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Tag Archive: DeForest Kelley


For more than six years we at borg.com have been covering entertainment memorabilia auctions–sales of not merely replicas or mass-produced collectibles, but the real objects seen on film–rare or even one-of-a-kind costumes created by award-winning Hollywood costume designers, detailed props created by production crew, model vehicles created by special effects departments like Industrial Light and Magic, prosthetics created by famous makeup artists, set decoration, concept art, and much more.  Amassing a wide variety of artifacts from classic and more recent film and television history, London and Los Angeles-based Prop Store is hosting its annual auction later this month.  Known for its consignment of some of the most well-known and iconic screen-used props and costumes, Prop Store’s ultimate museum collectibles auction will be open for bidding from anyone, and items will be available at estimates for both beginning collectors and those with deeper pockets.

The Prop Store Live Auction: Treasures from Film and Television will be auctioning off approximately 600 items.  You’ll find the following movies and TV shows represented and more:  3:10 to Yuma (2007), 300, Aliens, Back to the Future films, Blade Runner, Chitty Chitty Bang Bang, The Chronicles of Narnia films, Elysium, Enemy Mine, Excalibur, The Fifth Element, Gladiator, The Goonies, Gremlins 2: The New Batch, Jason and the Argonauts, Hellboy II: The Golden Army, the Indiana Jones films, Iron Man, the James Bond films, Judge Dredd (1995), the Jurassic Park films, Kick-Ass 2, Kingsman: the Secret Service, Lifeforce, Looper, The Lost Boys, The Martian, The Matrix, Men in Black III, Mission: Impossible (1996), The Mummy (1999), Patton, Pirates of the Caribbean series, Predators, the Rocky films, Saving Private Ryan, Scarface, Serenity, Shaun of the Dead, Shawshank Redemption, Sherlock Holmes (2009), Star Trek franchise, Star Wars franchise, Starship Troopers, Superman films, Terminator films, The Three Musketeers (1993), Tropic Thunder, Troy, True Grit, Underworld: Evolution, Who Framed Roger Rabbit, Willow, The Wolfman (2010), World War Z, and the X-Men films.

You can flip through the auction house’s hefty 360-page catalog, or start with a look at what we selected as the best 50 of the lots–what we predict as the most sought-after by collectors and those that represent some of fandom’s favorite sci-fi and fantasy classics and modern favorites.

  • Industrial Light and Magic 17 3/4-inch Rebel Y-Wing filming model from Return of the Jedi
  • Sark (David Warner) Grid costume from the original Tron (1982)
  • Julie Newmar’s Catwoman costume and Burgess Meredith Penguin hat from the classic Batman TV series
  • Buttercup (Robin Wright) Fire Swamp red dress from The Princess Bride
  • Chekov (Walter Koenig) “nuclear wessels” costume, Dr. McCoy (DeForest Kelley) costume, and Sulu (George Takei) double shirt from Star Trek IV: The Voyage Home
  • Full crew set of costumes (Malcolm, Zoe, Wash, Jayne, Inara, Kaylee, River, Book, and Simon) from Serenity (sold as individual costume lots)
  • Jack Nicholson purple Joker costume, plus separate coat and hat, from Batman (1989)
  • Enterprise-D 48-inch “pyro” model from Star Trek: The Next Generation
  • Will Munny (Clint Eastwood) stunt shotgun from Unforgiven
  • Star-lord helmet from Guardians of the Galaxy
  • Thor (Chris Hemsworth) Mjolnir hammer from Thor

  • Ghostbusters and Ghostbusters II jumpsuits made for Bill Murray as Dr. Peter Venkman
  • Witch-king of Angmar crown from The Lord of the Rings: Fellowship of the Ring
  • Val Kilmer Batman suit and cowl from Batman Forever
  • Maverick (Tom Cruise) flight suit from Top Gun
  • Geoffrey Rush Captain Barbossa costume from the first Pirates of the Caribbean film, Curse of the Black Pearl

And there are so many more.  Like…

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The best production of 50 years of Star Trek, Star Trek II: The Wrath of Khan, returned to theaters Sunday for two screenings nationwide, and audiences packed theaters from coast to coast.  The 35th anniversary of the biggest summer of movies continues Wednesday with your last chance to see 1982’s The Wrath of Khan back on the big screen as Paramount Pictures partners with the Fathom Events series once more.  We couldn’t wait to see it again and saw the first screening Sunday and were quickly reminded why the film was such a success.  What were my takeaway thoughts this time through the film?  Leonard Nimoy’s voice echoed throughout the theater with every line (was this his finest work as Spock?).  Kirstie Alley’s Lieutenant Saavik fits right in as the new crewmember.  The lengths director and screenplay writer Nicholas Meyer took to make the Enterprise look like a functioning military vessel:  from the boatswain’s whistle, to the formality of the uniforms and ship inspection by Admiral Kirk, the pulsating real-world sound effects of the two competing vessels, and the military tactics and trickery as Khan and Kirk try to one-up the other that always connects this film for me to another favorite, The Hunt for Red October.  William Shatner was so cocky and confident.  Tightly edited action sequences, camera angles placing the audience inside the bridge and into every nook and cranny inside the Enterprise (Turbolift doesn’t work? Let’s take the ladder), and James Horner’s unforgettable and unique musical score.  And it was fun for me to think back of all the people who made this film that I have had the good fortune to meet, like Shatner, James Doohan, Nichelle Nichols, George Takei, and Walter Koenig.  Each of these actors seem to have done their best work in this film.

What surprised me?  After watching Sunday’s screenings I heard remarks from viewers about how many new scenes they did not remember, and this was echoed across the Internet, including comments from long-time Star Trek fans and insiders.  But it makes perfect sense–unless you are a rabid Star Trek fan, you probably didn’t track all the variations in the film that have been released over the past 35 years.  If you have a photographic memory at all, you may hear lines in this week’s presentation that don’t quite match up.  But if you only saw the film in theaters or via early DVD and Blu-ray releases, you will have seen different versions of the film (for one example, the original cut didn’t include the current title, instead it was Star Trek: The Wrath of Khan, without the II).  If you watched the expanded ABC TV movie re-broadcast on television in 1985–as many did before the prevalence of home video options–you saw a version different from the 1982 release, full of entirely different takes of several scenes.  In 2002 a Director’s Edition was released, and if you saw the film recently at all, but before 2016’s official Director’s Cut, then you probably last saw the Director’s Edition.  The differences from what was scripted and filmed and what made the original theatrical version alone literally fills ten pages of Allan Asherman’s 1982 book The Making of Star Trek II: The Wrath of Khan, but even that book of course couldn’t include the differences found in the much later ABC TV version and subsequent editions.  The version in theaters this week is the official 2016 Director’s Cut, itself absorbing so many modifications from the original 1982 release from prior incarnations.  But this is the final, the version Nicholas Meyer (the reputed “Man Who Saved Star Trek”) discussed with me in my interview with him here at borg.com last month.

Wait–What’s going on here?  I don’t remember this scene in Star Trek II: The Wrath of Khan! (Keep reading!)

So if you recall a more suggestive relationship between Kirk and Kirstie Alley’s Lieutenant Saavik, or sensed a romantic relationship brewing between Saavik and Kirk’s son David (played by the late Merritt Butrick), you won’t notice that so much in the Fathom Events presentation (below you’ll see the ABC TV version offered more “steamy” close-ups and additional dialogue amplifying the more womanizing Kirk of the original series).  If you don’t recall that Scotty has a young relative aboard the Enterprise, be prepared for a pleasant surprise, including some great additions featuring Kirk and Scotty.  The midshipman’s (played by Ike Eisenmann) death is more poignant in the latest cut, and an entire sequence between McCoy and Kirk gets us further into Kirk’s thoughts in the aftermath of Khan’s attack.  A conversation about ego between Spock and Alley adds further justification for Kirk’s actions as he taunts Khan into the nebula.

Newspaper advertisement for the 1985 ABC television presentation of Star Trek II: The Wrath of Khan.

But do you recall seeing a child in Khan’s crew on Ceti Alpha V?  McCoy mentioning he served with Paul Winfield’s Captain Terrell?  How about McCoy operating on Chekov after he returns from the Genesis planet and Chekov struggling to return to help on the bridge?  Sulu’s promotion to the Excelsior, or Kirk’s final line, quoting Peter Pan’s “first star on the right, and on ’til morning”?  That Saavik is half-Romulan?  David besting Kirk and holding a knife to his throat?  How about these lines from Khan:

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Khan crew image

One of the greatest all-time sci-fi villains and best productions of the 50 years of Star Trek is coming back to the theaters this summer.  The 35th anniversary of the biggest year of movies continues, with the 1982 masterpiece Star Trek II: The Wrath of Khan hitting theaters across the country as Paramount Pictures partners with the Fathom Events series.  It is the sequel not only to Star Trek: The Motion Picture but a direct follow-up to the original series episode “Space Seed” starring the incomparable Ricardo Montalban–and his Khan has remained the unchallenged best villain in the franchise ever since.  Initially Montalban envisioned his character as a brash, over-the-top, shouting image of villainy, but director Nicholas Meyer took Montalban aside to coax from him his iconic, sinewy, scarily subdued personification of the Klingon proverb, “Revenge is a dish best served cold.”

The legendary test of character for a Starfleet officer, the Kobayashi Maru, and the death of the entire Enterprise bridge crew revealed in only the first minutes…  A ship full of trainees…  An experiment called Genesis…  Where Jaws prompted us to fear water everywhere, The Wrath of Khan made us fear anything crawling into our ears.  Kirstie Alley as Lieutenant Saavik…  Paul Winfield as Captain Terrell…  Ike Eisenmann as Scotty’s ill-fated nephew…  Who would have guessed James T. Kirk had a son?  The most emotional of scenes of the series as Spock says goodbye to Kirk…  And with all the new faces, the familiar ones were back again, at the top of their acting game: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, Nichelle Nichols, George Takei, and Walter Koenig…  All rounded out with a score by James Horner and the most memorable of uniform styles for our heroes created by Robert Fletcher.

But you already knew that, right?

“Making Star Trek II seems like only yesterday,” Shatner said announcing the theatrical re-release.  “Even back then, we knew we were creating something really special, and to have The Wrath of Khan back on the big screen 35 years later is a wonderful testament both to the film itself and to the incredible passion of Star Trek fans.”  *Don’t miss our borg.com interview with The Wrath of Khan director Nicholas Meyer here.

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Today we continue yesterday’s interview with former Paramount art coordinator and Star Trek archivist, Penny Juday…

CB:  How often does Star Trek enter your thoughts now that you no longer work for Paramount?  I heard that Star Trek video supervisor and graphic artist Denise Okuda introduced you to your husband, Anthony Fredrickson, while working on Deep Space Nine.

PJ:  We talk about it every day.  Not that we want to—it just is I used to tell everyone who would listen, and probably still do—that Star Trek paid for my house, my car, my clothes, my pets, my food, my gas, well you get the idea.  If I owned it Trek bought it for me since we both worked for Trek for so many years which was considered a coup in the film industry—to get a show that lasted that long was unheard of.  As far Anthony… poor guy … apparently had a crush on me for eight years.  He was very shy. Most people didn’t even know who he was, just the guy in graphics.  So he never really asked me out.  I had no idea.  He would talk to me at lunch, bring me little trinkets, hover when I was in the DS9 art department–always so sweet to me.  We were very good friends.  So one day Denise Okuda and I are picking up some crew jackets, I was complaining bitterly about the lack of great guys to date.  So she tells me about the guy who sits next to her and how he has been in love with me for many years. “Anthony?”  I said.  Yes, I just couldn’t believe my ears.  Then all the clues hit me–I am just oblivious at times, I guess.  So the game was afoot: I was invited to an Oscar party, I call Anthony and ask him to lunch, I take him to my favorite spot near Paramount, I ask him if he would like to go to this party with me, just as friends—I didn’t want to frighten him.  He tells me he has other plans. “Rats,” I thought.  Oh, well.  We are almost finished with lunch and he tells me he has changed his mind and he will alter his plans.  “Great,” I said, “I will pick you up.”  I got the car washed, I flew to Vegas to my favorite guy and had my hair done, I bought a new outfit.  Now I had never seen him in anything but a T-shirt and jeans.  He comes out in a navy blue double breasted jacket.  Man, who is this?  It was over for me.  I made up my mind as did he apparently and we have been together ever since.

Penny and husband Anthony Fredrickson, former Star Trek scenic artist.

CB:  Do you still watch the series and Star Trek movies?  What are your favorite episodes and scenes as a fan of Star Trek, and are there any of your favorites that you were part of creating?

PJ:  My favorite scenes are endless.  I think “Trials and Tribble-ations” from Deep Space Nine is probably my favorite of all, then “Little Green Men,” also from Deep Space Nine, where Quark is making the military look very smart.  The comedies are the best.  I know it wasn’t a comedy show, but I wish they had done more.  It worked so well.  On the other hand you have actors like Avery Brooks and Patrick Stewart, with their backgrounds and complete ability to become any character they choose, and so convincing.  Watching them work, I would get goose bumps being around them.  That’s not to say that I am pretty sure all the girls got goose bumps being near them.  Sorry, got lost there.  Watching Christopher Plummer in the Klingon court room, my very first experience at being on a Star Trek set… that was a surprise for me.  I was speechless.  The scenes are endless because I felt Star Trek was one of the best shows ever made.  And the pranks, moving an entire company from Paramount out to locations, just being on set and watching the cast and crew.

The production set went retro for the Deep Space Nine time travel episode “Trials and Tribble-ations.”

CB:  I have always been a fan of Trials and Tribble-ations, too.  What was your involvement with that episode and what was it like to have all those actors walking around in Original Series garb, with 1960s-style props and sets?

PJ:  That show made just about all of us nostalgic.  We loved it.  It was a great challenge to make it look like the real thing, so to speak.  The best part was the tribbles, of course.  A fun note:  Bob Key, who was in charge of the fabric drapery department, was working at Desilu at the time and remembers how the tribbles were made.  Not a tough thing really, but he was very important for choosing colors and types of fur (fake of course) that was used.  I was surprised any of the tribbles made it through the show as stuff vanished as if on a transporter pad constantly.

Penny discussing Viceroy prop knife on DVD extras for Star Trek Nemesis.

CB:  You have appeared in several video and DVD featurettes, including “Penny’s Toy Box” where you give fans a glimpse at Nimoy’s maroon Starfleet uniform from Star Trek: The Undiscovered Country and various prop masks and weapons.  Before the Christies and It’s a Wrap auctions (where Paramount sold off most of the Star Trek collection) you were the caretaker of the archive of thousands of pieces of Hollywood history.  You also set up the museum at the Star Trek Experience that used to be in Las Vegas as well as the traveling museums that have circled the planet.  What are your favorite props or costumes from the franchise and are there any specific props or costumes that you, as a Star Trek insider for so many years, consider to be the most iconic?

PJ:  I felt the most awed I think working with Mr. Shatner’s costumes.  Even though they were from the features and not the original series it was so cool to be able to be the caretaker of things he had used and worn.  Quite a few of the costumes in the Las Vegas museum were reproductions as so many things were missing.  I have a lot of great stories about putting the collection together.  One of my favorites is Kirk’s broken reading glasses that McCoy gave him [in Star Trek II: The Wrath of Khan]… of course those were long gone so “the game was afoot” to find a matching pair.  I can’t tell you how many older eyeglass shops I was in with photo frame grab in hand showing it to shop owner after shop owner.  Nothing.  So one lovely day my gang and I are having lunch on Larchmont Blvd, which is blocks away from Paramount Studios.  I see this tiny eyeglass shop that has obviously been there for many years.  It hit me that the prop master might have gone there having been so close to the lot, duh.  I took my photo and my chance and went in.  A young clerk went to get the owner and must have thought I was nuts… this small elderly gentleman comes out, examines the photo, I explain why I want them, he says “not only do I have the exact same pair, but I sold the originals to the prop master and I have the case they came in.”  Yup…

Captain Kirk’s birthday present from Dr. McCoy in Star Trek II was a pair of glasses that came from a shop very close to home.

The other experience I will never forget… we had a DeForest Kelley costume from one of the early films.  I knew he was small, meaning very thin, but do you think it dawned on me just how thin?  I bought a teenage boy mannequin for Mr. Kelley’s costume just to make sure I would have no issues getting the piece of iconic history into place.  Not to be… there we were days before opening, mannequins are very expensive.  I can barely get the pants over the thighs and not even close to going over the back side sitting area of the large fiberglass doll… So I go the art director and explain the problem, feeling not very bright of course, he says let me dwell on this for a bit as life is utterly crazy of course trying to get The Experience open.  A few hours later he shows up with a hack saw… there the two of us were on the floor hacksawing off the buttocks of the mannequin.  I was laughing so hard I could barely help get this done.  We still barely got the pants on.

Center is DeForest Kelley’s Leonard McCoy costume from Star Trek IV: The Voyage Home, that Penny had to put on a very small mannequin at the former Star Trek: The Experience in Las Vegas.

CB:  You now have a business designing jewelry, and some of the jewelry has been worn on TV.  Can you share some details about that?

PJ:  My shop is called The Lost Box which is in downtown Tehachapi, California.  There is a webstore, www.thelostbox.com, which is currently wiped out from the holidays so I am working to get more goodies listed.  I specialize in one of a kind wearable artworks of jewelry like the steampunks which seem to be a favorite as I cannot keep them in stock.  I also work with precious and semi-precious stones and metals.  I love getting a strand of amethyst stones and making it into an incredible piece of jewelry that will be worn for hopefully generations to come.  And one of my pieces, a copper beaded strand, will be on an episode of NCIS.  The guest star has it on.  There are more pieces out to other shows.  I am just not sure when they will air. Having been in the business for so many years really helps with contacts and getting the jewelry used on the shows.

Penny’s silver steampunk jewelry like this can be seen on the NCIS TV series.

CB:  I know that today you run a cat rescue shelter.  Can you tell us more about that?

PJ:  There are always dumped and stray cats on the lots at the studios.  Now it’s even epidemic, I might add.  Anyway, after feeding and trying to care for as many as I could that were living under our lot trailer, a co-worker tells me of a person on the lot who has proclaimed that she is the cat caregiver.  I called her.  The beginning of the end for me!  (Just kidding).  She jumped right in and helped out several of them.  As we talked I learned her goal is to make a real cat rescue and non-profit organization.  Here we are 15, 16 years later with preciouspaws.org.  I call it “recycling kitties.”  We save them, clean them up and find homes–we hope.  Donations are so way down as you might imagine these last two years that it has become a struggle to keep the doors open.  We do have a great back up team, like most the Brady Bunch cast is huge in supporting us–Susan Olsen just did an interview with The Today Show with brand new kittens.  I do not know when it will air.  Going back to the beginning… I had no intention of really getting involved.  I was busy with school, the films, etc., however, I started working with the cats just three months after my twin and nephew were killed so I figured this was given to me to help with the horrible grief.  So here I am… my twin was a rescuer as well.  Since I can remember we were always rescuing something, and we became known on the lot as the rescuers–right down to little birds, we got the call.  So many stories about them, I could write a book just about the cats alone: the “coffee can” rescue, the “cat under the manhole cover,” the “cat caught in the gate,” the “long-haired calico dumped in a stair well,” where I took her home and Anthony said, “where’d you get the carpet?” So her name was “car’pet.”  Then there were the tiny babies we would find scattered about the lot that took us three litters before we were able to catch the mom with trickery.  A lot of people on the lot spent time on that rescue.  If Paramount only knew how much money they spent helping us!  For anyone able to donate to preciouspaws.org, please check out the website as donations are always appreciated.  Donations can be sent any time to Penny at ahabbud [at] aol [dot] com!

Thanks, Penny!

Interview by C.J. Bunce

One of my favorite people in the Star Trek world is Penny Juday.  Not only is she a great person, she is always willing to share interesting stories about her days working for Paramount on Star Trek.  As a former U.S. Navy Submarine fleet detailer, Penny Juday staffed the Navy’s sub-fleet with crew assignments.  She joined the Star Trek Deep Space Nine decorating department in 1991.  Penny was soon hired as the personal assistant to the production designer of Star Trek, which then led to becoming the art department coordinator of Star Trek for the next 18 years, where she also served as Star Trek archivist.  During her off hours Penny attended art school at Otis Parsons and earned her certificates as designer and illustrator.  borg.com is happy to welcome Penny here today.

CB:  Penny, you have a pretty unique college background, studying art and design, as well as computer science and physics.  And you were on your way into Intelligence in the U.S. Navy.  You seem to be cut out for your role as guardian of the secrets behind the Star Trek franchise.  How did that background help you move into the role as Art Coordinator and Star Trek Archivist at Paramount Pictures?

PJ:  I was a submarine fleet detailer.  They wanted me to go into INTEL when my tour was up but they would not agree to anything I asked for in return.  In retrospect it was not such a good idea on my part, of course.  I assigned submariners to their duty stations as they came out of school in Groton and kept track of all the available positions for enlisted crew for all the submarines.  I had to make sure they were properly and completely staffed at all times.  If one were taken ill or sadly, killed, I had to find the replacement ASAP.  I studied computer science and physics while in the Navy.  Another decision gone wrong.  If I had stayed with that, I could have been the girl Steve Jobs!  At the time computer programmers worked nights and weekends since it was still reel to reel and we worked while others didn’t.  I just couldn’t do that.  How it helped with my Star Trek job?  You have to be extremely resourceful to get a lot of military jobs done for many reasons.  My boss on Trek, Herman Zimmerman (who we called “Z”) often told just about anyone who would listen that I was the most resourceful person he had ever met.  I could find just about anything we needed to get a job done, or anyone, for that matter.  If a prop guy told Z we couldn’t find a particular product I would get the task.  Now that’s fun and interesting.  One of my favorite things was when I would call a company and tell them who I was and who I was with.  Usually there was a minute of total silence because they did not believe me, of course.  Then when it sunk in I was telling the truth…  I can’t tell you how much I could achieve with vendors just because I worked on Star Trek.  They would jump through a lot hoops to help us.  And the undercover Trekkies that I would run across!

Penny in her Star Trek “toybox” warehouse at the Paramount set.

The archives–being a personnel person in the Navy I took care of thousands of records, copied thousands of pages of documents, records and cared for the same, so making an archive was cheese cake.  Again finding anything… I was sent to Long Beach Naval Station to finish my Navy tour.  There had been a serious lack of commitment to record keeping, and personnel records were a mess so I was sent to help redo and get it smooth again.  Within days this Chief Petty Officer comes to my desk, almost in tears, very upset, telling me his records had been missing for weeks, meaning, he doesn’t get paid, can’t move forward in any capacity–remember this was before documents were scanned and kept on computer.  Some info was in Washington on OCR documents but the bulk of your records were still just paper in a manila folder in a real filing cabinet.  If that went missing you were in serious trouble.  So Chief tells me the story… he had been in day after day, asking someone—anyone—to search for his records.  “They cannot be found,” they tell him.  Knowing full well how badly the records in Long Beach had been stored, mostly by young “kids” who just didn’t care and wanted to get through their tour period.  I asked him his full name, was there any known misspellings, etc.  I take the “intel,” go to the records room and start the search… yup, under his middle name.  Chief hung his head in silence.  I still cry when I think of how happy it made him.  I got a letter of appreciation for that one, which is a small Navy award.  My work at the station was awarded several times with a scholarship, award letters, and I was the only female side boy at the station to pipe the leaving Captain away and pipe in the new Captain.  Side boys are the crew who line the plank at attention and one blows the pipes–a very great honor.

Star Trek cadet piping in Captain Kirk on the USS Enterprise refit (one of Penny’s duties in the US Navy).

CB:  You worked for several years with the Star Trek franchise but also worked on other notable films.  How did your work on Star Trek compare with your project and art coordinator daily duties on other action films like The Hunt for Red October and Alien Resurrection and comedies like Naked Gun 33 1/3 and Wayne’s World II?

PJ:  I have to start by saying nothing compares to Trek.  Nothing.  However, that being said The Hunt for Red October was my first film.  Poor Anthony [Penny’s husband, Anthony Fredrickson] is tired of watching it.  It is near and dear to my heart not only being the first film but they used the USS Houston, in the film known as the USS Dallas.  I was the detailer who put the original enlisted crews on board all the Los Angeles class boats as they were being built.  Eventually I got to see the Houston in dry dock in San Diego.  All the Los Angeles class subs look a like so they could easily get by with using one for another.  The first thing I saw walking on set was the missile silos.  I told the decorator I didn’t remember seeing neon around the bases on the real subs.  “Shuuuh,” he said.  But then standing next to Sean Connery was the memory any girl would cherish, whew.  Can’t believe I was still standing when he walked away.

The Hunt for Red October production photo.

CB:  As art coordinator for Deep Space Nine through Star Trek: Nemesis and Enterprise, you were second in command to art director and production designer Herman Zimmerman, known not only for his incredible futuristic sets on Star Trek but also work on Happy Days, The Land of the Lost, The Tonight Show and Cheers.  What’s the secret to running a multiple Emmy-nominated art department?

PJ:  First, I used to watch Land of the Lost all the time, even at my age it was just fun.  So on a Deep Space Nine episode we had a very rustic cottage with a fairly short door.  Z and a lot of us are inside, the special effects guy, Joe, comes in who was well over six feet tall.  The way Joe came in for some reason Z said you remind me of a Sleestak.  I said I was shocked that he knew this word.  I asked him how he knew what a Sleestak was.  He said, “I designed him.”  I had no idea.  So I was constantly learning of Herman’s accomplishments and shows, and awards, and the list goes on of things he has done throughout time, even working on one of my favorite soaps.

Original Herman Zimmerman Sleestak (display by Tom Spina Design).

As far as running art departments, whew!  Especially on larger shows like films.  I can’t make the list long enough of what your job title is.  You are the middle girl between most of the departments and the art department.  You are the coordinator for just about everything the art department needs.  The art coordinator is one of the first people in—meaning we are given a blank space to fill right down to the pencils.  You have to get it all, the phones, the phone lines, desks, copiers, papers all the supplies, set up the kitchen, often interview or find staff to be interviewed by the art director, depending on who that is, usually my production designers know me well enough that I hire the staff and set the deals.  Then research, finding things, orders, craft service kitchen, oh, boy!  Talk about egos–and the special needs of each and every one of the artists.  Can you say “four different kinds of coffee?”  I had a set designer who constantly demanded their own office because this person didn’t want to hear others talking.  Production meetings, usually keeping all the budgets for set decorating, often construction, and the art department.  Time cards for all of the above.  Location tours, call sheets, scripts, clearances (which I have no idea when the art coordinator became responsible for making sure everything was cleared but that happened somewhere in time).  Product placement, but I have to tell you… talk about fascinating… your every minute is different.  Alien 4 was one of my favorite films to work on at Fox.  Huge art department, sets, budgets, construction, and a lot of people from Star Trek, however, one of the first things the production designer told us was: “I see anything that looks like Star Trek, you’re fired!”  Ok, but he was a lot of fun to work for.

Filming the Baku Village at the Lake Sherwood set.

Sometimes things would go wrong or go missing.  When we were out at Lake Sherwood for the Baku village in Star Trek Insurrection, Worf’s teeth came up missing.  They were very expensive to make so there was one set at the time.  So the hunt was on and of course we were still shooting Deep Space Nine at the time.  That created quite the stir to have a whole lot of people searching for Worf’s teeth.  So yes, they were found, but at great cost to both productions.

Penny Juday (far right) as an extra in Star Trek Generations, in Ten Forward on the USS Enterprise-D. Also in this scene were Patrick Stewart as Captain Picard, Whoopi Goldberg as Guinan and Malcolm McDowell as Dr. Soran.

CB:  You were able to work with the Star Trek original series cast on Star Trek Generations, and even performed on camera as an extra.  What kind of interaction did you have behind the scenes with the original Enterprise crew?  Any lasting impressions?

PJ:  I met Mr. Kelley on Star Trek VI: The Undiscovered Country as they were walking out of the Klingon courtroom.  He had had a long day but stopped and introduced himself to me, shook my hand.  What a lovely, gracious man.  Shatner ran past, couldn’t leave the set quick enough, which is understandable.  I later met him on Star Trek Generations.  We were in the Valley of Fire, north of Las Vegas.  I was put in the crew van which was traveling to the site in the desert where the bridge set was.  I was in charge of taking orders for the crew gift bomber jackets.  He had never heard of a bomber jacket.  So that was a great fun thing to do, he got a laugh out of the whole thing.  Ms. Nichols, I interviewed her for Star Trek: The Magazine.  Again just so warm, friendly, kind, happy to talk to me.  I think I have met them all at one time or another and what an experience to meet your idols from your favorite show and then get to work with them.

Energy beacons used by The Borg that Penny helped to create for Star Trek: First Contact.

CB:  Part of your many roles for Star Trek included locating found props in the real world, such as purchasing furniture for sets or odd bottles to get re-dressed for use in Quark’s bar in Deep Space Nine.  What were some of the stranger creations you were asked to come up with?

PJ:  Wow, there are so many!  I think the Borg energy packs in Star Trek: First Contact—where they are on the dish—the Borg pull out these long acrylic tubes that glow… those were bird feeders that we put fluorescent tubes in, wrapped them in the mess they are shipped in, then wrapped those in a lighting gel.  When I called the company, because we needed a lot of them, they were so excited and it was hard for them to believe how they were going to be used.  I think the second is all the vacuum packaging we used.  If you look at the packages your cookies, candy, make-up, anything with a molded part, you will see a great deal of interesting usable shapes.  We had stacks of packages friends and family would save up for us, just in case we needed something on the run.  Anthony had a kludge closet in the art department where we would store found objects for instant prop and model making.  Then I think the Picard family album was probably one of my favorites.  I worked on that for weeks digging through flea markets, yard sales, antique shops, asking crew for items, family photos and such.  I would get French newspapers and make up articles, soak them in coffee or tea then run over them with the car.  So much fun!

Counselor Deanna Troi (Marina Sirtis) and Captain Jean-Luc Picard (Patrick Stewart) flipping through the Picard family album Penny Juday created. The original album was on display for years at the Star Trek Experience in Las Vegas.

Please come back tomorrow for part 2 of our interview with Penny Juday.

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