[118], "Regeneration", a 2003 episode of Star Trek: Enterprise, depicts the consequences of the discovery of debris from the destroyed Borg sphere. Lieutenant Commandant Worf. With the Borg threat neutralized, Cochrane completes his warp flight. Each time it was a real pleasure, seeing the Next Generation crew battle the Borg and travel back in time to one of the key events that shaped they world they know and love. [19] As with many Star Trek productions, new, disposable redshirt characters are killed off over the course of the plot. [44], The film also required a number of smaller non-Starfleet designs. The observation lounge was similar to the design in the Enterprise-D; the set itself was re-used from the television show, the only such set not to be struck following the filming of Generations, though it was expanded and underwent a color change. Let us know what you think in the comments below. The scene was difficult to execute, taking ILM five months to finish. The set was lined with window paneling backed by red lights, which would blink intermittently during red-alert status. We had our three heroes [Picard, Worf and Hawk] in space suits, which look identical so you couldn't tell who was who until you got in real close. Members of the crew who are assimilated into the Collective are subsequently viewed as "polluted by technology" and less than human. It eventually made $92 million in the United States and Canada with an additional $54 million in other territories, combining a worldwide total of $146 million. Zimmerman created a village of fourteen huts to stand in for Montana; the cast enjoyed the scenes as a chance to escape their uniforms and wear "normal" clothes. [27] Two months after the release of Generations, Paramount decided to produce the second feature for a winter holiday 1996 release. Brent Spiner. It was a shooting and editing nightmare. [21] The Borg had not been seen in full force since the fourth-season episode of The Next Generation, "The Best of Both Worlds", and had never been heavily featured in the series due to budget constraints and the fear that they would lose their scare factor. [73] Oliver Marchart drew parallels between the Borg's combination of many into an artificial One and Thomas Hobbes's concept of the Leviathan. He reasoned that since the ship was being taken over by a foreign entity, it required more dramatic lighting and framing. [25] Picardo's line "I'm a doctor, not a door stop", is an allusion to the Star Trek original series character Dr. Leonard McCoy. The writers combined the two ideas; they initially set the film during the European Renaissance, but changed the time period that the Borg corrupted to the mid-21st century, after fearing the Renaissance idea would be "too kitsch". Frakes had not been the first choice for director; Ridley Scott and John McTiernan reportedly turned down the project. 1. [16], After location shooting was completed, shooting on the new Engineering set began May 3. [12] The last location shoot was at an art deco restaurant in Los Angeles' Union Station, which stood in for the Dixon Hill holonovel; Frakes wanted a sharp contrast with the dark, mechanical Borg scenes. Star Trek: Generations (1994) original cast and Next Generation cast Star Trek: First Contact (1996) Star Trek: Insurrection (1998) Star Trek: Nemesis (2002) STAR TREK (May 8, 2009) admin answers: Star Trek: The Motion Picture (1979) The film was presented in its original 2.35:1 anamorphic aspect ratio, with a surround sound Dolby Digital 5.1 audio mix. [58] The site made using high-wattage lights impractical, so Leonetti opted to use dimmer master lights near the ceiling and took advantage of a large window to shine diffused lights through. Tracee Lee Cocco as Jae 12. LeVar Burton. For other uses, see, CS1 maint: multiple names: authors list (, First Contact (Star Trek: The Next Generation), Sweeney Todd: the Demon Barber of Fleet Street, Favorite Supporting Actor - Science Fiction, Outstanding Supporting Actress in a Motion Picture, Online Film & Television Association Awards, "Trek's Picardo Shares Sly Trick That Won Him A First Contact Cameo", "Star Trek: The Next Generation Movie Collection — BD", "A 'First' for Him : Jonathan Frakes takes directing controls of the latest 'Star Trek' film enterprise", "Alice Krige — First Contact's Borg Queen", "Star Trek: First Contact Limited Edition Complete Motion Picture Score", "The Wrath of Ahab; Or, Herman Melville meets Gene Roddenberry", "Bold as ever As 'Star Trek' approaches its 30th anniversary, the cast and crew prepare for future generations", "A Starship Chief Goes Bravely Into Directing", "Star Trek: First Contact; Find out why we feel this film is on the same level as The Wrath of Khan", "Star Trek: First Contact — Special Collector's Edition", "Details On Star Trek TNG Movie Blu-Ray & DVD + TOS Season Two Sets + more", The Librarian: Return to King Solomon's Mines, The Librarian: Curse of the Judas Chalice, https://en.wikipedia.org/w/index.php?title=Star_Trek:_First_Contact&oldid=1007945601, Action films featuring female antagonists, Films based on Star Trek: The Next Generation, Films with screenplays by Ronald D. Moore, Wikipedia indefinitely move-protected pages, Wikipedia articles with WorldCat-VIAF identifiers, Wikipedia articles with multiple identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 20 February 2021, at 19:15. [109] First Contact was among the first titles announced for the DVD-alternative rental system Digital Video Express in 1998. First Contact (Live In Concert 6 2001)This was on the soundtrack I got. During the fight on the deflector dish, Goldsmith used low-register electronics punctuated by stabs of violent, dissonant strings. Data. [12], Principal photography took a more leisurely pace than on The Next Generation because of a less hectic schedule; only four pages of script had to be filmed each day, as opposed to eight on the television series. [82] It closed with a US & Canadian gross of $92,027,888 and an international gross of $54 million for a total of $146 million worldwide. Eaves made sure to emphasize the mechanical aspect of the ship, to suggest it was a highly experimental and untested technology. [20] While Westmore estimated that a fully staffed production would have around 50 makeup artists, First Contact had to make do with fewer than ten people involved in preparation, and at most 20 artists a day. A major concern during the production was security—the script to Generations had been leaked online, and stronger measures were taken to prevent a similar occurrence. [6] Rather, the main cast of Star Trek: The Next Generation play the following characters: Several of The Next Generation's recurring characters also appeared in the film; Dwight Schultz reprised his role of Lieutenant Reginald Barclay and Patti Yasutake briefly appeared as Nurse Alyssa Ogawa. Engineering was simulated with a large, three-story set, corridors, a lobby, and the largest warp core in the franchise to date. [40] In preparation, he watched Jaws, Close Encounters of the Third Kind, 2001: A Space Odyssey and the works of James Cameron and Ridley Scott. [107] Thompson's assessment mirrored Carr's; he agreed that the film managed to convey much of the original 1960s television show, and contained enough "special effects wonders and interstellar gunplay" to sate all types of viewers. It was still a box office success, earning £8,735,340 to become the highest grossing film in the series in that territory until the release of the Star Trek reboot film in 2009. Playmates Toys produced six and nine-inch action figures in addition to ship models and a phaser. [21] Paramount wanted Braga and Moore, who had written the Generations script and a number of Next Generation episodes,[12] to pen the screenplay. A digital version of the Borg body suit was used for the lowering sequence, at which point the image was morphed back to the real shot of Krige's body. [45], For the Borg battle, Knoll insisted on closeup shots that were near the alien vessel, necessitating a physical model. Jerry Goldsmith and his son Joel collaborated to produce the film's score, though only Jerry was credited. Check out the official Star Trek: First Contact (1996) Trailer starring Patrick Stewart! Having ensured the correction of the timeline, the Enterprise crew slip away and return to the 24th century.[3]. Berman decided to develop two screenplays simultaneously, and prioritize the most promising one for the first film. Paramount heavily marketed the film on the internet via a First Contact web site, which averaged 4.4 million hits a week during the film's opening run, the largest amount of traffic ever on a motion-picture site. Star Trek: First Contact. Stardate: 50893.5 Original Airdate: Dec 13, 1996 [37] While the writers tried to preserve the idea of the Borg as a mindless collective in the original draft, Paramount head Jonathan Dolgen felt that the script was not dramatic enough. [58] The shoot used a ten-piece orchestra, 15 stuntmen, and 120 extras to fill the seats. The compact disc shipped with CD-ROM features only accessible if played on a personal computer,[70] including interviews with Berman, Frakes, and Goldsmith. [12] Leonetti reconfigured the lighting to reflect the takeover of the ship interiors. "It just didn't make sense [...] that Picard, the one guy who has a history with the Borg, never meets them," Braga recalled. The film would have featured sword fights alongside phasers in 15th-century Europe, while Data became Leonardo da Vinci's apprentice. "[107], Star Trek: First Contact was first released on VHS in late 1997 as one of several titles expected to boost sluggish sales at video retailers. [15], The last scene filmed was the film's first, Picard's Borg nightmare. After the screening, 1,500 guests crossed the street to the Hollywood Colonnade, where the interiors had been dressed to match settings from the film: the holodeck nightclub, part of the bridge, a "star room", the Borg hive and the "crash 'n' burn lounge". Braga and Moore, meanwhile, wanted to use the Borg. It is the eighth film in the Star Trek film series, as well as the second to star the cast of Star Trek: The Next Generation. So, at the very end [of the film], they're more ferocious. [39], Frakes had directed multiple episodes of The Next Generation, Deep Space Nine and Voyager, but First Contact was his first feature film. [62] As reference to the animators, the shot required Krige to realistically portray "the strange pain or satisfaction of being reconnected to her body". [51] A one-armed actor portrayed the Borg whose arm Worf slices off to accurately portray the effect intended,[12] and the actors' shoes were fitted with lead weights to remind the actors they were to move slowly as if actually wearing gravity boots. [102] A couple of reviews noted that Data's interactions with the Borg Queen were among the most interesting parts of the film;[98][103] critic John Griffin credited Spiner's work as providing "ambivalent frisson" to the feature. Author Joanna Zylinska notes that while other alien species are tolerated by humanity in Star Trek, the Borg are viewed differently because of their cybernetic alterations and the loss of freedom and autonomy. [90] Ryan Gilbey of The Independent considered the film wise to dispense with the cast of The Original Series: "For the first time, a Star Trek movie actually looks like something more ambitious than an extended TV show," he wrote. For the ship's dramatic introduction, the effects team combined motion control shots of the Enterprise model with a computer-generated background. Production designer Herman Zimmerman and illustrator John Eaves collaborated to make a sleeker ship than its predecessor. After the release of Star Trek Generations in 1994, Paramount Pictures tasked writers Brannon Braga and Ronald D. Moore with developing the next film in the series. Find out where Star Trek: First Contact is streaming, if Star Trek: First Contact is on Netflix, and get news and updates, on Decider. [12] Most of the effects sequences were planned using low-resolution computer-generated animatics. [63] The Klingon theme from the same film is used to represent Worf. [35] Stewart met a potential candidate and concluded that "they didn't know Star Trek". [91] Conversely, critic Bob Thompson felt that First Contact was more in the spirit of the 1960s television series than any previous installment. Cast. Geordi LaForge. Knoll did not want it to seem that the Queen was on a hard, mechanical rig; "we wanted her to have the appropriate 'float'," he explained. Some fans remained upset Paramount cancelled The Next Generation at the height of its popularity, and Generations was a commercial success but not critically praised. [98] Carr said, "She proves that women with filmy blue skin, lots of external tubing and bad teeth can be sleekly seductive. As the Borg continue to assimilate more decks, Worf suggests destroying the ship, but Picard angrily calls him a coward, infuriating Worf because of his Klingon heritage. While much of the footage was shot at 50–70 mm focal lengths using anamorphic lenses, 14 mm spherical lenses were used for Borg's-eye-view shots. Watch Exclusive 'Wrong Turn' Clip: Hiding In Rocks, What to Watch on FandangoNOW and Vudu: ‘Wonder Woman 1984,’ ‘Monster Hunter,’ ‘Silk Road’ and More, This Week in Movie News: ‘Paddington 3’ in the Works, ‘Captain Marvel 2’ and ‘Black Adam’ Villains Cast and More, PG-13, [61], The opening beauty pass of the new Enterprise was the responsibility of visual-effects cinematographer Marty Rosenberg, who handled all the other miniatures, explosions, and some live-action bluescreen elements. when you spend $25 on participating products. I think any live played music is awesome.Jerry Goldsmith [115] As with other special-edition DVD releases, the disc includes a text track by Michael and Denise Okuda that provides production trivia and relevant facts about the Star Trek universe. [48] The designers created a larger and less-spartan ready room, retaining elements from the television series; Zimmerman added a set of golden three-dimensional Enterprise models to a glass case in the corner. In the end, it is Lily (the 21st-century woman) who shows Picard (the 24th-century man) that his quest for revenge is the primitive behavior that humans had evolved to not use. Picard (Patrick Stewart) and Cmdr. The Borg were redesigned to appear as though they were converted into machine beings from the inside-out; the new makeup sessions took four times as long as their appearances on the television series. [44] Small lights attached to the Cube's surface helped to create visual interest and convey scale; the model was deliberately shot with a slow, determined pacing to contrast with the Federation ships engaged in battle with the Borg. [5] The android ruptures a coolant tank, and the corrosive vapor eats away the biological components of the Borg. Other Star Trek actors present included DeForest Kelley, René Auberjonois, Avery Brooks, Colm Meaney, Armin Shimerman, Terry Farrell, Kate Mulgrew, Roxann Dawson, Jennifer Lien, Robert Duncan McNeill, Ethan Phillips, Tim Russ, Garrett Wang and Robert Picardo. The Borg and the special effects were lauded, while characterization was less evenly received. The warp ship Phoenix was conceived as fitting inside an old nuclear missile, meaning that the ship's nacelles had to fold into a space of less than 10 feet (3 m). [12] The shot was filmed as three separate elements merged with digital effects. Safety glass was placed over the lens to prevent damage, while the camera was covered with plywood to protect it from bits of plastic that rained down after each explosion. It has morphed into something less innocent and more derivative than it used to be, something the noncultist is ever less likely to enjoy. Everyone just uncomfortable in their presence. Schubert Tam, a.k.a. The Cubes were suspended from pipes sixty feet above the camera on the ground. The smaller Borg sphere was a 12-inch (30 cm) model that was shot separately from the Cube and digitally added in post-production. Jeff Coopwood as The Voice of the Borg 13. Starring: Alfre Woodard, James Cromwell, Alice Krige, Jonathan Frakes, Patrick Stewart. [31] Looking at the early scripts, the trio knew that serious work was needed. [54] The Borg scenes were received positively by test-screening audiences, so once the rest of the film had been completed, a Borg assimilation scene of the Enterprise crew was added in using some of the money left in the budget to add action. [63] Joel used variations of his father's Borg music and the Klingon theme as Worf fights hand-to-hand[65] (Joel said that he and his father decided to use the theme for Worf separately). [3] The next day the crew watches from a distance as an alien Vulcan ship, attracted by the Phoenix warp test, lands on Earth. [56] Each camera move was planned in advance to work around areas where the lighting would be added, and electricians and grips donned rock-climbing harnesses to move down the shaft and attach the lights. The bridge was designed to be comfortable-looking, with warm colors. [76] The franchise was on rocky ground; ratings for Deep Space Nine and Voyager had shed millions of viewers, being bested by Hercules: The Legendary Journeys as the highest-rated syndicated series. 2 years ago. Principal photography began with weeks of location shooting in Arizona and California, before production moved to new sets for the ship-based scenes. Which was terribly interesting for me, but I did feel heartbroken for my minions. [51] Frakes regarded filming the scene to be the most tedious in the film because of the amount of preparation it took for each day's shoot. Victim 's body and mechanical devices break the skin on captain Jean-Luc 's. 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