The second draft, titled Star Trek: Resurrection, was judged complete enough that the production team used it to plan expenses. The theme uses a four-note motif used in Goldsmith's Star Trek V: The Final Frontier score, which is used in First Contact as a friendship theme and general thematic link. The fill light on these scenes was reduced so that the cast would pass through dark spots on the bridge and interiors out of the limited range of these sources. The Borg and the special effects were lauded, while characterization was less evenly received. Picard's orders are for his ship, USS Enterprise, to patrol the Neutral Zone in case of Romulan aggression; Starfleet is worried that Picard is too emotionally involved with the Borg to join the fight. Synopsis Resistance is futile. [16][12], Since so many new sets had to be created, the production commenced filming with location photography. In the first script with this setting, the Borg attack Cochrane's lab, leaving the scientist comatose; Picard assumes Cochrane's place to continue the warp test and restore history. Looking for movie tickets? To make the Borg vessel appear even larger than it was, Knoll made sure that an edge of it was facing the camera like the prow of a ship and that the Cube broke the edges of the frame. [12] Most of the effects sequences were planned using low-resolution computer-generated animatics. Picard and a team attempt to reach engineering to disable the Borg with a corrosive gas, but are forced back; the android Data is captured in the melee. Lisa Schwarzbaum of Entertainment Weekly appreciated that guest stars Woodard and Cromwell were used in "inventive contrast" to their better-known images, as a "serious dramatic actress" and "dancing farmer in Babe", respectively. By separating the backlights, Leonetti made sure that the principal actors stood out of the backdrop. Jean-Luc Picard. He is contacted by Admiral Hayes, who informs him of a new Borg threat against Earth. While Joel composed many of the film's action cues, his father contributed to the spacewalk and Phoenix flight sequences. The set was lined with window paneling backed by red lights, which would blink intermittently during red-alert status. [8] Zimmerman, Everton and Westmore combined their efforts to design and create the Borgified sections of the Enterprise to build tension and to make the audience feel that "[they are being fed] the Borg". In the film, the crew of the USS Enterprise-E travel back in time from the 24th century to the mid-21st century in order to stop the cybernetic Borg from conquering Earth by changing their past. I think any live played music is awesome.Jerry Goldsmith Knoll decided to shoot the model from above and below as much as possible; side views made the ship appear too flat and elongated. Using separate motion control passes on the set, Knoll shot the lower of the upper torso and the secondary sequence with Krige's entire body. [56] Principal photography finished on July 2, 1996,[59] two days over schedule but still under budget. The compact disc shipped with CD-ROM features only accessible if played on a personal computer,[70] including interviews with Berman, Frakes, and Goldsmith. [114] In addition to the feature, presented with the same technical specifications as the previous release and a new DTS soundtrack,[115] the first disc contains a director's commentary by Frakes and a track by Moore and Braga. [46] Eaves considered the Vulcan ship a "fun" vessel to design. Wormlike tubes would course through the victim's body and mechanical devices break the skin. I saw Star Trek: First Contact three times on the big screen. The nebular columns and solid areas were modeled with basic wireframe geometry, with surface shaders applied to make the edges of the nebula glow. SEE DETAILS. [18], First Contact was the first Star Trek film to make significant use of computer-generated starship models, though physical miniatures were still used for the most important vessels. He suggested adding an individual Borg villain with whom the characters could interact, which led to the creation of the Borg Queen. Cmdr. 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. Since Blackman was also handling the costumes for the television series, non-Starfleet design clothes were delegated to Deborah Everton,[18] a newcomer to Star Trek who was responsible for more than 800 costumes during production. Star Trek: First Contact. Marina Sirtis. [47] The time-travel aspect of the story also required period costumes for the mid 21st century and the 1940s "Dixon Hill" nightclub holodeck recreation. [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. The cameraman also spent several days at the sets of Voyager and Deep Space Nine to observe filming. [69] Simon & Schuster Interactive developed a Borg-themed video game for Macintosh and Windows personal computers. Brannon Braga as holographic nightclub patron 8. [47] Among the new additions was a larger holographic viewscreen that would operate only when activated, leaving a plain wall when disabled. McDonough recalled that he joined Stewart and Dorn in asking whether they could do the shots without the 10-to-15-pound (4.5 to 6.8 kg) weights, as "they hired us because we are actors", but the production insisted on using them. 1 images of the Star Trek: First Contact cast of characters. These lights were supplemented by what Leonetti called "interactive light"; these were off-stage, red-gelled lights that cast flashing rims on the bridge set and heads of the crew. [45] The Akira class featured the traditional saucer section and nacelles combined with a catamaran-style double hull; the Norway class was based on the USS Voyager; the Saber class was a smaller ship with nacelles trailing off the tips of its saucer section; and the Steamrunner class featured twin nacelles trailing off the saucer and connected by an engineering section in the rear. Geordi LaForge. The film would have featured sword fights alongside phasers in 15th-century Europe, while Data became Leonardo da Vinci's apprentice. 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). "You can't always rely on color because the actor might start to melt into the background." Jay Carr of The Boston Globe said that First Contact successfully updated Star Trek creator Gene Roddenberry's concept with more elaborate effects and action. [23] Goldberg only learned about the decision through the newspapers. [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. For the ship's dramatic introduction, the effects team combined motion control shots of the Enterprise model with a computer-generated background. [100] Lloyd Rose of The Washington Post felt that while Woodard and Cromwell managed to "take care of themselves", Frakes' direction of other actors was not inspired;[101] Steve Persall of the St. Petersburg Times opined that only Cromwell received a choice role in the film, "so he steals the show by default". [12] The shot was filmed as three separate elements merged with digital effects. Rather, the main cast of Star Trek: The Next Generation play the following characters: Patrick Stewart's Star Trek series has added to its cast. 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. The first story draft, titled Star Trek: Renaissance, had the crew of the Enterprise track the Borg to their hive in a castle dungeon. Playmates Toys produced six and nine-inch action figures in addition to ship models and a phaser. [77], First Contact was heavily marketed, to an extent not seen since the release of Star Trek: The Motion Picture in 1979. Drawing on clues from previous Star Trek episodes, Cochrane was placed in mid-21st-century Montana, where humans recover from a devastating world war. [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. Enterprise pursues the sphere into a temporal vortex. As the sphere disappears, Enterprise discovers Earth has been altered – it is now populated entirely by Borg. [16], After location shooting was completed, shooting on the new Engineering set began May 3. [82], First Contact opened in 2,812 theaters beginning November 22, grossing $30.7 million its first week and making it the top movie at the US box office. James Cromwell. [16] Westmore reasoned that since the Borg had traveled the galaxy, they would have assimilated other races besides humans. "And since we figured a lot of the background action in the space battle would need to be done with computer-generated ships that needed to be built from scratch anyway, I realized there was no reason not to do some new designs." 1 images of the Star Trek: First Contact cast of characters. [89], First Contact garnered positive reviews on release. [52] Accustomed to directing episodes for the television series, Frakes was frequently reminded by effects artist Terry Frazee to "think big, blow everything up". [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. "What can I say? [118], "Regeneration", a 2003 episode of Star Trek: Enterprise, depicts the consequences of the discovery of debris from the destroyed Borg sphere. Here is real acting! [2] The Cube is destroyed after launching a smaller sphere ship towards the planet. [3] The next day the crew watches from a distance as an alien Vulcan ship, attracted by the Phoenix warp test, lands on Earth. Star Trek: First Contact is a 1996 American science fiction film directed by Jonathan Frakes (in his motion picture directorial debut) and based on the franchise Star Trek. [87] The film was the best-performing Star Trek film in international markets until 2009's Star Trek film,[88] and Paramount's best showing in markets such as New Zealand, making $315,491 from 28 sites by year's end. Looking to watch Star Trek: First Contact? Harry Boykoff as Eddy 7. Having ensured the correction of the timeline, the Enterprise crew slip away and return to the 24th century.[3]. [55] The old missile silo provided a large set that the budget would have prohibited building from scratch, but the small size created difficulties. "[96] Conversely, Roger Ebert called First Contact one of the best Star Trek films,[98] and James Berardinelli found the film the most entertaining Star Trek feature in a decade; "It has single-handedly revived the Star Trek movie series, at least from a creative point of view," he wrote. [52] Everton was tasked with updating the Borg's costumes to something new, but reminiscent of the television series. Michael Braveheart as Martinez 9. [16] Berman told Braga and Moore that he wanted them to think about doing a story involving time travel. 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. Each drone received an electronic eyepiece. [44], The film also required a number of smaller non-Starfleet designs. Everton enjoyed designing Woodard's costumes because the character went through many changes during the course of the film, switching from a utilitarian vest and pants in many shots to a glamorous dress during the holodeck scene.[52]. Picard (Patrick Stewart) and Cmdr. "When the ship gets Borgified, everything is changed into more of a squared-off, robotic look with sharp edges but rounded images," he explained. [47] Krige recalled the first day she had her makeup applied: "I saw everyone cringing. The model's panels were painted in an alternating matte and gloss scheme to add texture. [8] First Contact saw the introduction of cinematographer Matthew F. Leonetti to the Star Trek franchise; Frakes hired him out of admiration for some of his previous work on films such as Poltergeist and Strange Days. Brent Spiner. Berman decided to develop two screenplays simultaneously, and prioritize the most promising one for the first film. [12] Since the rest of the Enterprise-E, as well as the backdrop of Earth, were to be added later in post-production, it became confusing to coordinate shots. [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. [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. The animated claws of the suit were created digitally as well using a detailed model. The game, Star Trek: Borg, functioned as an interactive movie with scenes filmed at the same time as First Contact's production. 1. [12] While the cinematographer wanted to shoot the scene in black and white, Paramount executives deemed the test footage "too experimental" and the idea was dropped. Star Trek: First Contact (1996), Adventure Action Drama released in English language in theatre near you. [31] Looking at the early scripts, the trio knew that serious work was needed. StarTrek.com caught up with Jonathan Braylock, Jerah Milligan, and James III, three cast members from Netflix's latest show Astronomy Club: The Sketch Show and hosts of the popular podcast Black Men Can't Jump in Hollywood, to share how Star Trek first came into their lives in our latest First Contact video. Because of budget constraints, the full ship was realized as a computer-generated design. Since the halls were so small and the ceilings would be visible in many of the shots, special attention was paid to hiding the light fixtures.[54]. [30] The film was given a budget of $45 million, "considerably more" than Generations' $35 million price tag; this allowed the production to plan a larger amount of action and special effects. Violating orders to stay away from the battle, Captain Picard and the crew of the newly-commissioned USS Enterprise E pursue the Borg back in time to prevent the invaders from changing Federation history and assimilating the galaxy. First Contact is the first film in the Star Trek film series in which none of the main characters from The Original Series appear. The smaller Borg sphere was a 12-inch (30 cm) model that was shot separately from the Cube and digitally added in post-production. Eaves produced 30 to 40 sketches before he found a final design he liked and began making minor changes. "[38][53] Frakes noted that the Queen ended up being alluring in a disturbing way, despite her evil behavior and appearance. Cast. [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. [18] Each Borg had a slightly different design, and Westmore designed a new one each day to make it appear that there was an army of Borg; in reality, between eight and twelve actors[12][20] filled all the roles as the costumes and makeup were so expensive to produce. It has morphed into something less innocent and more derivative than it used to be, something the noncultist is ever less likely to enjoy. [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. [47], The makeup time for the Borg expanded from the single hour needed for television to five hours, in addition to the 30 minutes necessary to get into costume and 90 minutes to remove the makeup at the end of the day. This is evident in the film when Picard chooses to rescue Data rather than evacuate the ship with the rest of the crew. [30] Working with illustrator John Eaves, the designers conceived the new Sovereign-class Enterprise-E as "leaner, sleeker, and mean enough to answer any Borg threat you can imagine". [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. Small 30- and 50-watt lights were used to throw localized shafts of light onto the sets. Goldsmith wrote a sweeping main title which begins with Alexander Courage's Star Trek fanfare. [98] Carr said, "She proves that women with filmy blue skin, lots of external tubing and bad teeth can be sleekly seductive. Jerry Goldsmith and his son Joel collaborated to produce the film's score, though only Jerry was credited. [50] Some existing sets were used to save money; sickbay was a redress of the same location from Voyager, while the USS Defiant scenes used Deep Space Nine's standing set. "I wanted it to look like they were [assimilated or "Borgified"] from the inside out rather than the outside in," Everton said. ILM supervisor John Knoll insisted that First Contact's space battle prove the breadth of Starfleet's ship configurations. Picard orders an activation of the ship's self-destruct, then orders the crew to head for the escape pods while he stays behind to rescue Data.[5]. The gradual change in skin tone was simulated with shaders. [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 idea of Borg fighting among period costumes coalesced into a "Dixon Hill" holographic novel sequence on the holodeck. It was followed by Star Trek: Insurrection in 1998. Painter Kim Smith spent several days on a tiny area of the model to add enough surface detail for the close-up, but even then the focus was barely adequate. [55] During normal operation scenes, Leonetti chose to cast crosslighting on the principals; this required the ceiling of the set to be removed and lighting grids to be situated around the sides. "[21], In deciding to combine the two story ideas, the writers decided that the time travel element could play out as the Borg attempt to prevent humanity from ever reaching space and becoming a threat. Starting from Stewart's eye, the camera pulled back 25 feet (7.6 m), requiring the key light to increase in intensity up to 1,000 foot-candles so that there was enough depth to keep the eye sharp. As they gear up for a whole new chapter with Star Trek: Picard, the magic of discovering the iconic franchise still feels fresh for series icons. [54], Next came the action sequences and the battle for the Enterprise, a phase the filmmakers dubbed "Borg Hell". Star Trek: First Contact was released on November 22, 1996, and was the highest-grossing film on its opening weekend. [74] The nature of perilous first contact between species, as represented by films such as Independence Day, Aliens and First Contact, is a marriage of classic fears of national invasion and the loss of personal identity. In a Star Trek film! To give the corridor walls more shape, Leonetti lit them from underneath. Handheld cameras were used for battle sequences so that viewers were brought into the action and the camera could follow the movements of the actors. [47], The Starfleet uniforms were redesigned for the film by longtime Star Trek costumer Bob Blackman to give a more militaristic feel, with grey padded shoulders and colored undershirts. SEE DETAILS, when you purchase an Edible Movie Night Gift Box. 1 hr 50 min. "They were using two tubes, and then they were using three tubes, and then they were sticking tubes in the ears and up the nose," Westmore explained. 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. Stardate: 50893.5 Original Airdate: Dec 13, 1996 [57], After the completion of the Phoenix shots, the crew moved to two weeks of nighttime shooting in the Angeles National Forest. Four days were spent in the Titan Missile Museum, south of Tucson, Arizona—the disarmed nuclear missile was fitted with a fiberglass capsule shell to stand in for the Phoenix's booster and command module. [113] This version contained the feature and two trailers, but no other special features. Diversion in the film 's acting met with mixed reception computer-generated design collect rewards! 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