"[26] During production, there were incorrect rumors that Avery Brooks would reprise his role as Star Trek: Deep Space Nine captain Benjamin Sisko. The Borg, a relentless race of cyborgs, are on a direct course for Earth. [93] The Borg Queen received special attention for her combination of horror and seduction; Ebert wrote that while the Queen "looks like no notion of sexy I have ever heard of", he was inspired "to keep an open mind". [55] Frakes directed the Borg scenes similar to a horror film, creating as much suspense as possible. [54], Next came the action sequences and the battle for the Enterprise, a phase the filmmakers dubbed "Borg Hell". Rated the #51 best film of 1996, and #4332 in the greatest all-time movies (according to RYM users). The nebular columns and solid areas were modeled with basic wireframe geometry, with surface shaders applied to make the edges of the nebula glow. Nanjin, launched Exo-6 by revealing a highly-detailed 1:6 scale figure depicting Brent Spiner's Lt. Cmdr. Find out where Star Trek: First Contact is streaming, if Star Trek: First Contact is on Netflix, and get news and updates, on Decider. 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. [73] Oliver Marchart drew parallels between the Borg's combination of many into an artificial One and Thomas Hobbes's concept of the Leviathan. The first story draft, titled Star Trek: Renaissance, had the crew of the Enterprise track the Borg to their hive in a castle dungeon. With the Borg threat neutralized, Cochrane completes his warp flight. 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. [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. [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. The expanded album [GNPD 8079] runs 79 minutes and includes three tracks of alternates. [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. [21] Whoopi Goldberg was not asked to return as Guinan,[22] a wise bartender whose homeworld was destroyed by the Borg. [75], 1996 marked the 30th anniversary of the Star Trek franchise. LeVar Burton. GNP Crescendo president Neil Norman explained that the decision to include the tracks was controversial, but said that "Frakes did the most amazing job of integrating those songs into the story that we had to use them". David Keith Anderson as Armstrong 2. [20] One camera shot begins inside the iris of Picard's eyeball and pulls back to reveal the captain aboard a massive Borg ship. For the final explosion of the Cube, Rosenberg shot ten 30-inch (76 cm) Cube miniatures with explosive-packed lightweight skins. [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. While Berman was concerned about the move,[67] Goldsmith hired his son, Joel, to assist. The impact of Federation weaponry on the Borg Cube was simulated using a 60-inch (150 cm) model of the Cube. Wide shots used footage of photo doubles walking across a large bluescreen draped across ILM's parking lot at night. The term first contact described the first official encounter between representatives of two races or governments. 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. [116][117] The second disc contains six making-of featurettes, storyboards, and trailers. Jaeger came up with a set of cables that sprang from the Borg's knuckles and buried themselves in the crewmember's neck. He reasoned that since the ship was being taken over by a foreign entity, it required more dramatic lighting and framing. 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. [39], Frakes had directed multiple episodes of The Next Generation, Deep Space Nine and Voyager, but First Contact was his first feature film. [19], The third draft of the script added cameos by two actors from the sister television series Star Trek: Voyager, which was in its third season when the film was released. The film's script required the creation of new starship designs, including a new USS Enterprise. "[38][53] Frakes noted that the Queen ended up being alluring in a disturbing way, despite her evil behavior and appearance. Enterprise arrives in time to assist the crew of USS Defiant and its captain, the Klingon Worf. First Contact is the first film in the Star Trek film series in which none of the main characters from The Original Series appear. "[94] Adrian Martin of The Age noted that the film was geared towards pleasing fans: "Strangers to this fanciful world first delineated by Gene Roddenberry will just have to struggle to comprehend as best they can," he wrote, but "cult-followers will be in heaven". Mike Boss as holographic nightclub patron (unconfirmed) 6. [12][38], The spacewalk scene on the Enterprise exterior was one of the most challenging sets to envision and construct for the film. [41] The planned title of Resurrection was scrapped when 20th Century Fox announced the title of the fourth Alien film as Alien Resurrection; the film was rebranded First Contact on May 3, 1996. [43], The Enterprise interior sets were mostly new designs. [3] The next day the crew watches from a distance as an alien Vulcan ship, attracted by the Phoenix warp test, lands on Earth. Patrick Stewart. [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. 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. [6] Braga and Moore intended it to be more muscular and militaryesque. To give greater dimension to the rocket and lend the missile a futuristic appearance, Leonetti chose to offset the missile's metallic surface with complementary colors. [35] Stewart met a potential candidate and concluded that "they didn't know Star Trek". Star Trek: First Contact Even-numbered Star Trek movies tend to be better, and First Contact (#8 in the popular movie series) is no exception--an intelligently handled plot involving the galaxy-conquering Borg and their attempt to invade Earth's past, alter history, and "assimilate" the entire human race. Production designer Herman Zimmerman and illustrator John Eaves collaborated to make a sleeker ship than its predecessor. WATCH: My First Contact with the Cast of Astronomy Club 8:26 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. Lt. Cmdr. Jeff Coopwood as The Voice of the Borg 13. Lieutenant Commandant Worf. Rather, the main cast of Star Trek: The Next Generation play the following characters: [98] A dissenting opinion was offered by Scott, who wrote that aside from the key effects sequences, Frakes "aims to distract Trekkers from the distinctly cheap-looking remainder". Picard (Patrick Stewart) and Cmdr. [4] While in the future Cochrane is seen as a hero, the real man built the Phoenix for financial gain and is reluctant to be the person the crew describes. Capt. [3], A group of Borg invade Enterprise's lower decks and begin to assimilate its crew and modify the ship. The moment marks a turning point in the film as Picard changes his mind, symbolized by his putting down his phaser. Enterprise pursues the sphere into a temporal vortex. [65], In a break with Star Trek film tradition, the soundtrack incorporated two licensed songs: Roy Orbison's "Ooby Dooby" and Steppenwolf's "Magic Carpet Ride". 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. [118], "Regeneration", a 2003 episode of Star Trek: Enterprise, depicts the consequences of the discovery of debris from the destroyed Borg sphere. [109], A First Contact "Special Collector's Edition" two-disc set was released in 2005 at the same time as three other Next Generation films and Star Trek: Enterprise's fourth season, marking the first time that every film and episode of the franchise was available on home video up to that point. John Copage as holographic nightclub patron 14. Deanna Troi. In a Star Trek film! The two escape the Borg-infested area of the ship by creating a diversion in the holodeck. [16] Berman told Braga and Moore that he wanted them to think about doing a story involving time travel. Gates McFadden. It was followed by Star Trek: Insurrection in 1998. [72] Several lines in the film refer to the 21st-century dwellers being primitive, with the people of the 24th century having evolved to a more utopian society. [12] A similar Moby-Dick reference was made in Star Trek II: The Wrath of Khan, and although Braga and Moore did not want to repeat it, they decided it worked so well they could not leave it out. With the success of Star Trek Generations and its worldwide gross of US$120,000,000, Paramount Pictures development executives approached producer Rick Berman in February 1995 to ready the next installment in the Star Trek franchise. [16] Eaves looked at the structure of previous Enterprise iterations, and designed a more streamlined, capable war vessel than the Enterprise-D, reducing the neck area of the ship and lengthening the nacelles. Berman's suggestion was the Renaissance; the Borg would attempt to prevent the dawn of modern European civilization. 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. It was a shooting and editing nightmare. To give the corridor walls more shape, Leonetti lit them from underneath. [20] Shooting took a total of sixty days. 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. [35], Throughout multiple script revisions a number of titles were considered, including Star Trek: Borg, Star Trek: Destinies, Star Trek: Future Generations and Star Trek: Generations II. [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. [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. 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. Here is real acting! The live-action scenes of the spacewalking crew were then digitally added. The ship incorporated elements of a starfish and a crab. Jerry Goldsmith and his son Joel collaborated to produce the film's score, though only Jerry was credited. Since much of Picard's role made a direct reference to his time as a Borg in The Next Generation episodes "The Best of Both Worlds", the opening dream sequence was added to explain what happened to him in the show. [49] For its Borg-corrupted state, the engineering section was outfitted with Borg drone alcoves, conduits and Data's "assimilation table" where he is interrogated by the Queen. [12] Most of the effects sequences were planned using low-resolution computer-generated animatics. ILM instead cut the windows using a laser. Some script pages were distributed on red paper to foil attempted photocopies or faxes; "We had real trouble reading them," Frakes noted. Looking to watch Star Trek: First Contact? By separating the backlights, Leonetti made sure that the principal actors stood out of the backdrop. The Borg, a relentless race of cyborgs, are on a direct course for Earth. The Cubes were suspended from pipes sixty feet above the camera on the ground. [60], The majority of First Contact's effects were handled by Industrial Light & Magic under the supervision of John Knoll. [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. "I wanted it to look like they were [assimilated or "Borgified"] from the inside out rather than the outside in," Everton said. For the Borg intrusion, the lighting originated solely from instrument panels and red-alert displays. Find out where Star Trek: First Contact is streaming, if Star Trek: First Contact is on Netflix, and get news and updates, on Decider. All There in the Manual: The novelization of First Contact reveals he actually suffers from Bipolar Disorder, and has a cranial implant designed to treat the disease.However, after the near societal collapse following WW 3, he no longer has the resources to maintain the implant.His alcoholism thus a desperate attempt at self-medication. Interactive lighting was played across the computer-generated Enterprise model for when the ship is caught in the time vortex. [56] Principal photography finished on July 2, 1996,[59] two days over schedule but still under budget. [69], On April 2, 2012, GNP Crescendo Records announced a limited-edition collector's CD featuring the complete score by Jerry Goldsmith (with additional music by Joel Goldsmith), newly remastered by recording engineer Bruce Botnick, with an accompanying 16-page booklet including informative notes by Jeff Bond and John Takis. "[24], Michael Horton appears as a bloodied and stoic Starfleet Security Officer; his character would be given the name Lt. Daniels in the next Star Trek film. [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. [109] First Contact was among the first titles announced for the DVD-alternative rental system Digital Video Express in 1998. [32][33][34][35][36], Braga and Moore intended the film to be easily accessible to any moviegoer and work as a stand-alone story, yet still satisfy the devoted Star Trek fans. [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. [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. [68] When the Borg invade sickbay and the medical hologram distracts them, Joel wrote what critic Jeff Bond termed "almost Coplandesque" material of tuning strings and clarinet, but the cue was unused. 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. [63] The Klingon theme from the same film is used to represent Worf. New flatscreen computer monitors were used for displays, using less space and giving the bridge a cleaner look. Playmates Toys produced six and nine-inch action figures in addition to ship models and a phaser. SEE DETAILS, when you purchase an Edible Movie Night Gift Box. "Starfleet would probably throw everything it could at the Borg, including ships we've never seen before", he reasoned. Patrick Stewart Jonathan Frakes Brent Spiner LeVar Burton Michael Dorn Gates McFadden Marina Sirtis James Cromwell Alfre Woodard Alice Krige Neal McDonough Dwight Schultz Cameron Oppenheimer Robert Picardo Adam Scott. Effects company Industrial Light & Magic rushed to complete the film's special effects in less than five months. Lily Sloane. I became aware, one day on the set, that whenever a Borg moved up to the coffee table, whoever was there would sort of slowly retreat. Fandango helps you go back to the movies with confidence and peace of mind. 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. Jonathan Frakes. 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. The Phoenix's cockpit labels came from McDonnell-Douglas space shuttle manuals. Everyone just uncomfortable in their presence. Principal photography began with weeks of location shooting in Arizona and California, before production moved to new sets for the ship-based scenes. While Joel composed many of the film's action cues, his father contributed to the spacewalk and Phoenix flight sequences. Let us know what you think in the comments below. "Right on the spot, we said maybe we can do both, the Borg and time travel," Moore recalled. Looking to watch Star Trek: First Contact? 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. [55] The old missile silo provided a large set that the budget would have prohibited building from scratch, but the small size created difficulties. Rosenberg had previously shot some of the Enterprise-D effects for Generations, but had to adjust his techniques for the new model; the cinematographer used a 50 mm lens instead of the 35 mm used for Generations because the smaller lens made the new Enterprise's dish appear stretched out. McDonough was cavalier about his role as a disposable "redshirt", saying that since one of the characters in the deflector dish battle had to die, "that would be me". [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. Goldsmith wrote a sweeping main title which begins with Alexander Courage's Star Trek fanfare. [21] "Our goals at that point were to create a story that was wonderful and a script that was [...] producible within the budget confines of a Star Trek film", said Berman. [38] Jaeger devised a rig that would lower the actress on the set, and applied a prosthetic spine over a blue suit so that ILM could remove Krige's lower body. 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. [12], In December 1992, Paramount Pictures executives approached Star Trek: The Next Generation producer Rick Berman and engaged him to create two films featuring the cast of the television series. Since the two-engine ship format had been seen many times, the artists decided to step away from the traditional ship layout, creating a more artistic than functional design. The bulky suits were made sleeker and outfitted with fiber optic lights. [105] Likewise, Emily Carlisle of the BBC praised Woodard's, Spiner's, and Stewart's performances, but felt the film focused more on action than characterization. [77], First Contact was heavily marketed, to an extent not seen since the release of Star Trek: The Motion Picture in 1979. Fans were built into the helmets so that the actors would not get overheated, and neon lights built into the front so that the occupant's faces could be seen. [12] The stage was not large enough to accommodate a full-sized replica of the Enterprise dish, so Zimmerman had to scale down the plans by 15 percent. [19] As with many Star Trek productions, new, disposable redshirt characters are killed off over the course of the plot. Jonathan Frakes. [29] Braga, meanwhile, wanted to see the "birth of Star Trek", when the Vulcans and humans first met; "that, to me, is what made the time travel story fresh", he said. 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]. [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. Traditional optical effects techniques were supplemented with computer-generated imagery. Stardate: 50893.5 Original Airdate: Dec 13, 1996 Moore was afraid that it risked becoming campy and over-the-top,[21] while Stewart refused to wear tights. [27] Two months after the release of Generations, Paramount decided to produce the second feature for a winter holiday 1996 release. "It just didn't make sense [...] that Picard, the one guy who has a history with the Borg, never meets them," Braga recalled. [12] The shot was filmed as three separate elements merged with digital effects. With the flagship now supporting them, Picard takes control of the fleet and directs the surviving ships to concentrate their firepower on a seemingly unimportant point on the Borg ship. 1 images of the Star Trek: First Contact cast of characters. William Riker, Director. [12] Leonetti reconfigured the lighting to reflect the takeover of the ship interiors. Perfect foils for a feature story. [30] Another draft included John de Lancie's omnipotent character Q. You can check out the new show on Netflix on December 6. 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). "What can I say? [57], After the completion of the Phoenix shots, the crew moved to two weeks of nighttime shooting in the Angeles National Forest. 1:48. Rack up 500 points and you'll score a $5 reward for more movies. 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