John M . Dwyer John M . Dwyer is an Emmy Award - winning , Academy Award - nominated set decorator who has worked on , the first season of , and six . Dwyer started working under the direct auspices of Art Director / Production Designer Walter " Matt " Jefferies , on the " Original Series " during its second season , beginning with the popular episode . Jefferies ' younger brother , Set Designer John Jefferies , worked closely with Dwyer and his team . He remained with the series until its cancellation in . Jefferies , who had to contend with ever tightening budgets , has always been very appreciative of Dwyer , already emphatically stating so in 1968 , " " In the early stages John Dwyer , set decorator , comes in and looks at the initial drawings . Then he and I sit down and have a talk about what I have in mind . He proceeds to put his talents to work finding the proper dressing along the lines of what we ' ve discussed . I depend on this man very heavily , not only to carry out my ideas , but to come up with an endless fountain of his own ideas . And he does . For the most part , Stage 9 [ which houses almost all the standing sets for the " Enterprise " ] is a very static set , and John can turn that over to his assistant , . Then John has the opportunity to of getting off the lot and searching for unusual things – something particular he has in mind , or some idea of mine . But John has the opportunity to get out where I don ' t . So he ' s my floating eyes and sticky fingers . . . that ' s where all the " freebies " come in too . He has a wonderful knack of finding these things . . . an eagerness and adventuresome sort of spirit that that goes with digging some of these things out . " " ( " " , issue 4 , p . 3 ) His work on the series earned him an Emmy Award nomination in 1969 . Dwyer reciprocally had stated this in 2002 , " " The art director is like the architect in your home or your office or anything else . He supplies all of the hard things that you see . Then I would come in and do carpeting , drapery treatments , all the furniture , all the wall designs , decorations , and pretty much put the thing together , and you ' d try and stay a little bit on the cutting edge . I ' m not a scientist by any stretch of the imagination , but I keep in touch with materials , you know , that are going around . For example , on the " Original Series " , we were the first ones to use refractive Mylar , because it had just come out , and metallic Mylar because they had just come out , and I went crazy with the stuff . In those days nobody cared what you put on the set , so long as there was something that looked right . I ' d take a piece of Masonite and cover it with some adhesive Mylar , put a two - by - four on the backside of it and hang it on a wall . " " In the same interview , Dwyer described a typical assignment , when he was tasked to dress the set of laboratory Spock was kept in , in the third season episode , " It was late in the morning . It was probably 11 : 30 and Matt Jefferies , the production designer of the " Original Series " , came up and said , " John , we need an extra eight - foot wall in there . " Well , you know , you don ' t have extra stuff , because we had no budget at all , so we had to dream up an extra space wall . It wouldn ' t have been so bad if it had been a living quarter , but it was really a lab . So , it had to be technical looking . And so I said , " You have it after lunch . " , so , it was not a lot of time . So I says , " Good , when you go over , when you ' re building the wall , cut me four four - by - four pieces of quarter - inch Masonite and paint them black . I ' ll take care of the rest . " So , I went over and got out my little stash of Styrofoam products and had them sprayed while I was going down . I gave my lead man " [ note : Mike May ] " a couple of bucks and I told him to go down to the commissary and get two sleeves , different sizes , of takeout cup lids , you know , the plastic lids that fits on takeout , the cup when you go with your coffee . So he came back , we flipped them all over , we painted three different colors , a bunch of them , three different colors , then glued them onto these black panels , that I had that made up along with a couple of shapes . That was it , the wall was done . And when they pan past it , because nobody ' s gonna hang on it , but if you pan by it , they ' re colored , they ' re up there on the wall and they ' re shining , because they ' re plastic . " In a more reflective mood , Dwyer added , " " In the " Original Series " we had to be really inventive , because we were dealing with stuff that nobody knew anything about . There was no space shows , and we didn ' t have any money , so you had to scrounge ; In effect scrounge everything that you got . " " ( TOS Season 2 DVD - special feature , " Designing the Final Frontier " ) Dwyer returned to the " Star Trek " franchise nearly two decades later when he was brought aboard to decorate the sets for in . The following year , he was hired as set decorator on " Star Trek : The Next Generation " . Dwyer left TNG after the first season , however , and Jim Mees took over his position . The reasons for Dwyer to leave , were partly expedited by Gene Roddenberry ' s uninitiated attorney and business partner Leonard Maizlish , who " destructively " meddled with the creative decision making for the new series . ( " " , p . 433 ) Although he left TNG , Dwyer continued to contribute to the franchise . He decorated the sets for , and later did the same for , , and . He most recently worked on with art director Donald B . Woodruff , with whom he worked before on the 1987 film " Jaws : The Revenge " , directed by director Joseph Sargent . During the shooting of " Nemesis " , Dwyer quit working on the film after having conflicts with the director , Stuart Baird . In , Dwyer visited the sound stages to see the recreated sets for . ( David Gerrold ' s introduction , " Trials and Tribble - ations " novelization ) Successor Laura Richarz had actually approached Dwyer during production of " Trials and Tribble - ations " regarding recreating set decorations . Although the production staff did not recreate Mr Lurry ' s office , Dwyer recalled telling Richarz " " to get a model of the " Enterprise " and hang it outside Lurry ' s window , because that ' s how we did it " [ note : originally ] " . " " ( " " ) Years later , on , Dwyer played one - time host on the " Original Series " bridge set recreation , while it was displayed at the opening of " Star Trek The Exhibition " tour at the Long Beach , California venue . Dwyer began his set decoration career on the hit ABC series " McHale ' s Navy " . This was followed by the 1967 made - for - television movie " Valley of Mystery " , which featured Leonard Nimoy . He would begin working on Nimoy ' s series , " Star Trek " , that same year . Career outside " Star Trek " . After " Star Trek " , Dwyer worked on such television shows as " Night Gallery " , " Kojak " , and " Kolchak : The Night Stalker " . He also worked on his first film , the Academy Award - winning 1975 blockbuster hit " Jaws " . Afterward , he decorated sets for the films " Midway " ( 1976 , starring Edward Laurence Albert and featuring Phillip Richard Allen , Glenn Corbett , James Ingersoll , Robert Ito , Clyde Kusatsu , Monte Markham , and John Schuck ) , " Two - Minute Warning " ( 1976 , featuring Allan Miller , Brock Peters , and Garry Walberg ) , " Which Way Is Up ? " ( 1977 , featuring Marc Alaimo and Morgan Woodward , with cinematography by John A . Alonzo ) , and " Gray Lady Down " ( 1978 , starring Ronny Cox , Rosemary Forsyth , and Stephen McHattie and featuring David Clennon and Robert Ito ) . Dwyer earned his first Emmy Award nomination in Outstanding Art Direction for his work on the 1978 NBC mini - series " Centennial " . Among the performers who worked on this program are Michael Ansara , Ed Bakey , Henry Darrow , Cliff DeYoung , Robert DoQui , Robert Easton , Alex Henteloff , Brian Keith , Sally Kellerman , Stephen McHattie , Nick Ramus , Clive Revill , Eric Server , James Sloyan , Morgan Woodward , and Anthony Zerbe . Dwyer received his second Emmy nomination – which he won – for the 1981 mini - series " The Gangster Chronicles " , starring Jonathan Banks , Michael Ensign , Louis Giambalvo , Michael Nouri , and Kenneth Tigar . Dwyer ' s next project was the acclaimed 1980 biographical drama " Coal Miner ' s Daughter " , which earned Dwyer his first and only Academy Award nomination for Best Art Direction - Set Decoration ( shared with production designer John W . Corso ) . Subsequent films featuring Dwyer ' s decorating work ( besides those in the " Trek " franchise ) include John Carpenter ' s " The Thing " ( 1982 , featuring David Clennon and Joel Polis ) , Paramount Pictures ' " Beverly Hills Cop " ( 1984 , starring Jonathan Banks , Steven Berkoff , and Ronny Cox ) , " Terminator 2 : Judgment Day " ( 1991 , featuring Earl Boen , Jenette Goldstein , Nikki Cox , Castulo Guerra , Terrence Evans and Abdul Salaam El Razzac ) , " Alien : Resurrection " ( 1997 , starring Raymond Cruz , Brad Dourif , Leland Orser , and Ron Perlman , with art direction by Andrew Neskoromny and costume design by Bob Ringwood ) , and " Hollow Man " ( 2000 , featuring J . Patrick McCormack and Jimmie F . Skaggs ) . In addition , he worked with veteran " Star Trek " production designer Herman Zimmerman on the Paramount films " Black Rain " ( 1989 , featuring Tim Kelleher , Richard Riehle , and Stephen Root ) and " All I Want for Christmas " ( 1991 , featuring Andrea Martin ) . The latter picture featured art direction by DS9 art director Randy McIlvain . Among the television programs on which Dwyer worked later in his career included " Magnum , P . I . " , " MacGyver " , and the popular 1983 science fiction mini - series " V " .