Interactive lighting was played across the computer-generated Enterprise model for when the ship is caught in the time vortex. Only a boomerang-shaped landing foot was fabricated for the actors to interact with. This strategy enabled the filmmakers to incorporate as many live-action elements as possible without resorting to further digital effects.  Most of the effects sequences were planned using low-resolution computer-generated animatics. , With the idea of Star Trek's genesis in mind, the central story became Cochrane's warp drive test and humanity's first contact. Moore was afraid that it risked becoming campy and over-the-top, while Stewart refused to wear tights.  The film makes a direct comparison between Picard's hatred of the Borg and refusal to destroy the Enterprise and that of Captain Ahab in Herman Melville's novel Moby-Dick. Jonathan Frakes.  Principal photography finished on July 2, 1996, two days over schedule but still under budget. , 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". 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. Cameron as Kellogg 10. 1996 Directed by Jonathan Frakes. He deactivates the self-destruct and fires torpedoes at Phoenix. The model's panels were painted in an alternating matte and gloss scheme to add texture. , In First Contact, the individually inscrutable and faceless Borg fulfil the role of the similarly unreadable whale in Melville's work. , First Contact garnered positive reviews on release. The bridge was designed to be comfortable-looking, with warm colors. The set lasted less than a day in its pristine condition before it was "Borgified".  The time-travel aspect of the story also required period costumes for the mid 21st century and the 1940s "Dixon Hill" nightclub holodeck recreation.  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.  The film received a royal premiere in the United Kingdom, with the first screening attended by Charles, Prince of Wales. Picard (Patrick Stewart) and Cmdr.  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. "Right on the spot, we said maybe we can do both, the Borg and time travel," Moore recalled. Geordi LaForge. , The spacewalk scene on the Enterprise exterior was one of the most challenging sets to envision and construct for the film. When Star Trek first hit the screen, we didn't find it amazing because of the cast. Alex Jaeger was appointed visual effects art director to the film and assigned the task of creating four new starships. Using different-colored gels made the rocket appear longer than it actually was; to complete the effect, shots from the Phoenix's nose downwards and from the engines up were filmed with a 30 mm lens to lengthen the missile. Cochrane and Sloane greet the aliens.  "The Borg were really liked by the fans, and we liked them," Moore said. Star Trek: Picard will premiere in early 2020, exclusively on CBS All Access. 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". First Contact (Live In Concert 6 2001)This was on the soundtrack I got.  A couple of reviews noted that Data's interactions with the Borg Queen were among the most interesting parts of the film; critic John Griffin credited Spiner's work as providing "ambivalent frisson" to the feature. William Riker, Director.  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; 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". During the fight on the deflector dish, Goldsmith used low-register electronics punctuated by stabs of violent, dissonant strings.  The shot was filmed as three separate elements merged with digital effects. Stardate: 50893.5 Original Airdate: Dec 13, 1996 1 images of the Star Trek: First Contact cast of characters. , Frakes considered the entrance of the Borg Queen—when her head, shoulders, and steel spine are lowered by cables and attached to her body—as the "signature visual effect in the film". , First Contact was the last film to feature a physical model of the Enterprise. "What can I say? Cast William Shatner Leonard Nimoy DeForest Kelley Nichelle Nichols James Doohan George Takei Walter Koenig Grace Lee Whitney Majel Barrett More TV Shows & Movies 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. Find out where Star Trek: First Contact is streaming, if Star Trek: First Contact is on Netflix, and get news and updates, on Decider.  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. "It just didn't make sense [...] that Picard, the one guy who has a history with the Borg, never meets them," Braga recalled.  Stewart, whom Thompson and Renzetti considered overshadowed by William Shatner in the previous film, received praise from Richard Corliss of Time: "As Patrick Stewart delivers [a] line with a majestic ferocity worthy of a Royal Shakespeare Company alumnus, the audience gapes in awe at a special effect more imposing than any ILM digital doodle. Denise Blasor as Additional Voices 5. New flatscreen computer monitors were used for displays, using less space and giving the bridge a cleaner look. Earn 125 points on every ticket you buy. Rated the #51 best film of 1996, and #4332 in the greatest all-time movies (according to RYM users).  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.  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 filled all the roles as the costumes and makeup were so expensive to produce. 2 years ago. 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) Since Blackman was also handling the costumes for the television series, non-Starfleet design clothes were delegated to Deborah Everton, a newcomer to Star Trek who was responsible for more than 800 costumes during production.  Carr said, "She proves that women with filmy blue skin, lots of external tubing and bad teeth can be sleekly seductive.  Shooting took a total of sixty days. , The majority of First Contact's effects were handled by Industrial Light & Magic under the supervision of John Knoll. 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. 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.  The shoot used a ten-piece orchestra, 15 stuntmen, and 120 extras to fill the seats.  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. Filming then proceeded to the bridge. 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. Sign up for a FANALERT® to find out when tickets are available in your area. He won the cameo after suggesting to producers that the Enterprise should have the same technology as Voyager. “Star Trek: First Contact” is one of the best of the eight “Star Trek” films: Certainly the best in its technical credits, and among the best in the ingenuity of its plot. I would rank it beside “Star Trek IV: The Voyage Home” (1986), the one where the fate of Earth depended on the song of the humpback whale. The impact of Federation weaponry on the Borg Cube was simulated using a 60-inch (150 cm) model of the Cube. (Star Trek: First Contact) Occasionally, the official first contact took place years or even decades after members of the species involved first met. Cast.  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. Playmates Toys produced six and nine-inch action figures in addition to ship models and a phaser. , 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. This is evident in the film when Picard chooses to rescue Data rather than evacuate the ship with the rest of the crew. 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.  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. Engineering was simulated with a large, three-story set, corridors, a lobby, and the largest warp core in the franchise to date. For the live-action spacewalk scenes, visual-effects supervisor Ronald B. Moore spent two weeks of bluescreen photography at the deflector set. 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. Brent Spiner.  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.  Everton was tasked with updating the Borg's costumes to something new, but reminiscent of the television series. James Cromwell. Wide shots used footage of photo doubles walking across a large bluescreen draped across ILM's parking lot at night.  Picard, Worf, and the ship's navigator, Lieutenant Hawk, travel outside the ship in space suits to stop the Borg from calling reinforcements by using the deflector dish, but Hawk is assimilated in the process. The new monitors also allowed for video playback that could simulate interaction with the actors.  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". Enter your location to see which , Cast member Frakes was chosen to direct.  The Globe and Mail's Elizabeth Renzeti said that First Contact succeeded in improving on the "stilted" previous entry in the series, and that it featured a renewed interest in storytelling.  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. Everton and makeup designers Michael Westmore, Scott Wheeler, and Jake Garber wanted to upgrade the pasty white look the Borg had retained since The Next Generation's second season, born out of a need for budget-conscious television design.  The film went on to gross $77 million in its first four weeks, remaining in the top-ten box office during that time. Here is real acting! Smaller effects sequences, such as phaser fire, computer graphics, and transporter effects, were delegated to a team led by visual-effects supervisor David Takemura. Star Trek: First Contact. Picard has Cochrane's assistant Lily Sloane sent back to Enterprise for medical attention. Traditional optical effects techniques were supplemented with computer-generated imagery. Star Trek: First Contact (1996), Adventure Action Drama released in English language in theatre near you. , After the completion of the Phoenix shots, the crew moved to two weeks of nighttime shooting in the Angeles National Forest. In the 24th century, Captain Jean-Luc Picard awakens from a nightmare in which he relived his assimilation by the cybernetic Borg six years earlier. movie theaters are playing Star Trek: First Contact near you. "I wanted it to look like they were [assimilated or "Borgified"] from the inside out rather than the outside in," Everton said. The idea of Borg fighting among period costumes coalesced into a "Dixon Hill" holographic novel sequence on the holodeck. Mike Boss as holographic nightclub patron (unconfirmed) 6. , 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. Lt. Cmdr. Picard, like Ahab, has been hurt by his nemesis, and author Elizabeth Hinds said it makes sense that Picard should "opt for the perverse alternative of remaining on board ship to fight" the Borg rather than take the only sensible option left, to destroy the ship.  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 particle render that ILM had devised for the earlier tornado film Twister was used to create a turbulent look within the nebula.  Empire magazine's Adam Smith wrote that some characters, particularly Troi and Crusher, were lost or ignored, and that the rapid pacing of the film left no time for those unfamiliar with the series to know or care about the characters. 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.  The main cast save Spiner were in attendance, as were Moore, Braga, Jerry Goldsmith, and producer Marty Hornstein. 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. Knoll decided to shoot the model from above and below as much as possible; side views made the ship appear too flat and elongated. Schubert Tam, a.k.a. Marina Sirtis. Two "making of" television specials premiered on HBO and the Sci-Fi Channel, as well as being promoted during a 30th-anniversary television special on UPN. Star Trek: First Contact was released on November 22, 1996, and was the highest-grossing film on its opening weekend. Capt. 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. Ebert wrote that while previous films had often looked "clunky" in the effects department, First Contact benefited from the latest in effects technology.  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. 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. Star Trek: First Contact. For the 1991 TV episode, see, "ST-FC" redirects here.  Neal McDonough plays Lt. Hawk, the Enterprise helmsman who aids in the defense of the ship until he is assimilated and killed. The wormlike geometry was animated over the actor's face, then blended in with the addition of a skin texture over the animation.  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.  Stewart met a potential candidate and concluded that "they didn't know Star Trek". 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. 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). In the television series, much of the Borg's faces had been covered by helmets, but for First Contact the makeup artist removed the head coverings and designed assimilated versions of familiar Star Trek aliens such as Klingons, Bolians, Romulans, Bajorans, and Cardassians. The film would have featured sword fights alongside phasers in 15th-century Europe, while Data became Leonardo da Vinci's apprentice. Small 30- and 50-watt lights were used to throw localized shafts of light onto the sets. Lily Sloane. 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. 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. The film's script required the creation of new starship designs, including a new USS Enterprise. , Leonetti devised multiple lighting methods for the Enterprise interiors for ship standard operations, "Red alert" status, and emergency power. Goldsmith wrote a sweeping main title which begins with Alexander Courage's Star Trek fanfare. , First Contact opened in Britain on December 13, 1996 at number two and was the first Star Trek film not to reach number one in that market since The Wrath of Khan. The gradual change in skin tone was simulated with shaders. The model had specific areas which could be blown up multiple times without damaging the miniature. For the ship's dramatic introduction, the effects team combined motion control shots of the Enterprise model with a computer-generated background. Each drone received an electronic eyepiece. Star Trek: First Contact is the eighth feature film in the Star Trek science fiction franchise. , The film also required a number of smaller non-Starfleet designs. 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.  Background Borg were simulated by half-finished mannequins. Terrence Beasor as Additional Voices 4.  As with many Star Trek productions, new, disposable redshirt characters are killed off over the course of the plot.  In preparation, he watched Jaws, Close Encounters of the Third Kind, 2001: A Space Odyssey and the works of James Cameron and Ridley Scott. Directed by: Jonathan Frakes. 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. "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. The blinking lights in each eye were programmed by Westmore's son to repeat a production member's name in Morse code. 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.  Picardo's fellow Voyager actor Ethan Phillips, who played Neelix, cameos as a nightclub maître d' in the holodeck scene. Eaves produced 30 to 40 sketches before he found a final design he liked and began making minor changes.  The film was knocked out of the top place the following week by 101 Dalmatians, earning $25.5 million. To balance these elements he added more comedic elements to the Earth scenes, intended to momentarily relieve the audience of tension before building it up again. The effort of writers Brannon Braga and Ronald D. Moore was chosen and developed into Star Trek Generations. Michael Braveheart as Martinez 9. David Keith Anderson as Armstrong 2. , 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. , 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.  Renzetti credited them with breathing "new life" into the crew of the Enterprise while simultaneously trying to kill them.  Some set designs took inspiration from the Alien film series, Star Wars and 2001: A Space Odyssey. "First Contact" is the 15th episode of the fourth season (and the 89th episode overall) of the American science fiction television series Star Trek: The Next Generation.  Eaves considered the Vulcan ship a "fun" vessel to design.  Instead of composing a menacing theme to underscore the Borg, Goldsmith wrote a pastoral theme linked to humanity's hopeful first contact. Star Trek First Contact is easily one of the best instalments of the franchise to date.  In addition to the feature, presented with the same technical specifications as the previous release and a new DTS soundtrack, the first disc contains a director's commentary by Frakes and a track by Moore and Braga. 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. , In previous films, Starfleet's range of capital ships had been predominantly represented by the Constitution-class Enterprise and just five other ship classes: the Miranda class from Star Trek II: The Wrath of Khan (represented by the USS Reliant), the Excelsior and the Oberth class Grissom from Star Trek III: The Search for Spock, and the Galaxy and Nebula classes from The Next Generation. The production had to design a space suit that looked practical rather than exaggerated. In addition to composing new music, Goldsmith used music from his previous Star Trek scores, including his theme from The Motion Picture. "And we were using a very gooey caramel coloring, maybe using a little bit of it, but by the time we got to the end of the movie we had the stuff dripping down the side of [the Borg's] faces—it looked like they were leaking oil! 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. Leonetti was unfamiliar with the Star Trek mythos when Frakes approached him; to prepare for the assignment, he studied the previous four films in the franchise, each with a different cinematographer—The Voyage Home (Donald Peterman), The Final Frontier (Andrew Laszlo), The Undiscovered Country (Hiro Narita), and Generations (John Alonzo). "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." 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. The Borg, a relentless race of cyborgs, are on a direct course for Earth. , 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.  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. Learning the fleet is losing the battle, the Enterprise crew disobeys orders and heads for Earth, where a single Borg Cube ship holds its own against a group of Starfleet vessels. 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.  Krige recalled the first day she had her makeup applied: "I saw everyone cringing. So the Borg were not only in pain, but they were kind of ostracised. So, at the very end [of the film], they're more ferocious. To make the prosthetics appear at the proper angle when her lower body was removed, Krige extended her neck forward so it appeared in line with the spine. , First Contact was heavily marketed, to an extent not seen since the release of Star Trek: The Motion Picture in 1979. He reasoned that since the ship was being taken over by a foreign entity, it required more dramatic lighting and framing. While Joel composed many of the film's action cues, his father contributed to the spacewalk and Phoenix flight sequences. 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.. 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Panels were painted in an alternating matte and gloss scheme to add texture cringing. Advanced screenings and discounts galore, Cochrane was placed in mid-21st-century Montana, where humans from! Costumes to something new, disposable redshirt characters are killed off over the animation produced six and action... 2, 1996 at star trek: first contact cast 's Chinese Theater in Hollywood, Los Angeles best film of 1996 and!
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