Silent Running


1h 29m 1972

Brief Synopsis

An astronaut guarding the last the Earth's forests defies an order to destroy his precious cargo.

Film Details

Also Known As
Running Silent
MPAA Rating
Genre
Horror/Science-Fiction
Drama
Fantasy
Release Date
Mar 1972
Premiere Information
Los Angeles opening: 10 Mar 1972; New York opening: 31 Mar 1972
Production Company
Universal Pictures
Distribution Company
Universal Pictures
Country
United States
Location
Long Beach--Terminal Island Naval Station, California, United States; Terminal Island Naval Station, California, United States; Van Nuys--Van Nuys Airport, California, United States

Technical Specs

Duration
1h 29m
Sound
70 mm 6-Track (70 mm prints) (Westrex Recording System), Mono (35 mm prints)
Color
Color (Technicolor)
Theatrical Aspect Ratio
1.85 : 1

Synopsis

In the future, Earth has lost all of its vegetation due to neglect and pollution, with the only remaining specimens carefully tended to in huge geodesic domes attached to several far-roving space freighters. Each ship maintains different ecosystems, with the U.S.S. Valley Forge sustaining six large forests, complete with woodland animals. Freeman Lowell, the most dedicated member of the project, has been on the Valley Forge for eight years and fervently believes that Earth will be repopulated with trees, flowers, vegetables and fruits, despite the derision of his fellow astronauts, John Wolf, Marty Barker and Andy Keenan. The other men, younger than Lowell, refuse to eat the produce he grows, instead preferring synthetic foods manufactured by the kitchen units. Maintenance aboard the vast ship is carried out by three small drones, each equipped with short legs, a mobile arm that can use a variety of tools and a camera through which the crew can see what the drone sees. Lowell frequently bickers with the other men, especially Barker and Keenan, who assert that if anyone on Earth really cared, the reforestation program would have been taken more seriously years earlier. Despite their antagonism, the men often relieve their boredom by playing poker, at which Lowell usually wins. One day, Lowell's worst fears are realized when the group receives orders that all of the domes are to be exploded and the ships returned to commercial service, with their crews to report back to Earth. Although the other astronauts are thrilled by the prospect of returning home, Lowell glumly goes to his gardens to save a few flowers. Wolf reminds Lowell that there is no more poverty or unemployment on Earth, as well as very little disease, but Lowell retorts that there is also no more beauty, imagination or frontiers to conquer, and that no one cares any longer. Wolf, Barker and Keenan begin placing the nuclear bombs into the domes and preparing to jettison them, while Lowell becomes more agitated. His anger increases as he watches the domes explode, until finally, when Wolf enters the dome in which Lowell is working, Lowell blocks his path, insisting that he cannot destroy the irreplaceable forest. In the ensuing struggle, Lowell's leg is badly injured but he succeeds in strangling Wolf. Limping to the control room, Lowell then jettisons and explodes the dome in which Barker and Keenan are working, thereby killing them also. When the lead ship, the Berkshire , inquires about the Valley Forge , Lowell responds that the other men have been killed in an accident and the ship has been damaged by an explosion, which he simulates by having the drones throw cargo pods out into space. Lowell then sets a course for the outer rings of Saturn and tells Anderson, the squad commander, that he cannot repair the damage nor change course. Anderson tells Lowell that he will probably die in the turbulence as the ship passes through the rings but promises to send a search party. Satisfied that he has eluded the others while saving one dome, Lowell then reprograms the three drones so that they can operate on his leg. With the drones' help, Lowell survives the surgery and falls asleep. He is awakened by a fierce shaking as the ship passes through Saturn's rings and, desperate, watches the monitors showing the progress of the three drones, who are on the outside of the ship. He orders them inside and watches with great dismay as the third drone does not make it in time and is ripped away by the storm. The other two reach safety, however, and soon the intact ship floats in the quiet of the other side of Saturn. Lowell is thrilled by the success of his plan but troubled by Wolf's body, which he orders the drones to bury. Although he regrets having resorted to violence, Lowell asserts that he had no other choice. Lowell then reprograms the drones again so that they will answer directly to him at all times. He names the smaller, gray one Dewey and the larger, orange one Huey, while noting that the third one, who would have been Louie, is no longer with them. As their new programming enables them to work closely with Lowell in caring for the forest, the drones also become less robotic in their behavior, following Lowell like pets and responding to him with squeaks and flashing lights. Despite their company, Lowell begins to feel lonely and soon is racing around the ship in a motorized cart, wandering aimlessly and sadly remembering his companions. Determined to ease his pain, Lowell programs Huey and Dewey to play poker and although the drones cheat by showing each other their cards, Lowell laughs with delight when Huey wins. Lowell's malaise continues, however, until one day, Huey and Dewey silently stare at him while he prepares a meal of synthetic food. Feeling their reproach, Lowell admits that he has not been eating real food and jogs to the forest, which he has been neglecting. To his astonishment, the plants are turning brown and dying, and none of his research reveals an answer to the problem. As he continues to investigate, he orders Huey, who is in the forest examining specimens, to remain there while he joins him. Huey is waddling down the corridor, however, when Lowell races through on a cart and smashes into him. Although he tries to repair the damage, Lowell cannot fix Huey, who remains dented, limping and unable to use his arm fully. Grief-stricken, Lowell apologizes to Huey and Dewey and attempts to comfort them. Later, Lowell is awakened by a radio call from the Berkshire , which has successfully maneuvered around Saturn and found the Valley Forge . Lowell is horrified that he has been discovered, especially when Anderson states that he can leave the forest to die, as they are too far from the sun for it to survive, and that they will be picking him up in six hours. Finally realizing that lack of sunlight is causing the forest to wither, Lowell quickly erects a series of bright, artificial lights. With the lights in place, Lowell addresses "the boys," telling Dewey that he has all the knowledge he needs to maintain the forest forever. After tearfully bidding Dewey farewell, Lowell takes Huey, who is too injured to help Dewey, back to the main ship. Lowell then jettisons the dome, as he knows that it will never be looked for if the others believe that the Valley Forge is gone. Setting up a series of nuclear bombs, Lowell pets Huey one last time, then blows the ship up. Later, far away in outer space, the forest dome flourishes with renewed vigor and Dewey waters a young tree with Lowell's favorite watering can.

Film Details

Also Known As
Running Silent
MPAA Rating
Genre
Horror/Science-Fiction
Drama
Fantasy
Release Date
Mar 1972
Premiere Information
Los Angeles opening: 10 Mar 1972; New York opening: 31 Mar 1972
Production Company
Universal Pictures
Distribution Company
Universal Pictures
Country
United States
Location
Long Beach--Terminal Island Naval Station, California, United States; Terminal Island Naval Station, California, United States; Van Nuys--Van Nuys Airport, California, United States

Technical Specs

Duration
1h 29m
Sound
70 mm 6-Track (70 mm prints) (Westrex Recording System), Mono (35 mm prints)
Color
Color (Technicolor)
Theatrical Aspect Ratio
1.85 : 1

Articles

Silent Running


t may not be easy to imagine Silent Running (1971) competing in today's sci-fi movie market. It has special effects, created by an acknowledged master in the field, but they have little to do with the pyrotechnics of planet-destroying battles or the shock thrills of bloodthirsty aliens oozing with slime. Its vision of the future may be bleak and apocalyptic, but the story is tender and ultimately hopeful. For about 90 percent of its running time, the film involves a solitary man alone in a ship in deep space with nothing but plant life and a few lovable - but nonspeaking - robots for company. Yet for many of those who saw it on its initial release, it remains a favorite, a futuristic thriller with heart, soul, and social conscience.

The movie's themes of environmental concern and rebellion against wrongheaded authority fit very well with the time it was released (enhanced by Joan Baez's folksy soundtrack). The story is set in the year 2008, when Earth's natural environment has been destroyed. All that remains are samples of forests and waterlands preserved in space-station greenhouses orbiting Saturn until the day our planet is able to support plants and animals again. Freeman Lowell is one of the guardians of these microcosmic environments, and when official word comes that the project is too expensive to be carried on - in fact, Earthlings now seem content with their totally man-made surroundings - he quickly hatches a plan to avert orders to destroy the pod carrying his most beloved forest site. He kills his three colleagues and heads deeper into space, radioing home that an explosion has disabled his spacecraft and sent it on a trajectory where he may never be found again. Alone somewhere inside the rings of Saturn, he forms a relationship with his remaining "drone" robots, teaching them about the abundant life in their care. When a craft from home approaches to "rescue" him, he must take one last drastic step and make an even greater sacrifice to save the land in his care.

The role of Freeman Lowell was an especially important one for Bruce Dern and remains one of the actor's favorites. Although a well-educated man from an upper-crust family (and nephew of the poet Archibald MacLeish), Dern spent his first 14 years in motion pictures playing heavies in Roger Corman's biker flicks and exploitation quickies, with occasional forays into big-budget studio productions, but usually cast as what the actor referred to as "sickies." Dern was having a particularly bad year in 1970: he had lost a part in Monte Hellman's Two-Lane Blacktop (1971), and his agent advised him to avoid the kind of roles in which he'd been typecast. He hadn't worked for eight months when he got a call to meet Douglas Trumbull, the young man who created the special effects for Stanley Kubrick's 2001: A Space Odyssey (1968) and was making his directorial debut. Dern was skeptical but took the chance, and he never regretted it.

"The wait was worth it because I ended up getting in this movie, which is one of my favorites," Dern told an interviewer for Film Fax and Outre magazines. "Many people say it's a cult masterpiece. I have two or three that are really legitimate cult masterpieces, and Silent Running is one of them. (It) was really the beginning of my career as a guy who could star in movies or carry a movie and was something that made me feel, you know, like I was doing the right thing and I wasn't whoring out."

Dern credits the success of the movie almost entirely to Trumbull, one of two directors he worked with (the other being Alfred Hitchcock) who he considers geniuses. Trumbull began his career as a background illustrator on Navy, Air Force, and NASA films and gained fame for his revolutionary work on 2001, for which he developed the "slit-scan" machine used to create the astounding light show in the film's climactic sequence. Although Silent Running was his first project as director, he shows a sure hand in the opening sequence, where Dern is seen swimming in a peaceful forest lake by a waterfall. Bit by bit, Trumbull pulls away from the idyllic scene to slowly reveal the true setting, a station in deep space. His skill isn't all in the visual realm, either, as one might expect from a special effects expert. He creates something very touching out of the story of one man's decision to do what is right by any means necessary, and he gives it an oddly human element through the use of the tiny robot drones, predating the humanoid R2-D2 and C-3PO of George Lucas's Star Wars (1977) by several years.

The drones - a concept that initially inspired Trumbull to write the treatment for Silent Running - were the subject of much speculation when the film was released. Everyone was trying to figure out how he managed to create these life-like machines. "I've even had professional special effects people look at the pictures and say, 'You must have done that with pneumatics, or hydraulics, or some kind of offstage control,'" Trumbull told Cinefantastique in 1972. The truth is, he had robot costumes made out of plastic, operated from the inside by several young amputees whose bodies ended below the waist. Trumbull got the idea from a character in Tod Browning's classic Freaks (1932) who walked using only his arms and hands.

Silent Running continues to be a milestone, not only for fans but for the people who worked on it. "We all felt that we were doing something unusual," special effects technician Jim Rugg told Cinefantastique. "The grips and technicians and other people who worked on it all got spellbound by it. We'd all love to work for Doug Trumbull again." Unfortunately, Trumbull has only directed one other feature film of note, the sci-fi movie Brainstorm (1983), which is known more for being the movie Natalie Wood was completing when she died. But his technical wizardry hasn't gone to waste. He has contributed to the look of such movies as The Towering Inferno (1974), Close Encounters of the Third Kind (1977), Star Trek: The Motion Picture (1979), and Blade Runner (1982), and created the visuals for Universal Studios' Back to the Future ride and other special attractions.

Although Dern rarely got the chance to carry a movie as the main star again, he has gone on to a distinguished career in many well-known films - sometimes as the "sickie" or bad guy, sometimes not. He has received Oscar and Golden Globe nominations, and won the National Society of Film Critics Best Supporting Actor Award for his role in his close friend Jack Nicholson's Drive, He Said (1971). The scriptwriters of Silent Running have also fared well. Steven Bochco went on to create a number of acclaimed TV series, notably Hill Street Blues, and Deric Washburn was nominated for an original screenplay Oscar for the Best Picture of 1978, The Deer Hunter, directed by fellow Silent Running writer Michael Cimino.

Director: Douglas Trumbull
Producer: Michael Gruskoff, Marty Hornstein, Douglas Trumbull
Screenplay: Steven Bochco, Michael Cimino, Deric Washburn
Cinematography: Charles F. Wheeler
Editing: Aaron Stell
Original Music: Peter Schickele, Joan Baez
Principal Cast: Bruce Dern (Freeman Lowell), Cliff Potts (Wolf), Ron Rifkin (Barker), Jesse Vint (Keenan), Steve Brown, Mark Persons, Cheryl Sparks, Larry Whisenhunt (Drones).
C-90m. Letterboxed. Closed captioning.

by Rob Nixon

Silent Running

Silent Running

t may not be easy to imagine Silent Running (1971) competing in today's sci-fi movie market. It has special effects, created by an acknowledged master in the field, but they have little to do with the pyrotechnics of planet-destroying battles or the shock thrills of bloodthirsty aliens oozing with slime. Its vision of the future may be bleak and apocalyptic, but the story is tender and ultimately hopeful. For about 90 percent of its running time, the film involves a solitary man alone in a ship in deep space with nothing but plant life and a few lovable - but nonspeaking - robots for company. Yet for many of those who saw it on its initial release, it remains a favorite, a futuristic thriller with heart, soul, and social conscience. The movie's themes of environmental concern and rebellion against wrongheaded authority fit very well with the time it was released (enhanced by Joan Baez's folksy soundtrack). The story is set in the year 2008, when Earth's natural environment has been destroyed. All that remains are samples of forests and waterlands preserved in space-station greenhouses orbiting Saturn until the day our planet is able to support plants and animals again. Freeman Lowell is one of the guardians of these microcosmic environments, and when official word comes that the project is too expensive to be carried on - in fact, Earthlings now seem content with their totally man-made surroundings - he quickly hatches a plan to avert orders to destroy the pod carrying his most beloved forest site. He kills his three colleagues and heads deeper into space, radioing home that an explosion has disabled his spacecraft and sent it on a trajectory where he may never be found again. Alone somewhere inside the rings of Saturn, he forms a relationship with his remaining "drone" robots, teaching them about the abundant life in their care. When a craft from home approaches to "rescue" him, he must take one last drastic step and make an even greater sacrifice to save the land in his care. The role of Freeman Lowell was an especially important one for Bruce Dern and remains one of the actor's favorites. Although a well-educated man from an upper-crust family (and nephew of the poet Archibald MacLeish), Dern spent his first 14 years in motion pictures playing heavies in Roger Corman's biker flicks and exploitation quickies, with occasional forays into big-budget studio productions, but usually cast as what the actor referred to as "sickies." Dern was having a particularly bad year in 1970: he had lost a part in Monte Hellman's Two-Lane Blacktop (1971), and his agent advised him to avoid the kind of roles in which he'd been typecast. He hadn't worked for eight months when he got a call to meet Douglas Trumbull, the young man who created the special effects for Stanley Kubrick's 2001: A Space Odyssey (1968) and was making his directorial debut. Dern was skeptical but took the chance, and he never regretted it. "The wait was worth it because I ended up getting in this movie, which is one of my favorites," Dern told an interviewer for Film Fax and Outre magazines. "Many people say it's a cult masterpiece. I have two or three that are really legitimate cult masterpieces, and Silent Running is one of them. (It) was really the beginning of my career as a guy who could star in movies or carry a movie and was something that made me feel, you know, like I was doing the right thing and I wasn't whoring out." Dern credits the success of the movie almost entirely to Trumbull, one of two directors he worked with (the other being Alfred Hitchcock) who he considers geniuses. Trumbull began his career as a background illustrator on Navy, Air Force, and NASA films and gained fame for his revolutionary work on 2001, for which he developed the "slit-scan" machine used to create the astounding light show in the film's climactic sequence. Although Silent Running was his first project as director, he shows a sure hand in the opening sequence, where Dern is seen swimming in a peaceful forest lake by a waterfall. Bit by bit, Trumbull pulls away from the idyllic scene to slowly reveal the true setting, a station in deep space. His skill isn't all in the visual realm, either, as one might expect from a special effects expert. He creates something very touching out of the story of one man's decision to do what is right by any means necessary, and he gives it an oddly human element through the use of the tiny robot drones, predating the humanoid R2-D2 and C-3PO of George Lucas's Star Wars (1977) by several years. The drones - a concept that initially inspired Trumbull to write the treatment for Silent Running - were the subject of much speculation when the film was released. Everyone was trying to figure out how he managed to create these life-like machines. "I've even had professional special effects people look at the pictures and say, 'You must have done that with pneumatics, or hydraulics, or some kind of offstage control,'" Trumbull told Cinefantastique in 1972. The truth is, he had robot costumes made out of plastic, operated from the inside by several young amputees whose bodies ended below the waist. Trumbull got the idea from a character in Tod Browning's classic Freaks (1932) who walked using only his arms and hands. Silent Running continues to be a milestone, not only for fans but for the people who worked on it. "We all felt that we were doing something unusual," special effects technician Jim Rugg told Cinefantastique. "The grips and technicians and other people who worked on it all got spellbound by it. We'd all love to work for Doug Trumbull again." Unfortunately, Trumbull has only directed one other feature film of note, the sci-fi movie Brainstorm (1983), which is known more for being the movie Natalie Wood was completing when she died. But his technical wizardry hasn't gone to waste. He has contributed to the look of such movies as The Towering Inferno (1974), Close Encounters of the Third Kind (1977), Star Trek: The Motion Picture (1979), and Blade Runner (1982), and created the visuals for Universal Studios' Back to the Future ride and other special attractions. Although Dern rarely got the chance to carry a movie as the main star again, he has gone on to a distinguished career in many well-known films - sometimes as the "sickie" or bad guy, sometimes not. He has received Oscar and Golden Globe nominations, and won the National Society of Film Critics Best Supporting Actor Award for his role in his close friend Jack Nicholson's Drive, He Said (1971). The scriptwriters of Silent Running have also fared well. Steven Bochco went on to create a number of acclaimed TV series, notably Hill Street Blues, and Deric Washburn was nominated for an original screenplay Oscar for the Best Picture of 1978, The Deer Hunter, directed by fellow Silent Running writer Michael Cimino. Director: Douglas Trumbull Producer: Michael Gruskoff, Marty Hornstein, Douglas Trumbull Screenplay: Steven Bochco, Michael Cimino, Deric Washburn Cinematography: Charles F. Wheeler Editing: Aaron Stell Original Music: Peter Schickele, Joan Baez Principal Cast: Bruce Dern (Freeman Lowell), Cliff Potts (Wolf), Ron Rifkin (Barker), Jesse Vint (Keenan), Steve Brown, Mark Persons, Cheryl Sparks, Larry Whisenhunt (Drones). C-90m. Letterboxed. Closed captioning. by Rob Nixon

Quotes

On this first day of a new century we humbly beg forgiveness and dedicate these last forests of our once beautiful nation to the hope that they will one day return and grace our foul earth. Until that day may God bless these gardens and the brave men who care for them.
- Anderson
It calls back a time when there were flowers all over the Earth... and there were valleys. And there were plains of tall green grass that you could lie down in -- you could go to sleep in. And there were blue skies, and there was fresh air... and there were things growing all over the place, not just in some domed enclosures blasted some millions of miles out in to space.
- Freeman Lowell

Trivia

Douglas Trumbull says that he learned how to be a director while working on this film, as he had no training or experience in the job.

To keep costs down, Trumbull hired college students for modelmaking and other such special effects work. One of them, 'Dykstra, John' , went on to a distinguished special effects career of his own.

The three drone robots Huey, Dewey, and Louie were operated by four multiple-amputee actors: Mark Persons, Steve Brown (IX), Cheryl Sparks, and Larry Whisenhunt.

The decommissioned Essex-class aircraft carrier "Valley Forge," a veteran of World War II, Korea, and Vietnam, served as the interior of the space freighter "Valley Forge." The flight control area and hangar deck of the carrier were modified and painted to represent the space freighter in the film. The carrier was scrapped after filming was complete.

The model of the "Valley Forge" space freighter was 26 feet in length and was constructed of steel, wood, plastic, and over 650 army tank model kits. This model no longer exists, as it was disassembled and destroyed several years after filming. At least one original "dome" from the model has survived in good condition, and was offered on an Internet auction site in 2003 - it sold for $11,000.

Notes

The working title of this film was Running Silent. As noted by Filmfacts, the title Silent Running refers to a nautical term describing a submarine "running silent" by lying on the ocean's floor with its engines cut in order to prevent detection. Sometimes the submarine will jettison debris and fluids in order to make the enemy think that it has been damaged. In the ending credits, a written acknowledgment thanks a number of companies, including American Airlines, which lent its logo for the "American Airline Space Freighter" sign on the U.S.S. Valley Forge space freighter, and the U.S. Dept. of Agriculture, Forest Service. The names of the three drones-Huey, Dewey and Louie-were the names of the nephews of Disney cartoon character Donald Duck.
       1969 and 1970 news items noted that the film was to be made within the independent unit overseen by Ned Tanen, a vice-president at Universal Studios. As with other films supervised by Tanen, Silent Running was given a $1,000,000 budget and a guarantee of final cut to first-time director Douglas Trumbull, who had previously worked on the special and visual effects for films such as the 1968 release 2001: A Space Odyssey and the 1971 production The Andromeda Strain (see entries below and above).
       Although a August 21, 1970 Hollywood Reporter news item reported that Robert Dillon and Dennis Clark had written the screenplay, which contemporary sources noted was based on a story by Trumbull, the extent of Dillon's and Clark's contribution, if any, to the completed film has not been determined. Contemporary sources reported that the majority of the film was shot on location inside the U.S.S. Valley Forge, a decommissioned aircraft carrier moored at the Terminal Island Naval Station off Long Beach Harbor in Southern California. The interior of the carrier was extensively remodeled, using styrene vacuum forms, plywood, rubber and other materials, to make it look like a space freighter, according to a 1972 documentary on the film's making, which was included in the 2001 DVD release of Silent Running. The documentary also reported that the forest scenes were shot in an airplane hanger at the Van Nuys Airport in California. In a modern interview included on the DVD, Trumbull related that he personally photographed the brief scenes of Lowell's recollection of a real forest in the Muir Woods, near San Francisco. Producer Michael Gruskoff, a former agent, had been Bruce Dern's first agent and recommended him for the role of "Freeman Lowell," according to the DVD commentary, to which Trumbull added that Larry Hagman was among the actors considered for the role.
       As reported by the 1972 documentary, the costumes for the drone units were vacuum-formed, styrene plastic shells. The lightweight costumes were worn by bilateral amputees (double amputees without legs), whose arms fit into the legs of the drones. The amputees walked on their arms and breathed through the slotted fronts of the costumes. In a modern interview, Trumbull stated that he had been inspired to cast real actors as the drones after seeing the 1932 Tod Browning-directed film Freaks, which features an actor known as "The Living Torso."
       Trumbull also related that the geodesic domes housing the forests used in the film were inspired by a dome designed by Buckminster Fuller located at the Missouri Botanical Gardens in St. Louis, MO, and that the design of the spaceship was inspired by a tower at the 1970 Osaka World Expo. Many of the special effects for the picture were created "in camera," according to Trumbull, by using front projection equipment to project still photographic plates of stars, the domes and other images in front of the actors or models while the live-action sequences were being shot, as opposed to optical visual effects being inserted after principal photography was completed. The model for the Valley Forge was approximately twenty-five feet long, according to the 1972 documentary, with the domes being twenty-seven inches in diameter.
       According to contemporary sources, the film was initially rated GP-the rating listed by Filmfacts and several preview reviews-but was re-edited before its general release in order to receive a G rating. According to the March 13, 1972 Box Office review, two minutes were cut from the film in order for it to qualify for the G rating. The picture won the 1972 Golden Astroid for best picture at the International Science-Fiction Film Festival in Trieste, Italy. The 1972 making of documentary about Silent Running also received an award at the Trieste festival in 1974. Silent Running received generally warm reviews, with many critics comparing it to 2001: A Space Odyssey, because of Trumbull's connection to both productions. Time magazine's critic, Jay Cocks, praised Silent Running for having the earlier film's "same kind of technical virtuosity, the same sense of still, vast symmetry of the galaxies." The Washington Post reviewer pronounced Silent Running "a new classic of the genre" and asserted that he preferred its "scaled-down secular, humane perspective" to the "philosophic-mythic-religious dimensions of 2001."
       Paul D. Zimmerman, writing for Newsweek, asserted that the picture "beyond being a good family film, will become the object of cult worship by the young romantics of the Tolkien-Vonnegut generation." Despite modest box-office returns, as Zimmerman predicted, Silent Running went on to become a cult hit after being discovered on television by a new generation of fans.
       Wardrobe advisor Ann Vidor married Trumbull after Silent Running finished production. Although Trumbull did not make another feature film until the 1983 release Brainstorm, he continued to work in visual effects, including on the Academy-Award nominated pictures Close Encounters of the Third Kind (1977) and Blade Runner (1982), as well as creating interactive theme park rides such as the Back to the Future attraction at Universal Studios. Don Trumbull (1909-2004), the director's father, had worked in motion picture special effects in the 1930s, but moved into a career in the aerospace industry. Trumbull requested his father's help with Silent Running, and the elder Trumbull aided with the design of the drones and the transmissions of the motorized carts in which the astronauts race. The carts became the prototypes for the four-wheel, all-terrain vehicles that soon became popular. Don Trumbull went on to design much of the photographic equipment used in Star Wars (1977). Composer Peter Schickele, who had worked with singer Joan Baez previously as an arranger on her albums, also performed under the name P. D. Q. Bach.
       Silent Running marked the feature film debuts of writer Michael Cimino, billed onscreen as Mike Cimino, and special effects designer John Dykstra. Cimino, who became a director and producer as well as a screenplay author, became well-known for films such as 1978's The Deer Hunter and 1980's Heaven's Gate. Dykstra, an influential special effects supervisor, worked on Star Wars as well as 2002's Spider-Man and its 2004 sequel, Spider-Man 2.
       According to a August 14, 1981 Hollywood Reporter article, Universal sued Twentieth Century-Fox, claiming that the droid "R2-D2" in Star Wars was an infringement upon the design of drones Huey, Dewey and Louie. Judge Irving Hill of the U.S. District Court in Los Angeles dismissed the case before trial, however, stating that "no one has a monopoly on the use of robots in art," and that the robots in question were not similar. Universal appealed the decision, but the Court of Appeals also dismissed the case. Although Trumbull and Dern revealed in their DVD commentary for the film that both a sequel to and a remake of Silent Running have been contemplated, with a completed sequel screenplay having been written by John Curtis, neither project has been made as of 2007.

Miscellaneous Notes

Released in United States Winter January 1, 1971

Re-released in United States on Video April 20, 1994

Released in United States March 1975

Released in United States Winter January 1, 1971

Re-released in United States on Video April 20, 1994

Released in United States March 1975 (Shown at FILMEX: Los Angeles International Film Exposition (Science Fiction Movie Marathon - Selection of Trailers) March 13-26, 1975.)