altogether.) The model of the Enterprise, already built by the time Trumbull's team took over, proved especially tricky. While the model of Discovery in "2001" was over 50 feet (15 m.) long and featured a wealth of detail (from parts gleaned from, among other things, hundreds of plastic model tank kits), the model of the Enterprise was only seven feet (2 m.) in length, which severely limited the photographic possibilities. Other compromises had to be overcome. Trumbull had several ideas for unconventional effects – such as a modified slitscan technique to produce fantastic streaks when the Enterprise went into warp drive, but many had to be shelved due to time constraints. Trumbull also made several contributions to the story line, in collaboration once again with his Andromeda Strain director Robert Wise. As Trumbull told Wolfram Hannemann of in70mm.com, "There were as many shots [in the movie] as "Close Encounters" and "Star Wars" combined ... There were 650 shots, which had to be completed in six months ... and we all worked 24 hours a day for six months. Seven days a week, around the clock, to get that movie done ... I ended up in the hospital – it was a major recovery. I had ulcers, all kinds of exhaustion because I was working seven days a week, almost living in the studio, not getting enough sleep." 1980–1990s In 1981 Trumbull directed the special effects for the Ridley Scott film Blade Runner. By this time Trumbull had sworn off doing special effects for other directors, but was lured to the project by the opportunity to work with Scott, and a chance to create something other than sterile, grey and white spacecraft. "One of the things that appealed to me about the project", Trumbull recalled in an interview in Cinefex magazine, "was that it was NOT a space movie. I'm just real tired of doing spaceships against star backgrounds." Indeed, the iconic images of a polluted, dystopian Los Angeles, looking more like an oil refinery than a metropolis, and complete with building-sized electronic billboards and a bulbous blimp circling overhead advertising "Off World" job opportunities became the film's visual trademarks. (Despite the experience and professionalism of Trumbull's disciples, not everything went smoothly. According to Cinefex magazine, a young model maker was giving his girlfriend a tour of the effects shop, and he noticed that a large model of a building being