aboard the "Enterprise" bridge as the crew readies the ship for space travel; Wise directed 15 takes into the late afternoon before he was content with the scene. The first day's shots used of film; were considered "good", were judged "no good", and were wasted; only one-and-one-eighth pages had been shot.


title: Star Trek: The Motion Picture

text: Alex Weldon was hired to be supervisor of special effects for the film. Weldon was planning on retiring after 42 years of effects work, but his wife urged him to take on "Star Trek" because she thought he did not have enough to do. When Weldon was hired, many of the effects had already been started or completed by Rugg; it was up to Weldon to complete more complex and higher-budgeted effects for the motion picture. The first step of preparation involved analyzing the script in the number, duration, and type of effects. Before costs could be determined and Weldon could shop for necessary items, he and the other members of the special effects team worked out all possibilities for pulling off the effects in a convincing manner.


title: Star Trek: The Motion Picture

text: Richard H. Kline served as the film's cinematographer. Working from sketch artist Maurice Zuberano's concepts, Wise would judge if they were on the right track. Kline and Michelson would then discuss the look they wanted (along with Weldon, if effects were involved). Each sequence was then storyboarded and left to Kline to execute. The cinematographer called his function to "interpret [the] preplanning and make it indelible on film. It's a way of everybody being on the same wavelength." Kline recalled that there was not a single "easy" shot to produce for the picture, as each required special consideration. The bridge, for example, was lit with a low density of light to make the console monitors display better. It was hard to frame shots so that reflections of the crew in monitors or light spilling through floor grilles were not seen in the final print.


title: Star Trek: The Motion Picture

text: While Kline was concerned with lighting, print quality, and color, Bonnie Prendergast, the script supervisor, took notes that would be written up after the company had finished for the day. Prendergast's role was to ensure continuity in wardrobe, actor position, and prop placement. Any changes in dialogue or ad-libbed lines were similarly written down. Assistant director Danny McCauley was responsible for collaborating with unit production manager Phil Rawlins to finalize shooting orders and assigning extras. Rawlins, production manager Lindsley Parsons Jr., and Katzenberg were all tasked with keeping things moving as fast as possible and keeping the budget under control; every hour on stage cost the production $4000.


title: Star Trek: The Motion Picture

text: Despite tight security around production, in February 1978 the head of an Orange County, California Star Trek fan group reported to the FBI that a man offered to sell plans of the film set. The seller was convicted of stealing a trade secret, fined $750, and sentenced to two years' probation. Visitor's badges were created to keep track of guests, and due to the limited number were constantly checked out. Visitors included the press, fan leaders, friends of the cast and crew, and actors such as Clint Eastwood, Tony Curtis, Robin Williams and Mel Brooks. Security swept cars leaving the lots for stolen items; even the principal actors were not spared this inconvenience. "New West" magazine in March 1979 nonetheless revealed most of the plot, including Spock's arrival on the "Enterprise", V'Ger's identity, and its reason for coming to Earth.


title: Star Trek: The Motion Picture

text: By August 9, the production was already a full day behind schedule. Despite the delays, Wise refused to shoot more than twelve hours on set, feeling he lost his edge afterwards. He was patient on set; betting pool organizers returned collected money when Wise never lost his cool throughout production. Koenig described working with Wise as a highlight of his career. Katzenberg called Wise the film's savior, using his experience to (as Shatner recalled) subtly make filming "actor-proof". Given his unfamiliarity with the source material Wise relied on the actors, especially Shatner, to ensure that dialogue and characterizations were consistent with the show. Gautreaux was among the actors who had not worked with a chroma key before. Wise had to explain to actors where to look and how to react to things they could not see while filming.


title: Star Trek: The Motion Picture

text: While the bridge scenes were shot early, trouble with filming the transporter room scene delayed further work. Crew working on the transporter platform found their footwear melting on the lighted grid while shooting tests. Issues with the wormhole sequences caused further delays. The footage for the scene was filmed two ways; first, at the standard 24 frames per second, and then at the faster 48 frames; the normal footage was a back-up if the slow-motion effect produced by the faster frame speed did not turn out as planned. The shoot dragged on so long that it became a running joke for cast members to try and top each other with wormhole-related puns. The scene was finally completed on August 24, while the transporter scenes were being filmed at the same time on the same soundstage.


title: Star Trek: The Motion Picture

text: The planet Vulcan setting was created using a mixture of on-location photography at Minerva Hot Springs in Yellowstone National Park and set recreation. Yellowstone was selected after filming in Turkish ruins proved to be too expensive. Securing permission for filming the scenes was difficult in the middle of the summer tourist season, but the Parks Department acquiesced so long as the crew remained on the boardwalks to prevent damage to geological formations. Zuberano, who had helped select the site for the shoot, traveled to Yellowstone and returned with a number of photos. Minor also made a trip and returned to create a large painting depicting how the scene might look. In consultations with Michelson, the crew decided to use miniatures in the foreground to create the Vulcan temples, combined with the real hot springs in the background. In the film, the bottom third of the frames were composed of miniature stairs, rocks, bits of red glass and a Vulcan statue. The center of the frame contained Nimoy's shots and the park setting, while the final third of the frame was filled with a matte painting. On August 8, the day after production began at Paramount, an 11-person second unit left for Yellowstone. The sequence took three days to shoot.


title: Star Trek: The Motion Picture

text: On returning to Paramount, the art department had to recreate parts of Yellowstone in a large "B tank", long. The tank was designed to be flooded with millions of gallons of water to represent large bodies of water. Minor set up miniatures on the tank's floor before construction and made sure that the shadows that fell on Spock at Yellowstone could be properly recreated. A plywood base was built on metal platforms to create stone silhouettes, reinforced with chicken wire. Polyurethane foam was sprayed over the framework under the supervision of the Los Angeles Fire Department. The bottom part of the statue miniature was represented by a fiberglass foot. Weldon matched the effects filmed at Yellowstone using dry ice and steam machines. To recreate the appearance of the swirling eddies of water in the real Yellowstone, a combination of evaporated milk, white poster paint, and water was poured into the set's pools. The pressure of the steam channeled into the pools through hidden tubing causes enough movement in the whirlpools to duplicate the location footage. Due to the requirement that the sun be in a specific location for filming and that the environment be bright enough, production fell behind schedule when it was unseasonably cloudy for three days straight. Any further scenes to recreate Vulcan would be impossible, as the set was immediately torn down to serve as a parking lot for the remainder of the summer.


title: Star Trek: The Motion Picture

text: The computer console explosion that causes the transporter malfunction was simulated using Brillo Pads. Weldon hid steel wool inside the console and attached an arc welder to operate by remote control when the actor pulled a wire. The welder was designed to create a spark instead of actually welding, causing the steel wool to burn and make sparks; so effective was the setup that the cast members were continually startled by the flare-ups, resulting in additional takes. Various canisters and cargo containers appear to be suspended by anti-gravity throughout the film. These effects were executed by several of Weldon's assistants. The crew built a circular track that had the same shape as the corridor and suspended the antigravity prop on four small wires that connected to the track. The wires were treated with a special acid that oxidized the metal; the reaction tarnished the wires to a dull gray that would not show up in the deep blue corridor lighting. Cargo boxes were made out of light balsa wood so that fine wires could be used as support.


title: Star Trek: The Motion Picture

text: As August ended, production continued to slip farther behind schedule. Koenig learned that rather than being released in 14 days after his scenes were completed, his last day would be on October 26—eight weeks later than expected. The next bridge scenes to be filmed after the wormhole sequence, "Enterprise"s approach to V'Ger and the machine's resulting attack, were postponed for two weeks so that the special effects for the scene could be planned and implemented, and the engine room scenes could be shot. Chekov's burns sustained in V'Ger's attack were difficult to film; though the incident took only minutes on film, Weldon spent hours preparing the effect. A piece of aluminum foil was placed around Koenig's arm, covered by a protective pad and then hidden by the uniform sleeve. Weldon prepared an ammonia and acetic acid solution that was touched to Koenig's sleeve, causing it to smoke. Difficulties resulted in the scene being shot ten times; it was especially uncomfortable for the actor, whose arm was slightly burned when some of the solution leaked through to his arm.


title: Star Trek: The Motion Picture

text: Khambatta also faced difficulties during filming. She refused to appear nude as called for in the script during the Ilia probe's appearance. The producers got her to agree to wear a thin skin-colored body stocking, but she caught a cold as a result of the shower mist, created by dropping dry ice into warm water and funneling the vapors into the shower by a hidden tube. Khambatta had to leave the location repeatedly to avoid hypercapnia. One scene required the Ilia probe to slice through a steel door in the sickbay; doors made out of paper, corrugated cardboard covered in aluminum foil, and cork were tested before the proper effect was reached. The illuminated button in the hollow of the probe's throat was a 12-volt light bulb that Khambatta could turn on and off via hidden wires; the bulb's heat eventually caused a slight burn.


title: Star Trek: The Motion Picture

text: On January 26, 1979, the film finally wrapped after 125 days. Shatner, Nimoy, and Kelley delivered their final lines at 4:50 pm. Before the crew could go home, a final shot had to be filmed—the climactic fusing of Decker and V'Ger. The script prescribed a heavy emphasis on lighting, with spiraling and blinding white lights. Collins was covered in tiny dabs of cotton glued to his jacket; these highlights were designed to create a body halo. Helicopter lights, 4,000-watt lamps and wind machines were used to create the effect of Decker's fusion with the living machine. The first attempts at filming the scene became a nightmare for the crew. The extreme lighting caused normally invisible dust particles in the air to be illuminated, creating the appearance that the actors were caught in a blizzard. During the retakes throughout the week the crew mopped and dusted the set constantly, and it required later technical work to eliminate the dust in the final print.


title: Star Trek: The Motion Picture

text: Two weeks later, the entire cast and crew joined with studio executives for a traditional wrap party. Four hundred people attended the gathering, which spilled over into two restaurants in Beverly Hills. While much of the crew readied for post-production, Wise and Roddenberry were grateful for the opportunity to take a short vacation from the motion picture before returning to work.


title: Star Trek: The Motion Picture

text: While the cast departed to work on other projects, the post-production team was tasked with finalizing the film in time for a Christmas release; the resulting work would take twice as long as the filming process had taken. Editor Todd Ramsay and assistants spent principal photography syncing film and audio tracks. The resulting rough cuts were used to formulate plans for sound effects, music, and optical effects that would be added later.


title: Star Trek: The Motion Picture

text: Roddenberry also provided a large amount of input, sending memos to Ramsay via Wise with ideas for editing. Ramsay tried to cut as much unnecessary footage as he could as long as the film's character and story development were not damaged. One of Roddenberry's ideas was to have the Vulcans speak their own language. Because the original Vulcan scenes had been photographed with actors speaking English, the "language" needed to lip-sync with the actor's lines.


title: Star Trek: The Motion Picture

text: After the groundbreaking opticals of "Star Wars", "Star Trek"s producers realized the film required similarly high-quality visuals. Douglas Trumbull, a film director with an excellent reputation in Hollywood who had worked on "", was the first choice for director of special effects, but declined the offer. Trumbull was busy on "Close Encounters", and was tired of being ignored as a director and having to churn out special effects for someone else's production; after completing the effects work, Trumbull planned on launching his own feature using a new film process. The next choice, John Dykstra, was similarly wrapped up in other projects. Post-production supervisor Paul Rabwin suggested Robert Abel's production company Robert Abel and Associates might be up to the task. The scope and size of the effects grew after the television movie became "The Motion Picture". Abel and Associates bid $4 million for doing the film's effects and Paramount accepted. As new effects were added, Abel increased their bid by $750,000, and Roddenberry suggested that the effects costs and schedules be reexamined.


title: Star Trek: The Motion Picture

text: Rumors surfaced about difficulties regarding the special effects. A year into the production, millions of dollars had been spent but almost no usable footage had been created; Abel and Associates was not experienced in motion picture production and the steep learning curve worried the producers. Effects artist Richard Yuricich acted as a liaison between Abel and Paramount. To speed up the work, Abel passed off miniature and matte painting tasks to Yuricich. Despite being relieved of nearly half the effects work, it became clear by early 1979 that Abel and Associates would not be able to complete the remainder on time. By then Trumbull was supervising effects, greatly reducing Abel's role. (Because of Trumbull's disinterest in only working on special effects, he reportedly received a six-figure salary and the chance to direct his own film.) Creative differences grew between Abel and Associates and the Paramount production team; Wise reportedly became angry during a viewing of Abel's completed effects, of which the studio decided only one was usable. Paramount fired Abel and Associates on February 22, 1979.


title: Star Trek: The Motion Picture

text: The studio had spent $5 million and a year's worth of time with Abel and Associates, although Abel reportedly gained a new production studio filled with equipment using Paramount's money, and allegedly sold other Paramount-funded equipment. Trumbull had completed "Close Encounters" but his plan for a full feature had been canceled by Paramount, possibly as punishment for passing on "Star Trek". With Trumbull now available, primary responsibility for "The Motion Picture"s optical effects passed on to him. Offering what Trumbull described as "an almost unlimited budget", in March the studio asked Trumbull if he could get the opticals work completed by December, the release date to which Paramount was financially committed (having accepted advances from exhibitors planning on a Christmas delivery). Trumbull was confident that he could get the work done without a loss of quality despite a reputation for missing deadlines because of his perfectionism. Paramount assigned a studio executive to Trumbull to make sure he would meet the release date, and together with Yuricich the effects team rushed to finish. The effects budget climbed to $10 million.


title: Star Trek: The Motion Picture

text: Trumbull recalled that Wise "trusted me implicitly" as a fellow director to complete the effects and "fix this for him". Yuricich's previous work had been as Director of Photography for Photographic Effects on "Close Encounters", and he and Trumbull reassembled the crew and equipment from the feature, adding more personnel and space. Time, not money, was the main issue; Trumbull had to deliver in nine months as many effects as in "Star Wars" or "Close Encounters" combined, which had taken years to complete. The Glencoe-based facilities the teams had used for "Close Encounters" were deemed insufficient, and a nearby facility was rented and outfitted with five more stages equipped with camera tracks and systems. Dykstra and his 60-person production house Apogee Company were subcontracted to Trumbull. Crews worked in three shifts a day, 24 hours a day, seven days a week.


title: Star Trek: The Motion Picture

text: Trumbull and Dykstra found the Magicam models problematic. The Klingon cruiser's lighting was so dim that there was no way to make them bright enough on film. As Trumbull also felt the "Enterprise"s lights were ill-suited for his needs, he rewired both models. He thought that "Enterprise" should self-illuminate when traveling years from any source of light. Instead of having the ship completely dark save for viewports, Trumbull devised a system of self-illumination; he pictured the ship as something like an oceanliner, "a grand lady of the seas at night". A similar method was used on the Klingon cruiser model, but he made it less well-lit to convey a different look than the clean visuals of the Federation—the cruiser was meant to evoke "an enemy submarine in World War II that's been out at sea for too long". Trumbull wished that the "Enterprise" model were larger; a special periscope lens system was needed for close-up film angles. The models were filmed in multiple passes and composited together in post-production; multiple passes with only the model's lighting running were added to the original pass for the final look. The Klingon cruiser sequence was developed to avoid an opening similar to "Star Wars", with one model used for all three seen in the film.


title: Star Trek: The Motion Picture

text: While Dykstra's team handled the ships, the V'Ger cloud was developed by Trumbull. Trumbull wanted the cloud to have a specific shape to it—"it couldn't just be a blob of cotton," he said, "it had to have some shape that you could get camera angles on." A special camera support track was built that could pan and focus over a piece of art, with the light strobed to provide depth. While the team planned on compositing multiple passes to provide physical movement to the cloud shots, Trumbull felt that it detracted from the sense of scale, and so small animations were subtly introduced in the final product. The torpedo effects were simulated by shooting a laser through a piece of crystal mounted on a rotating rod after experiments with Tesla coils proved insufficient. The same effect was recolored and used for the Klingons and the "Enterprise"; the aliens' torpedoes glowed red while the "good guys" had blue-colored weaponry. V'Ger's destruction of the ships was created using scanning lasers, with the multiple laser passes composited onto the moving model to create the final effect.


title: Star Trek: The Motion Picture

text: Trumbull wanted the scene of Kirk and Scott approaching the "Enterprise" in drydock without dialogue to "let the audience just love the "Enterprise"". Its two pages of script needed 45 different shots—averaging one a day—for the travel pod containing Kirk to make its flight from the space office complex to the docking ring. Double shifts around the clock were required to finish the effect on time. For close shots of the pod traveling to the "Enterprise", close-ups of Shatner and Doohan were composited into the model, while in long shots lookalike puppets were used.


title: Star Trek: The Motion Picture

text: Dykstra and Apogee created three models to stand in for the Epsilon 9 station. A model was used for distance shots, while an isolated panel was used for closer shots. The station control tower was replicated with rear-projection screens to add the people inside. A 2 ft model spaceman created for the shot was used in the drydock sequence and Spock's spacewalk. Unique destruction effects for the station had to be discarded due to time constraints. V'Ger itself was filmed in a hazy, smoky room, in part to convey depth and also to hide the parts of the ship still under construction. The multiple passes were largely based on guesswork, as every single available camera was in use and the effects had to be generated without the aid of a bluescreen.


title: Star Trek: The Motion Picture

text: Even after the change in effects companies, Yuricich continued to provide many of the matte paintings used in the film, having previously worked on "The Day the Earth Stood Still", "Ben-Hur", "North by Northwest" and "Logan's Run". The paintings were combined with live action after a selected area of the frame was matted out; the blue Earth sky over Yellowstone, for example was replaced with a red-hued Vulcan landscape. More than 100 such paintings were used.


title: Star Trek: The Motion Picture

text: Trumbull said that Wise and the studio gave him "a tremendous amount of creative freedom" despite being hired after the completion of nearly all the principal photography. The Spock spacewalk sequence, for example, was radically changed from the Abel version. The original plan was for Kirk to follow Spock in a spacesuit and come under attack from a mass of sensor-type organisms. Spock would save his friend, and the two would proceed through V'ger. Wise, Kline, and Abel had been unable to agree on how to photograph the sequence, and the result was a poorly designed and ungainly effect that Trumbull was convinced was disruptive to the plot and would have cost millions to fix. Instead, he recommended a stripped-down sequence that omitted Kirk entirely and would be simple and easy to shoot; Robert McCall, known for designing the original posters to "2001", provided Trumbull with concept art to inform the new event.


title: Star Trek: The Motion Picture

text: Post-production was so late that Paramount obtained an entire MGM sound stage to store 3,000 large metal containers for each theater around the country. Each final film reel was taken while wet from the film studio and put into a container with other reels, then taken to airplanes waiting on tarmacs. By the time "The Motion Picture" was finished, $26 million was spent on the film itself, while $18 million had been spent on sets for the undeveloped "Phase II" series, much of which were not used for the film itself, which brought the total cost of the movie to $44 million.


title: Star Trek: The Motion Picture

text: The score for "Star Trek: The Motion Picture" was predominantly written by Jerry Goldsmith, beginning a long association with scoring "Star Trek" film and television. Gene Roddenberry had originally wanted Goldsmith to score "Star Trek"<nowiki>'</nowiki>s pilot episode, "", but he was unavailable. When Wise signed on to direct, Paramount asked if he had any objection to using Goldsmith. Wise, who had worked with Goldsmith on "The Sand Pebbles", replied "Hell, no. He's great!" Wise later considered his work with Goldsmith one of the best relationships he ever had with a composer.


title: Star Trek: The Motion Picture

text: Goldsmith was influenced by the style of the romantic, sweeping music of "Star Wars". "When you stop and think about it, space is a very romantic thought. It is, to me, like the Old West, we're up in the universe. It's about discovery and new life [...] it's really the basic premise of "Star Trek"", he said. Goldsmith's initial bombastic main theme reminded Ramsay and Wise of sailing ships. Unable to articulate what he felt was wrong with the piece, Wise recommended writing an entirely different piece. Although irked by the rejection, Goldsmith consented to rework his initial ideas. The rewriting of the theme required changes to several sequences Goldsmith had scored without writing a main title piece. The approach of Kirk and Scott to the drydocked "Enterprise" by shuttle lasted a ponderous five minutes due to the effect shots coming in late and unedited, requiring Goldsmith to maintain interest with a revised and developed cue. "Star Trek: The Motion Picture" is the only "Star Trek" film to have a true overture, using "Ilia's Theme" (later re-recorded, as a lyrical version, by Shaun Cassidy as "A Star Beyond Time" with lyrics by Larry Kusik) in this role, most noticeably in the "Director's Edition" DVD release. "Star Trek" and "The Black Hole" were the only feature films to use an overture from the end of 1979 until 2000 (with Lars von Trier's "Dancer in the Dark").


title: Star Trek: The Motion Picture

text: Much of the recording equipment used to create the movie's intricately complicated sound effects was, at the time, extremely cutting-edge. Among these pieces of equipment was the ADS ("Advanced Digital Synthesizer") 11, manufactured by Pasadena, California custom synthesizer manufacturer Con Brio, Inc. The movie provided major publicity and was used to advertise the synthesizer, though no price was given. The film's soundtrack also provided a debut for the Blaster Beam, an electronic instrument long. It was created by musician Craig Huxley, who played a small role in an episode of the original television series. The Blaster had steel wires connected to amplifiers fitted to the main piece of aluminum; the device was played with an artillery shell. Goldsmith heard it and immediately decided to use it for V'Ger's cues. Several state-of-the-art synthesizers were used as musical instruments, notably the Yamaha CS-80, ARP 2600, Oberheim OB-X, and Serge synthesizer. An enormous pipe organ first plays the V'Ger theme on the "Enterprise"s approach, a literal indication of the machine's power.


title: Star Trek: The Motion Picture

text: Goldsmith scored "The Motion Picture" over a period of three to four months, a relatively relaxed schedule compared to typical production, but time pressures resulted in Goldsmith bringing on colleagues to assist in the work. Alexander Courage, composer of the original "Star Trek" theme, provided arrangements to accompany Kirk's log entries, while Fred Steiner wrote 11 cues of additional music, notably the music to accompany the "Enterprise" achieving warp speed and first meeting V'Ger. The rush to finish the rest of the film impacted the score. The final recording session finished at 2:00 am on December 1, only five days before the film's release.


title: Star Trek: The Motion Picture

text: A soundtrack featuring the film's music was released by Columbia Records in 1979 together with the film debut, and was one of Goldsmith's best-selling scores. Sony's Legacy Recordings released an expanded two-disc edition of the soundtrack on November 10, 1998. The album added an additional 21 minutes of music to supplement the original track list, and was resequenced to reflect the story line of the film. The first disc features as much of the score as can fit onto a 78-minute disc, while the second contains "Inside Star Trek", a spoken word documentary from the 1970s. In 2012, the score was released yet again via La-La Land Records in association with Sony Music. This 3-CD set contains the complete score for the first time, plus unreleased alternate and unused cues, in addition to the remastered original 1979 album.


title: Star Trek: The Motion Picture

text: The score to "Star Trek: The Motion Picture" went on to garner Goldsmith nominations for the Oscars, Golden Globe and Saturn awards. It is often regarded as one of the composer's greatest scores, and was also one of the American Film Institute's 250 nominated scores for their top 25 American film scores.


title: Star Trek: The Motion Picture

text: Sound designer Frank Serafine, a longtime "Star Trek" fan, was invited to create the sound effects for the picture. Given access to state-of-the-art audio equipment, Serafine saw the picture as the chance to modernize outdated motion picture sound techniques with digital technology. Owing to background noise such as camera operation, much of the ambient noise or dialogue captured on set was unusable; it was Serafine's job to create or recreate sounds to mix back into the scenes.


title: Star Trek: The Motion Picture

text: As all the sound elements such as dubbed lines or background noise came together, they were classified into three divisions: A Effects, B Effects, and C Effects. A Effects were synthesized or acoustic sounds that were important and integral to the picture—the sound of V'Ger's weapon (partly done with the blaster beam instrument) for example, or Spock's mind meld, as well as transporters, explosions, and the warp speed sound effect. B Effects consisted of minor sounds such as the clicks of switches, beeps or chimes. C Effects were subliminal sounds that set moods—crowd chatter and ambient noise. All the elements were mixed as "predubs" to speed integration into the final sound mix.


title: Star Trek: The Motion Picture

text: When "The Motion Picture" was announced, many synthesizer artists submitted demo tapes to Paramount. Ramsay and Wise consulted and decided that the film should have a unique audio style; they were particularly concerned to avoid sounds that had become pervasive and cliché from repetitive use in other science-fiction movies. Events such as Enterprise bridge viewscreen activation were kept silent to provide a more comfortable atmosphere. In contrast, almost every action on the Klingon bridge made noise to reflect the aliens' harsh aesthetic While much of the effects were created using digital synthesizers, acoustic recordings were used as well. The wormhole's sucking sounds were created by slowing down and reversing old Paramount stock footage of a cowboy fight, while the warp acceleration "stretch" sound was built on a slowed-down cymbal crash. The crew encountered difficulty in transferring the quarter-inch (0.64 cm) tapes used for creating the sounds to the 35 mm film used for the final prints; while the film was to be released with Dolby sound, Serafine found it was easier to mix the sounds without regard to format and add the specific format after, during the later transfer to 35 mm.


title: Star Trek: The Motion Picture

text: According to Michele and Duncan Barrett, Roddenberry had a decidedly negative view of religion that was reflected in the "Star Trek" television series episodes; in the episode "Who Mourns for Adonais?", for example, the god Apollo is revealed to be a fraud, an alien rather than a divine being from Earth's past. When Apollo suggests that humans need a new pantheon of gods, Kirk dismisses the idea with the words, "We find the one quite sufficient." In comparison, religious scholar Ross Kraemer says that Roddenberry "pulled his punches" regarding religion and in the television show religion was not absent but highly private. Barrett suggests that with the "Star Trek" feature films this attitude of not addressing religious issues shifted.


title: Star Trek: The Motion Picture

text: In the television series, little time was spent pondering the fate of the dead. In "The Motion Picture", meanwhile, Decker is apparently killed in merging with V'Ger, but Kirk wonders if they have seen the creation of a new life form. Decker and Ilia are listed as "missing" rather than dead, and the lighting and effects created as a result of the merge have been described as "quasimystical" and "pseudo-religious". The discussion of a new birth is framed in a reverential way. While V'Ger is a machine of near omnipotence, according to Robert Asa, the film (along with its successor, "") "implicitly protest[s] against classical theism".


title: Star Trek: The Motion Picture

text: "Tor.com" reviewer Dan Persons noted the film features a number of characters on their own voyages of self discovery, with each defining their concept of fulfillment differently. Persons notes that the result of individual pursuits of fulfillment are damaging or pyrrhic; meaning is only satisfactorily found through interpersonal relationships.


title: Star Trek: The Motion Picture

text: To coincide with the film's release, Pocket Books published a written by Roddenberry. The only "Star Trek" novel Roddenberry wrote, the book adds back story and elements that did not appear in the movie; for example, the novelization mentions that Willard Decker is the son of Commodore Matt Decker from the original series episode ""—a plot element intended for the "Phase II" television series. The novel also has a different opening scene to introduce "Vejur" and Kirk, concentrates in sections on Kirk's struggle with confidence in taking command of the "Enterprise" again and expands on Ilia and Decker's relationship. The "Vejur" spelling for the "intruder's" name was used exclusively in the novel Roddenberry authored, from its first appearance on page 179 of the first paperback edition of the novelization through to the account on the novel's page 241 of Kirk reading the undamaged "V-G-E-R" letters on the fictional "Voyager 6" space probe's nameplate. In addition to the novel, "Star Trek" printed media included a coloring book, ship blueprints, a starship "history book," a sticker book of graphics, a home costume how-to book and a comic book adaptation published by Marvel Comics as "Marvel Super Special" #15 (Dec. 1979). Toys included action figures, ship models, and a variety of watches, phaser mockups and communicators. McDonald's sold specially designed "Star Trek" Happy Meals. The marketing was part of a coordinated approach by Paramount and its parent conglomerate Gulf+Western to create a sustained "Star Trek" product line. started Pocket Books' "Star Trek" book franchise, which produced 18 consecutive bestsellers within a decade.


title: Star Trek: The Motion Picture

text: Owing to the rush to complete the film, "The Motion Picture" was never screened before test audiences, something Wise later regretted. The director carried the fresh print of the film to the world premiere, held at the K-B MacArthur Theater in Washington, D.C. Roddenberry, Wise, and the principal cast attended the function, which also served as an invitational benefit for the scholarship and youth education fund of the National Space Club. While thousands of fans were expected to attend, rain reduced fan turnout to around 300. The premiere was followed by a black-tie reception at the National Air and Space Museum. More than 500 people—consisting of the cast and crew, working members of the space community, and the few "hardcore Trekkies" who could afford the $100 admission price—filled the museum.


title: Star Trek: The Motion Picture

text: Paramount Home Entertainment released the film on VHS, Betamax, LaserDisc, and CED videodisc in 1980 in its original theatrical version.


title: Star Trek: The Motion Picture

text: In 1983, an extended cut premiered on the ABC television network. It added roughly 12 minutes to the film. The added footage was largely unfinished, and cobbled together for the network premiere; Wise had not wanted some of the footage to be included in the final cut of the film. This version was released on VHS, Betamax and LaserDisc by Paramount in 1983.


title: Star Trek: The Motion Picture

text: Two members of Wise's production company, David C. Fein and Michael Matessino, approached Wise and Paramount and persuaded them to release a revised version of the film on video; Paramount released the updated Director's Edition of the film on VHS and DVD on November 6, 2001. Wise, who had considered the theatrical presentation of the film a "rough cut", was given the opportunity to re-edit the film to be more consistent with his original vision. The production team used the original script, surviving sequence storyboards, memos, and the director's recollections. In addition to cuts in some sequences, 90 new and redesigned computer-generated images were created. Care was taken that the effects meshed seamlessly with the old footage. The edition runs 136 minutes, about four minutes longer than the original release. Included among the special features are the deleted scenes which had been part of the television cut.


title: Star Trek: The Motion Picture

text: Aside from the effects, the soundtrack was remixed. Ambient noise such as the buzz of bridge controls were added to enhance certain scenes. Goldsmith had always suspected that some overly long cues could be shortened, so he made the cues repetitive. Although no new scenes were added, the MPAA rated the revised edition PG in contrast to the G rating of the original release. Fein attributed the rating change to the more "intense" sound mix that made scenes such as the central part of V'Ger "more menacing".


title: Star Trek: The Motion Picture

text: The Director's Edition was far better received by critics than the original 1979 release, with some considering the edit to have subsequently turned the film into one of the series' best. The DVD Journal's Mark Bourne said it showcased "a brisker, more attractive version of the movie" that was "as good as it might have been in 1979. Even better maybe." Complaints included the edition's 2.17:1 aspect ratio, as opposed to the original 2.40:1 Panavision. Jeremy Conrad of IGN felt that despite the changes, the pacing might still be too slow for some viewers.


title: Star Trek: The Motion Picture

text: The film's original theatrical cut was released on Blu-ray Disc in May 2009 to coincide with the new "Star Trek" feature, packaged with the five following features as the "Star Trek: Original Motion Picture Collection". "The Motion Picture" was remastered in 1080p high definition. All six films in the set have 7.1 Dolby TrueHD audio. The disc features a new commentary track by "Star Trek" authors and contributors Michael and Denise Okuda, Judith and Garfield Reeves-Stevens, and Daren Dochterman. A 4K Ultra HD Blu-ray of the film was released on September 7, 2021, to commemorate the franchise's 55th anniversary. A 4K version of the directors cut was released on the Paramount+ streaming service, and released in September 2022 to physical media.


title: Star Trek: The Motion Picture

text: "Star Trek: The Motion Picture" opened in the United States and Canada on December 7, 1979, in 857 theaters and set a box office record for the highest opening weekend gross, making $11,926,421 in its first weekend. The film beat the 3-day weekend record set by "Superman" (1978) of $10.4 million in its third weekend (but not its 4-day weekend gross of $13.1 million) and the opening weekend gross of the 1978 reissue of "Star Wars" of $10.1 million. "The Motion Picture" earned $17 million within a week. At its widest domestic distribution, the film was shown in 1,002 theaters; it grossed $82,258,456 in the United States, making it the fifth-highest-grossing film of 1979 in that country. Overall, the film grossed $139 million worldwide. "The Motion Picture" was nominated for three Academy Awards: Best Art Direction (Harold Michelson, Joseph R. Jennings, Leon Harris, John Vallone and Linda DeScenna), Best Visual Effects, and Best Original Score.


title: Star Trek: The Motion Picture

text: In the United States, the film sold the most tickets of any film in the franchise until "Star Trek" (2009), and it remains the highest-grossing film of the franchise worldwide adjusted for inflation, but Paramount considered its gross disappointing compared to expectations and marketing. "The Motion Picture"s budget of $44 million, which included the costs incurred during "Phase II" production, was the largest for any film made within the United States up to that time. David Gerrold estimated before its release that the film would have to gross two to three times its budget to be profitable for Paramount. Gautreaux believed that Roddenberry had not wanted Wise as director but Paramount wanted his experience, and that the two powerful men's differing visions hurt the film. The studio faulted Roddenberry's script rewrites and creative direction for the plodding pace and disappointing gross. While the performance of "The Motion Picture" convinced the studio to back a (cheaper) sequel, Roddenberry was forced out of its creative control. Harve Bennett and Nicholas Meyer would produce and direct "", which received better reviews (becoming a fan favorite) and continued the franchise. With the successful revival of the "Star Trek" brand on the big screen setting an example, Hollywood increasingly turned to 1960s television series for material.


title: Star Trek: The Motion Picture

text: "The Motion Picture" was met with mixed reviews from critics; a 2001 retrospective for the BBC described the film as a critical failure. The film holds a 54% rating on Rotten Tomatoes based on 54 contemporary and modern reviews. Roger Ebert, reviewing the film on "Sneak Previews", liked it, calling it "fun" and "a good time". Judith Martin of "The Washington Post" felt that the plot was too thin to support the length of the film, although Martin felt that compared to such science-fiction films as "2001", "Star Wars", and "Alien", "The Motion Picture"s premise was "slightly cleverer". "Time" magazine's Richard Schickel wrote that the film consisted of spaceships that "take an unconscionable amount of time to get anywhere, and nothing of dramatic or human interest happens along the way". Schickel also lamented the lack of "boldly characterized" antagonists and battle scenes that made "Star Wars" fun; instead, viewers were presented with much talk, "much of it in impenetrable spaceflight jargon". David Denby of "New York" magazine, wrote that the slow movement of ships through space was "no longer surprising and elegant" after films such as "2001", and that much of the action consisted of the crew's reacting to things occurring on the viewscreen, which he considered to be "like watching someone else watch television". "Variety", disagreed, calling the film "a search-and-destroy thriller that includes all of the ingredients the TV show's fans thrive on: the philosophical dilemma wrapped in a scenario of mind control, troubles with the space ship, the dependable and understanding Kirk, the ever-logical Spock, and suspenseful take with twist ending". Scott Bukatman reviewed the film in "Ares" magazine #1, and commented that "With "Star Trek", Roddenberry's trick has been to wear the mask of the humanist as he plays with his Erector set. The scale of the television series arrested his vision at a comfortable and still interesting level, but the new film has finally removed the mask."


title: Star Trek: The Motion Picture

text: The characters and acting received a mixed reception. Stephen Godfrey of "The Globe and Mail" rated their performances highly: "time has cemented Leonard Nimoy's look of inscrutability as Mr. Spock [...] DeForest Kelley as Dr. McCoy is as feisty as ever, and James Doohan as Scotty still splutters about his engineering woes. At a basic level, their exchanges are those of an odd assortment of grumpy, middle-aged men bickering about office politics. They are a relief from the stars, and a delight." Godfrey's only concern was that the reunion of the old cast threatened to make casual viewers who had never seen "Star Trek" feel like uninvited guests. Martin considered the characters more likable than those in comparable science fiction films. Conversely, Arnold felt that the acting of the main cast (Shatner in particular) was poor; "Shatner portrays Kirk as such a supercilious old twit that one rather wishes he'd been left behind that desk", he wrote. "Shatner has perhaps the least impressive movie physique since Rod Steiger, and his acting style has begun to recall the worst of Richard Burton." Vincent Canby of "The New York Times" wrote that the actors did not have much to do in the effects-driven film, and were "limited to the exchanging of meaningful glances or staring intently at television monitors, usually in disbelief". Stephen Collins and Persis Khambatta were more favorably received. Gene Siskel felt the film "teeter[ed] towards being a crashing bore" whenever Khambatta was not on screen,and Jack Kroll of "Newsweek" felt that she had the most memorable entrance in the film. "[Khambatta] is sympathetic enough to make one hope she'll have a chance to show less skin and more hair in future films", Godfrey wrote.


title: Star Trek: The Motion Picture

text: Many critics felt that the special effects overshadowed other elements of the film. Canby wrote that the film "owes more to [Trumbull, Dykstra and Michelson] than it does to the director, the writers or even the producer". Livingston felt that Trumbull and Dykstra's work on the film was not as impressive as on "Star Wars" and "Close Encounters" due to the limited amount of production time. Godfrey called the effects "stunning", but conceded that they threatened to overpower the story two-thirds of the way into the film. Kroll, Martin, and Arnold agreed that the effects were not able to carry the film or gloss over its other deficiencies: "I'm not sure that Trumbull & Co. have succeeded in pulling the philosophic chestnuts of Roddenberry and his co-writers out of the fire", Arnold wrote.


title: Star Trek: The Motion Picture

text: James Berardinelli, reviewing the film in 1996, felt that the pace dragged and the plot bore too close a resemblance to the original series episode "", but considered the start and end of the film to be strong. Terry Lee Rioux, Kelley's biographer, noted that the film proved "that it was the character-driven play that made all the difference in "Star Trek"". The slow pacing, extended reaction shots, and lack of action scenes led fans and critics to give the film a variety of nicknames, including "The Slow Motion Picture," "The Motion Sickness," and "Where Nomad" [the probe in "The Changeling"] "Has Gone Before".


title: Donal Logue

text: Donal Francis Logue (born February 27, 1966) is a Canadian actor. He starred in the film "The Tao of Steve" and has had roles in the TV series "Sons of Anarchy", "Vikings", "Grounded for Life", "Copper", "Terriers", and, as Detective Harvey Bullock on Fox's "Gotham". He additionally played the recurring role of Lt. (later Captain) Declan Murphy in NBC's "".


title: Donal Logue

text: Donal Francis Logue was born in Ottawa, Ontario, to Irish parents from County Kerry. His parents were Carmelite missionaries and the family moved from Ireland to Canada to Boston and elsewhere before settling in Calexico, California, in the state's Imperial Valley. There and in nearby El Centro, California, Logue grew up with three sisters—Karina, Deirdre and Eileen—and their mother taught at Calexico High School and Vincent Memorial Catholic High School. Logue attended Central Union High School in El Centro, where he became interested in theater. With friend John Everly during what Logue called the "summer during our sophomore year", he created the theater group Imperial Valley Players to perform in the school's auditorium, mounting the theater of the absurd play "Picnic on the Battlefield" by Fernando Arrabal.


title: Donal Logue

text: For part of his junior year of high school, Logue attended the Jesuit school St. Ignatius' College in Enfield Town, London, England. In 1983, while a high-school senior, Donal was elected president of the 37th session of the American Legion Boys Nation, representing California and becoming the first non-citizen elected Boys Nation president. He went on to study history at Harvard University, graduating in 1988. In the late 1980s, he worked as a road manager for such bands as Bullet LaVolta.


title: Donal Logue

text: After a few appearances in made-for-TV films, Logue appeared in the 1992 film "Sneakers", playing Dr. Gunter Janek. Of his career start, Logue recalled,


title: Donal Logue

text: In 1993, he portrayed Capt. Ellis Spear in "Gettysburg", and a movie agent, Judd Bromell, on the "Northern Exposure" episode "Baby Blues", then later appeared as an FBI agent in "The X-Files" episode "Squeeze." Logue's character Jimmy The Cab Driver was a staple of MTV promos in the early 1990s. He also appeared in "Blade" and "The Patriot", in 2000. He appeared in two of Edward Burns films: "Purple Violets" and "The Groomsmen".


title: Donal Logue

text: Logue's portrayal as the lead in "The Tao of Steve" won him a Special Grand Jury Prize for best actor at the 2000 Sundance Film Festival, and was noticed by "ER" producer John Wells, who cast Logue in several episodes as Chuck Martin, a nurse Dr. Susan Lewis marries one weekend in Las Vegas on a whim, and later has a child with. Concurrent with the run on "ER," Logue starred in the critically acclaimed comedy "Grounded for Life". In December 2005, Logue had a pilot development deal for a new situation comedy on ABC television, originally titled "I Want to Rob Mick Jagger". The pilot was picked up and debuted in the winter of 2006 under the name "The Knights of Prosperity". The show disappeared from the ABC lineup in early March 2007.


title: Donal Logue

text: Logue also appeared in a supporting role in "Just Like Heaven" (2005). Logue had appeared as Phil Stubbs in the original pilot for the NBC show "Ed", but dropped out to star in the sitcom "Grounded for Life". The first two and a half seasons of "Grounded for Life" were telecast on the Fox network; thereafter, the show moved to The WB for the remainder of its run. In 2002 and 2003, Logue appeared on the VH1 "I Love..." instalments "'80s", "'70s", and "'80s Strikes Back". In 2010, Logue appeared on "House, M.D." as millionaire patient Curtis Harry.


title: Donal Logue

text: Logue also appeared in NBC's "The Dennis", in 2005, about a former child prodigy whose parents kick him out of the house and into the real world. It was not picked up, however. Logue co-starred with Nicolas Cage in the film "Ghost Rider", the David Fincher film "Zodiac", and alongside Mark Wahlberg in the 20th Century Fox film "Max Payne". In 2008, Logue appeared in the Jack Kerouac documentary "One Fast Move or I'm Gone: Kerouac's Big Sur". Logue starred as Captain Kevin Tidwell in the NBC crime drama "Life" from 2008 to 2009. On May 4, 2009, NBC announced "Life" would not be returning for a third season.


title: Donal Logue

text: Logue starred in FX series "Terriers", which ran 13 episodes from September to December 2010. After the show's cancellation, a frustrated Logue briefly left acting for truck-driving, according to his friend and fellow actor W. Earl Brown. Logue starred as the main character in Theory of a Deadman's music video for the song "Lowlife", off their 2011 release "The Truth Is...".


title: Donal Logue

text: In late 2012, Logue joined the casts of "Sons of Anarchy" as renegade ex-U.S. Marshal Lee Toric who is out for revenge for the murder of his sister and "Vikings" as King Horik. In 2013, he joined the cast of BBC America's show "Copper" as a returning Union General turned Tammany Hall insider, General Brendan Donovan, and he returned to "Sons of Anarchy" and "Vikings" to reprise his roles from the previous seasons. Logue had roles in two 2013: "CBGB" with Alan Rickman and "9 Full Moons" with Amy Seimetz and Bret Roberts.


title: Donal Logue

text: Between March and May 2014, he appeared in six episodes of the NBC police procedural, crime, legal drama, "" as Lieutenant Declan Murphy, a former undercover officer appointed as acting commander of the Special Victims Unit. From 2014 to the show's conclusion in 2019, he portrayed Harvey Bullock in the police procedural series "Gotham", based on the DC Comics Batman franchise.


title: Donal Logue

text: Logue travels back and forth to Killarney, County Kerry, Ireland, where his mother lives, and holds both Irish and Canadian citizenship.


title: Donal Logue

text: Logue has homes in Los Angeles and in Shady Cove, Oregon, where he cofounded Frison Logue Hardwood. Logue regularly plays for the Los Angeles–based amateur soccer team Hollywood United.


title: Donal Logue

text: Logue has a Class-A Commercial Drivers License and is licensed to drive tractor-trailers with double or triple trailers, tankers and hazardous materials. He has a hardwood company with one partner called Frison-Logue Hardwood, and a trucking company called Aisling Trucking with two partners based out of Central Point, Oregon, which the three founded in 2012.


title: Donal Logue

text: Logue was formerly married or in a long-term committed relationship with Kasey Walker, also known as Kasey Smith. They have a son named Finn, and a transgender daughter, Jade. On June 27, 2017, Logue posted a tweet saying Jade had gone missing; he later deleted it and launched a wider public appeal for help after contacting police and the National Center for Missing and Exploited Children. By July 8, over a week later, Jade had been found in North Carolina and was returned home safely.


title: Kiss

text: A kiss is the touch or pressing of one's lips against another person or an object. Cultural connotations of kissing vary widely. Depending on the culture and context, a kiss can express sentiments of love, passion, romance, sexual attraction, sexual activity, sexual arousal, affection, respect, greeting, friendship, peace, and good luck, among many others. In some situations, a kiss is a ritual, formal or symbolic gesture indicating devotion, respect, or a sacramental. The word came from Old English "cyssan" ("to kiss"), in turn from "coss " ("a kiss").


title: Kiss

text: Anthropologists disagree on whether kissing is an instinctual or learned behaviour. Those that believe kissing to be an instinctual behaviour, cite similar behaviours in other animals such as bonobos, which are known to kiss after fighting - possibly to restore peace. Others believe that it is a learned behaviour, having evolved from activities such as suckling or premastication in early human cultures passed on to modern humans. Another theory posits that the practice originated in males during the paleolithic era tasting the saliva of females to test their health in order to determine whether they would make a good partner for procreation. The fact that not all human cultures kiss is used as an argument against kissing being an instinctual behaviour in humans; only around 90% of the human population is believed to practice kissing.


title: Kiss

text: The earliest reference to kissing-like behavior comes from the Vedas, Sanskrit scriptures that informed Hinduism, Buddhism, and Jainism, around 3,500 years ago, according to Vaughn Bryant, an anthropologist at Texas A&M University who specializes in the history of the kiss.


title: Kiss

text: Kissing is described in the surviving ancient Egyptian love poetry from the New Kingdom, found on papyri excavated at Deir el-Medina:


title: Kiss

text: The earliest reference to kissing in the Old Testament is in , when Jacob deceives his father to obtain his blessing:


title: Kiss

text: In "Cyropaedia" (370 BC), Xenophon wrote about the Persian custom of kissing in the lips upon departure while narrating the departure of Cyrus the Great (c. 600 BC) as a boy from his Median kinsmen. According to Herodotus (5th century BC), when two Persians meet, the greeting formula expresses their equal or inequal status. They do not speak; rather, equals kiss each other on the mouth, and in the case where one is a little inferior to the other, the kiss is given on the cheek.


title: Kiss

text: During the later Classical period, affectionate mouth-to-mouth kissing was first described in the Hindu epic the "Mahabharata".


title: Kiss

text: Anthropologist Vaughn Bryant argues kissing spread from India to Europe after Alexander the Great conquered parts of Punjab in northern India in 326 BCE.


title: Kiss

text: The Romans were passionate about kissing and talked about several types of kissing. Kissing the hand or cheek was called an . Kissing on the lips with mouth closed was called a , which was used between relatives. A kiss of passion was called a .


title: Kiss

text: Kissing was not always an indication of "eros", or love, but also could show respect and rank as it was used in Medieval Europe.


title: Kiss

text: The study of kissing started sometime in the nineteenth century and is called philematology, which has been studied by people including Cesare Lombroso, Ernest Crawley, Charles Darwin, Edward Burnett Tylor and modern scholars such as Elaine Hatfield.


title: Kiss

text: Kristoffer Nyrop identified a number of types of kisses, including kisses of love, affection, peace, respect, and friendship. He notes, however, that the categories are somewhat contrived and overlapping, and some cultures have more kinds, including the French with twenty and the Germans with thirty.


title: Kiss

text: Kissing another person's lips has become a common expression of affection or warm greeting in many cultures worldwide. Yet in certain cultures, kissing was introduced only through European settlement, before which it was not a routine occurrence. Such cultures include certain indigenous peoples of Australia, the Tahitians, and many tribes in Africa.


title: Kiss

text: A kiss can also be used to express feelings without an erotic element but can be nonetheless "far deeper and more lasting", writes Nyrop. He adds that such kisses can be expressive of love "in the widest and most comprehensive meaning of the word, bringing a message of loyal affection, gratitude, compassion, sympathy, intense joy, and profound sorrow."


title: Kiss

text: Nyrop writes that the most common example is the "intense feeling which knits parents to their offspring", but he adds that kisses of affection are not only common between parents and children, but also between other members of the same family, which can include those outside the immediate family circle, "everywhere where deep affection unites people." The tradition is written of in the Bible, as when Esau met Jacob after a long separation, he ran towards him, fell on his neck, and kissed him (), Moses greeted his father-in-law and kissed him (), and Orpah kissed her mother-in-law before leaving her (). The family kiss was traditional with the Romans and kisses of affection are often mentioned by the early Greeks, as when Odysseus, on reaching his home, meets his faithful shepherds.


title: Kiss

text: Affection can be a cause of kissing "in all ages in grave and solemn moments," notes Nyrop, "not only among those who love each other, but also as an expression of profound gratitude. When the Apostle Paul took leave of the elders of the congregation at Ephesus, "they all wept sore, and fell on Paul's neck and kissed him" (Acts 20:37)." Kisses can also be exchanged between total strangers, as when there is a profound sympathy with or the warmest interest in another person.


title: Kiss

text: Folk poetry has been the source of affectionate kisses where they sometimes played an important part, as when they had the power to cast off spells or to break bonds of witchcraft and sorcery, often restoring a man to his original shape. Nyrop notes the poetical stories of the "redeeming power of the kiss are to be found in the literature of many countries, especially, for example, in the Old French Arthurian romances (Lancelot, Guiglain, Tirant le blanc) in which the princess is changed by evil arts into a dreadful dragon, and can only resume her human shape in the case of a knight being brave enough to kiss her." In the reverse situation, in the tale of "Beauty and the Beast", a transformed prince then told the girl that he had been bewitched by a wicked fairy, and could not be recreated into a man unless a maid fell in love with him and kissed him, despite his ugliness.


title: Kiss

text: A kiss of affection can also take place after death. In , it is written that when Jacob was dead, "Joseph fell upon his father's face and wept upon him and kissed him." And it is told of Abu Bakr, Muhammad's first disciple, father-in-law, and successor, that, when the prophet was dead, he went into the latter's tent, uncovered his face, and kissed him. Nyrop writes that "the kiss is the last tender proof of love bestowed on one we have loved, and was believed, in ancient times, to follow mankind to the nether world."


title: Kiss

text: Kissing on the lips can be a physical expression of affection or love between two people in which the sensations of touch, taste, and smell are involved. According to the psychologist Menachem Brayer, although many "mammals, birds, and insects exchange caresses" which appear to be kisses of affection, they are not kisses in the human sense.


title: Kiss

text: Surveys indicate that kissing is the second most common form of physical intimacy among United States adolescents (after holding hands), and that about 85% of 15 to 16-year-old adolescents in the US have experienced it.


title: Kiss

text: The kiss on the lips can be performed between two friends or family. This move aims to express affection for a friend. Unlike kissing for love, a friendly kiss has no sexual connotation. The kiss on the lips is a practice that can be found in the time of Patriarchs (Bible). In Ancient Greece, the kiss on the mouth was used to express a concept of equality between people of the same rank. In the Middle Ages, the kiss of peace was recommended by the Catholic Church. The kiss on the lips was also common among knights. The gesture has again become popular with young people, particularly in England.


title: Kiss

text: In many cultures, it is considered a harmless custom for teenagers to kiss on a date or to engage in kissing games with friends. These games serve as icebreakers at parties and may be some participants' first exposure to sexuality. There are many such games, including Truth or Dare?, Seven Minutes in Heaven (or the variation "Two Minutes in the Closet"), Spin the Bottle, Post Office, and Wink.


title: Kiss

text: The psychologist William Cane notes that kissing in Western society is often a romantic act and describes a few of its attributes:


title: Kiss

text: Romantic kissing in Western cultures is a fairly recent development and is rarely mentioned even in ancient Greek literature. In the Middle Ages it became a social gesture and was considered a sign of refinement of the upper classes. Other cultures have different definitions and uses of kissing, notes Brayer. In China, for example, a similar expression of affection consists of rubbing one's nose against the cheek of another person. In other Eastern cultures kissing is not common. In South East Asian countries the "sniff kiss" is the most common form of affection and Western mouth to mouth kissing is often reserved for sexual foreplay. In some tribal cultures the "equivalent to 'kiss me' is 'smell me.'"


title: Kiss

text: The kiss can be an important expression of love and erotic emotions. In his book "The Kiss and its History", Kristoffer Nyrop describes the kiss of love as an "exultant message of the longing of love, love eternally young, the burning prayer of hot desire, which is born on the lovers' lips, and 'rises,' as Charles Fuster has said, 'up to the blue sky from the green plains,' like a tender, trembling thank-offering." Nyrop adds that the love kiss, "rich in promise, bestows an intoxicating feeling of infinite happiness, courage, and youth, and therefore surpasses all other earthly joys in sublimity." He also compares it to achievements in life: "Thus even the highest work of art, yet, the loftiest reputation, is nothing in comparison with the passionate kiss of a woman one loves."


title: Kiss

text: The power of a kiss is not minimized when he writes that "we all yearn for kisses and we all seek them; it is idle to struggle against this passion. No one can evade the omnipotence of the kiss ..." Kissing, he implies, can lead one to maturity: "It is through kisses that a knowledge of life and happiness first comes to us. Runeberg says that the angels rejoice over the first kiss exchanged by lovers," and can keep one feeling young: "It carries life with it; it even bestows the gift of eternal youth." The importance of the lover's kiss can also be significant, he notes: "In the case of lovers a kiss is everything; that is the reason why a man stakes his all for a kiss," and "man craves for it as his noblest reward."


title: Kiss

text: As a result, kissing as an expression of love is contained in much of literature, old and new. Nyrop gives a vivid example in the classic love story of Daphnis and Chloe. As a reward "Chloe has bestowed a kiss on Daphnis—an innocent young-maid's kiss, but it has on him the effect of an electrical shock":


title: Kiss

text: Romantic kissing "requires more than simple proximity," notes Cane. It also needs "some degree of intimacy or privacy, ... which is why you'll see lovers stepping to the side of a busy street or sidewalk." Psychologist Wilhelm Reich "lashed out at society" for not giving young lovers enough privacy and making it difficult to be alone. However, Cane describes how many lovers manage to attain romantic privacy despite being in a public setting, as they "lock their minds together" and thereby create an invisible sense of "psychological privacy." He adds, "In this way they can kiss in public even in a crowded plaza and keep it romantic." Nonetheless, when Cane asked people to describe the most romantic places they ever kissed, "their answers almost always referred to this ends-of-the-earth isolation, ... they mentioned an apple orchard, a beach, out in a field looking at the stars, or at a pond in a secluded area ..."


title: Kiss

text: Throughout history, a kiss has been a ritual, formal, symbolic or social gesture indicating devotion, respect or greeting. It appears as a ritual or symbol of religious devotion. For example, in the case of kissing a temple floor, or a religious book or icon. Besides devotion, a kiss has also indicated subordination or, nowadays, respect.


title: Kiss

text: In modern times the practice continues, as in the case of a bride and groom kissing at the conclusion of a wedding ceremony or national leaders kissing each other in greeting, and in many other situations.


title: Kiss

text: A kiss in a religious context is common. In earlier periods of Christianity or Islam, kissing became a ritual gesture, and is still treated as such in certain customs, as when "kissing... relics, or a bishop's ring." In Judaism, the kissing of the Torah scroll, a prayer book, and a prayer shawl is also common. Crawley notes that it was "very significant of the affectionate element in religion" to give so important a part to the kiss as part of its ritual. In the early Church the baptized were kissed by the celebrant after the ceremony, and its use was even extended as a salute to saints and religious heroes, with Crawley adding, "Thus Joseph kissed Jacob, and his disciples kissed Paul. Joseph kissed his dead father, and the custom was retained in our civilization", as the farewell kiss on dead relatives, although certain sects prohibit this today.


title: Kiss

text: A distinctive element in the Christian liturgy was noted by Justin in the 2nd century, now referred to as the "kiss of peace," and once part of the rite in the primitive Mass. Conybeare has stated that this act originated within the ancient Hebrew synagogue, and Philo, the ancient Jewish philosopher called it a "kiss of harmony", where, as Crawley explains, "the Word of God brings hostile things together in concord and the kiss of love." Saint Cyril also writes, "this kiss is the sign that our souls are united, and that we banish all remembrance of injury."


title: Kiss

text: Nyrop notes that the kiss of peace was used as an expression of deep, spiritual devotion in the early Christian Church. Christ said, for instance, "Peace be with you, my peace I give you," and the members of Christ's Church gave each other peace symbolically through a kiss. St Paul repeatedly speaks of the "holy kiss," and, in his Epistle to the Romans, writes: "Salute one another with an holy kiss" and his first Epistle to the Thessalonians (1 Thessalonians 5:26), he says: "Greet all the brethren with an holy kiss."


title: Kiss

text: The kiss of peace was also used in secular festivities. During the Middle Ages, for example, Nyrop points out that it was the custom to "seal the reconciliation and pacification of enemies by a kiss." Even knights gave each other the kiss of peace before proceeding to the combat, and forgave one another all real or imaginary wrongs. The holy kiss was also found in the ritual of the Church on solemn occasions, such as baptism, marriage, confession, ordination, or obsequies. However, toward the end of the Middle Ages the kiss of peace disappears as the official token of reconciliation.


title: Kiss

text: The kiss of respect is of ancient origin, notes Nyrop. He writes that "from the remotest times we find it applied to all that is holy, noble, and worshipful—to the gods, their statues, temples, and altars, as well as to kings and emperors; out of reverence, people even kissed the ground, and both sun and moon were greeted with kisses."


title: Kiss

text: He notes some examples, as "when the prophet Hosea laments over the idolatry of the children of Israel, he says that they make molten images of calves and kiss them" (). In classical times similar homage was often paid to the gods, and people were known to kiss the hands, knees, feet, and the mouths, of their idols. Cicero writes that the lips and beard of the famous statue of Hercules at Agrigentum were worn away by the kisses of devotees.


title: Kiss

text: People kissed the cross with the image of Jesus, and such kissing of the cross is always considered a holy act. In many countries it is required, on taking an oath, as the highest assertion that the witness would be speaking the truth. Nyrop notes that "as a last act of charity, the image of the Redeemer is handed to the dying or death-condemned to be kissed." Kissing the cross brings blessing and happiness; people kiss the image of Mary and the pictures and statues of saints—not only their pictures, "but even their relics are kissed," notes Nyrop. "They make both soul and body whole." There are legends innumerable of sick people regaining their health by kissing relics, he points out.


title: Kiss

text: The kiss of respect has also represented a mark of fealty, humility and reverence. Its use in ancient times was widespread, and Nyrop gives examples: "people threw themselves down on the ground before their rulers, kissed their footprints, literally 'licked the dust,' as it is termed." "Nearly everywhere, wheresoever an inferior meets a superior, we observe the kiss of respect. The Roman slaves kissed the hands of their masters; pupils and soldiers those of their teachers and captains respectively." People also kissed the earth for joy on returning to their native land after a lengthened absence, as when Agamemnon returned from the Trojan War.


title: Kiss

text: The kiss is also commonly used in American and European culture as a salutation between friends or acquaintances. The friendly kiss until recent times usually occurred only between ladies, but today it is also common between men and women, especially if there is a great difference in age. According to Nyrop, up until the 20th century, "it seldom or never takes place between men, with the exception, however, of royal personages," although he notes that in former times the "friendly kiss was very common with us between man and man as well as between persons of opposite sexes." In guilds, for example, it was customary for the members to greet each other "with hearty handshakes and smacking kisses," and, on the conclusion of a meal, people thanked and kissed both their hosts and hostesses.


title: Kiss

text: In approximately 10% of the world population, kissing does not take place, for a variety of reasons, including that they find it dirty or because of superstitious reasons. For example, in parts of Sudan it is believed that the mouth is the portal to the soul, so they do not want to invite death or have their spirit taken. Psychology professor Elaine Hatfield noted that "kissing was far from universal and even seen as improper by many societies." Despite kissing being widespread, in some parts of the world it is still taboo to kiss publicly and is often banned in films or in other media.


title: Kiss

text: On-screen lip-kissing was not a regular occurrence in Bollywood until the 1990s, although it has been present from the time of the inception of Bollywood. This can appear contradictory since the culture of kissing is believed to have originated and spread from India.


title: Kiss

text: There are also taboos as to whom one can kiss in some Muslim-majority societies governed by religious law. In the Islamic Republic of Iran, a man who kisses or touches a woman who is not his wife or relative can be punished such as getting whipped up to 100 times or even go to jail.


title: Kiss

text: Donald Richie comments that in Japan, as in China, although kissing took place in erotic situations, in public "the kiss was invisible", and the "touching of the lips never became the culturally encoded action it has for so long been in Europe and America." The early Edison film, "The Widow Jones – the May Irwin-John Rice Kiss" (1896), created a sensation when it was shown in Tokyo, and people crowded to view the enormity. Likewise, Rodin's sculpture "The Kiss" was not displayed in Japan until after the Pacific War. Also, in the 1900s, Manchu tribes along the Amur River regarded public kissing between adults with revulsion. In a similar situation in Chinese tradition, when Chinese men saw Western women kissing men in public, they thought the women were prostitutes.


title: Kiss

text: In modern Western culture, kissing on the lips is commonly an expression of affection or a warm greeting. When lips are pressed together for an extended period, usually accompanied with an embrace, it is an expression of romantic and sexual desire. The practice of kissing with an open mouth, to allow the other to suck their lips or move their tongue into their mouth, is called French kissing. "Making out" is often an adolescent's first experience of their sexuality and games which involve kissing, such as Spin the Bottle, facilitate the experience. People may kiss children on the forehead to comfort them or the cheek or lips to show affection.


title: Kiss

text: In modern Eastern culture, the etiquette vary depending on the region. In West Asia, kissing on the lips between both men and women is a common form of greeting. In South and Eastern Asia, it might often be a greeting between women, however, between men, it is unusual. Kissing a baby on the cheeks is a common form of affection. Most kisses between men and women are on the cheeks and not on the lips unless they are romantically involved. And sexual forms of kissing between lovers encompass the whole range of global practices.


title: Kiss

text: The first romantic kiss on screen was in American silent films in 1896, beginning with the film "The Kiss". The kiss lasted 18 seconds and caused many to rail against decadence in the new medium of silent film. Writer Louis Black writes that "it was the United States that brought kissing out of the Dark Ages." However, it met with severe disapproval by defenders of public morality, especially in New York. One critic proclaimed that "it is absolutely disgusting. Such things call for police interference."


title: Kiss

text: Young moviegoers began emulating romantic stars on the screen, such as Ronald Colman and Rudolph Valentino, the latter known for ending his passionate scenes with a kiss. Valentino also began his romantic scenes with women by kissing her hand, traveling up her arm, and then kissing her on the back of her neck. Actresses were often turned into stars based on their screen portrayals of passion. Actresses like Nazimova, Pola Negri, Vilma Bánky and Greta Garbo, became screen idols as a result.


title: Kiss

text: Eventually, the film industry began to adopt the dictates of the Production Code established in 1934, overseen by Will Hays and influenced by Christian religious leaders in America. According to the new code, "Excessive and lustful kissing, lustful embraces, suggestive postures and gestures, are not to be shown." As a result, kissing scenes were shortened, with scenes cut away, leaving the imagination of the viewer to take over. Under the code, actors kissing had to keep their feet on the ground and had to be either standing or sitting.


title: Kiss

text: The heyday of romantic kissing on the screen took place in the early sound era, during the Golden Age of Hollywood in the 1930s and 1940s. Body language began to be used to supplement romantic scenes, especially with the eyes, a talent that added to Greta Garbo's fame. Author Lana Citron writes that "men were perceived as the kissers and women the receivers. Should the roles ever be reversed, women were regarded as vamps . . ." According to Citron, Mae West and Anna May Wong were the only Hollywood actresses never to have been kissed on screen. Among the films rated for having the most romantic kisses are "Gone with the Wind", "From Here to Eternity", "Casablanca", and "To Have and Have Not".


title: Kiss

text: Sociologist Eva Illouz notes that surveys taken in 1935 showed that "love was the most important theme represented in movies. Similar surveys during the 1930s found the 95% of films had romance as one of their plot lines, what film critics called "the romantic formula."


title: Kiss

text: In early Japanese films, kissing and sexual expression were controversial. In 1931, a director slipped a kissing scene past the censor (who was a friend), but when the film opened in a downtown Tokyo theater, the screening was stopped and the film confiscated. During the American occupation of Japan, in 1946, an American censor required a film to include a kissing scene. One scholar says that the censor suggested "we believe that even Japanese do something like kissing when they love each other. Why don't you include that in your films?" Americans encouraged such scenes to force the Japanese to express publicly actions and feelings that had been considered strictly private. Since Pearl Harbor, Americans had felt that the Japanese were "sneaky", claiming that "if Japanese kissed in private, they should do it in public too."


title: Kiss

text: In some Western cultures it is considered good luck to kiss someone on Christmas or on New Year's Eve, especially beneath a sprig of mistletoe. Newlyweds usually kiss at the end of a wedding ceremony.


title: Kiss

text: Female friends and relations and close acquaintances commonly offer reciprocal kisses on the cheek as a greeting or farewell.


title: Kiss

text: Where cheek kissing is used, in some countries a single kiss is the custom, while in others a kiss on each cheek is the norm, or even three or four kisses on alternating cheeks. In the United States, an air kiss is becoming more common. This involves kissing in the air near the cheek, with the cheeks touching or not. After a first date, it is common for the couple to give each other a quick kiss on the cheek (or lips where that is the norm) on parting, to indicate that a good time was had and perhaps to indicate an interest in another meeting.


title: Kiss

text: A symbolic kiss is frequent in Western cultures. A kiss can be "blown" to another by kissing the fingertips and then blowing the fingertips, pointing them in the direction of the recipient. This is used to convey affection, usually when parting or when the partners are physically distant but can view each other. Blown kisses are also used when a person wishes to convey affection to a large crowd or audience. The term "flying kiss" is used in India to describe a blown kiss. In written correspondence a kiss has been represented by the letter "X" since at least 1763. A stage or screen kiss may be performed by actually kissing, or faked by using the thumbs as a barrier for the lips and turning so the audience is unable to fully see the act.


title: Kiss

text: Some literature suggests that a significant percentage of humanity does not kiss. It has been claimed that in Sub-Saharan African, Asiatic, Polynesian and possibly in some Native American cultures, kissing was relatively unimportant until European colonization. Historically however, the culture of kissing is thought to have begun and spread from the Eastern World, specifically India.


title: Kiss

text: With the Andamanese, kissing was only used as a sign of affection towards children and had no sexual undertones.


title: Kiss

text: In traditional Islamic cultures, kissing is not permitted between a man and woman who are not married or closely related by blood or marriage. A kiss on the cheek is a very common form of greeting among members of the same sex in most Islamic countries, much like the Southern European pattern.


title: Kiss

text: In India, public display of affection is a criminal offense under Section 294 of the Indian Penal Code, 1860 with a punishment of imprisonment of up to three months, or a fine, or both. This law was used by police and lower courts to harass and prosecute couples engaging in intimate acts, such as kissing in public. However, in a number of landmark cases, the higher courts dismissed assertions that kissing in public is obscene.


title: Kiss

text: Kissing was a custom during the Biblical period mentioned in the , when Isaac kissed his son Jacob. The kiss is used in numerous other contexts in the Bible: the kiss of homage, in Esther 5:2; of subjection, in 1 Samuel 10:1; of reconciliation, in 2 Samuel 14:33; of valediction, in Ruth 1:14; of approbation, in Psalms 2:12; of humble gratitude, in Luke 7:38; of welcome, in Exodus 18:7; of love and joy, in Genesis 20:11. There are also spiritual kisses, as in Song of Songs 1:2; sensual kisses, as in Proverbs 7:13; and hypocritical kisses, as in 2 Samuel 15:5. It was customary to kiss the mouth in biblical times, and also the beard, which is still practiced in Arab culture. Kissing the hand is not biblical, according to Tabor. The kiss of peace was an apostolic custom, and continues to be one of the rites in the Eucharistic services of Roman Catholics.


title: Kiss

text: In the Roman Catholic Order of Mass, the bishop or priest celebrant bows and kisses the altar, reverencing it, upon arriving at the altar during the entrance procession before Mass and upon leaving at the recessional at the closing of Mass; if a deacon is assisting, he bows low before the altar but does not kiss it.


title: Kiss

text: Among primitive cultures it was usual to throw kisses to the sun and to the moon, as well as to the images of the gods. Kissing the hand is first heard of among the Persians. According to Tabor, the kiss of homage—the character of which is not indicated in the Bible—was probably upon the forehead, and was expressive of high respect.


title: Kiss

text: Within the natural world of other animals, there are numerous analogies to kissing, notes Crawley, such as "the billing of birds, the cataglottism of pigeons and the antennal play of some insects." Even among mammals such as the dog, cat and bear, similar behavior is noted.


title: Kiss

text: Anthropologists have not reached a conclusion as to whether kissing is learned or a behavior from instinct. It may be related to grooming behavior also seen between other animals, or arising as a result of mothers premasticating food for their children. Non-human primates also exhibit kissing behavior. Dogs, cats, birds and other animals display licking, nuzzling, and grooming behavior among themselves, and also towards humans or other species. This is sometimes interpreted by observers as a type of kissing.


title: Kiss

text: Kissing in humans is postulated to have evolved from the direct mouth-to-mouth regurgitation of food (kiss-feeding) from parent to offspring or male to female (courtship feeding) and has been observed in numerous mammals. The similarity in the methods between kiss-feeding and deep human kisses (e.g. French kiss) are quite pronounced; in the former, the tongue is used to push food from the mouth of the mother to the child with the child receiving both the mother's food and tongue in sucking movements, and the latter is the same but forgoes the premasticated food. In fact, through observations across various species and cultures, it can be confirmed that the act of kissing and premastication has most likely evolved from the similar relationship-based feeding behaviours.


title: Kiss

text: Kissing is a complex behavior that requires significant muscular coordination involving a total of 34 facial muscles and 112 postural muscles. The most important muscle involved is the orbicularis oris muscle, which is used to pucker the lips and informally known as the "kissing muscle". In the case of the French kiss, the tongue is also an important component. Lips have many nerve endings which make them sensitive to touch and bite.


title: Kiss

text: Kissing stimulates the production of hormones responsible for a good mood: oxytocin, which releases the feeling of love and strengthens the bond with the partner, endorphins – hormones responsible for the feeling of happiness –, and dopamine, which stimulates the pleasure center in the brain. Regular kissing protects against depression.


title: Kiss

text: Affection in general has stress-reducing effects. Kissing in particular has been studied in a controlled experiment and it was found that increasing the frequency of kissing in marital and cohabiting relationships results in a reduction of perceived stress, an increase in relationship satisfaction, and a lowering of cholesterol levels.


title: Kiss

text: Kissing on the lips can result in the transmission of some diseases, including infectious mononucleosis (known as the "kissing disease") and herpes simplex when the infectious viruses are present in saliva. Research indicates that contraction of HIV via kissing is extremely unlikely, although there was a documented case in 1997 of an HIV infection by kissing. Both the woman and infected man had gum disease, so transmission was through the man's blood, not through saliva.


title: Pedro Sánchez

text: Pedro Sánchez Pérez-Castejón (; born 29 February 1972) is a Spanish politician who has been Prime Minister of Spain since June 2018. He has also been Secretary-General of the Spanish Socialist Workers' Party (PSOE) since June 2017, having previously held that office from 2014 to 2016.


title: Pedro Sánchez

text: Sánchez began his political career in 2004 as a city councillor in Madrid, before being elected to the Congress of Deputies in 2009. In 2014 he was elected Secretary-General of the PSOE, becoming Leader of the Opposition. He led the party through the inconclusive 2015 and 2016 general elections, but resigned as Secretary-General shortly after the latter, following public disagreements with the party's executive. He was subsequently re-elected in a leadership election eight months later, defeating Susana Díaz and Patxi López.