SEE DETAILS. Screen Reader Users: To optimize your experience with your screen reading software, please use our Flixster.com website, which has the same tickets as our Fandango.com and MovieTickets.com websites. Geordi LaForge. Berman decided to develop two screenplays simultaneously, and prioritize the most promising one for the first film. [46] Eaves considered the Vulcan ship a "fun" vessel to design. Principal photography began with weeks of location shooting in Arizona and California, before production moved to new sets for the ship-based scenes. Let us know what you think in the comments below. Drawing on clues from previous Star Trek episodes, Cochrane was placed in mid-21st-century Montana, where humans recover from a devastating world war. Cameron as Kellogg 10. [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. movie theaters are playing Star Trek: First Contact near you. Smaller effects sequences, such as phaser fire, computer graphics, and transporter effects, were delegated to a team led by visual-effects supervisor David Takemura. Rather, the main cast of Star Trek: The Next Generation play the following characters: Realizing the Borg have used time travel to change the past, Enterprise follows the sphere through the vortex. [21] Neal McDonough plays Lt. Hawk, the Enterprise helmsman who aids in the defense of the ship until he is assimilated and killed. [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. The Borg and the special effects were lauded, while characterization was less evenly received. [110] It was launched with five other test titles in the select markets of Richmond and San Francisco. [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. [61] Rosenberg preferred motion-control passes of ships over computer-generated versions, as it was much easier to capture a high level of detail with physical models rather than trying to recreate it by computer graphics. [28] One major question was identifying the time period to which the Borg would travel. 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. [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. Which was terribly interesting for me, but I did feel heartbroken for my minions. [45] ILM layered their 30-inch (76 cm) model with an additional five inches of etched brass over a glowing neon lightbox for internal illumination. [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. Jerry Goldsmith and his son Joel collaborated to produce the film's score, though only Jerry was credited. As the sphere disappears, Enterprise discovers Earth has been altered – it is now populated entirely by Borg. Moore used a laptop with digital reproductions of the set to orient the crew and help Frakes understand what the finished shot would look like. [39], Frakes had directed multiple episodes of The Next Generation, Deep Space Nine and Voyager, but First Contact was his first feature film. While Berman was concerned about the move,[67] Goldsmith hired his son, Joel, to assist. 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. Genres: Science Fiction, Action. Cast. To give the scene a black-and-white feel, Leonetti made sure to use light without any coloration. "What can I say? Paramount wanted ships that would look different from a distance, so the director devised multiple hull profiles. To compensate, the crew used a wider-angle lens and shot at the highest f-stop they could. "[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". [43] With the Enterprise-D destroyed during the events of Generations, the task of creating a new starship fell to veteran Star Trek production designer Herman Zimmerman. [55] Among the nightclub patrons were Braga, Moore, and the film's stunt coordinator, Ronnie Rondell. [44], The miniature Enterprise was again used for the spacewalk sequence. Let us know what you think in the comments below. 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. [119], This article is about the 1996 film. [60], The majority of First Contact's effects were handled by Industrial Light & Magic under the supervision of John Knoll. When Star Trek first hit the screen, we didn't find it amazing because of the cast. So the Borg were not only in pain, but they were kind of ostracised. [47] Despite the long hours, Westmore's teams began to be more creative with the prosthetics even as they decreased their preparation times. He reasoned that since the ship was being taken over by a foreign entity, it required more dramatic lighting and framing. The expanded album [GNPD 8079] runs 79 minutes and includes three tracks of alternates. [52] Accustomed to directing episodes for the television series, Frakes was frequently reminded by effects artist Terry Frazee to "think big, blow everything up". Capt. [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. Know about Film reviews, lead cast & crew, photos & video gallery on BookMyShow. The term first contact described the first official encounter between representatives of two races or governments. [16] The pair discarded an opening which would have established what the main characters had been doing since the last film in favor of quickly setting the story. [38] Frakes reported to work every day at 6:30 am. 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). It has morphed into something less innocent and more derivative than it used to be, something the noncultist is ever less likely to enjoy. (Star Trek: First Contact) Occasionally, the official first contact took place years or even decades after members of the species involved first met. [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". [18] The final appearance involved pale gray skin and an elongated, oval head, with coils of wire rather than hair. [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. [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. Effects company Industrial Light & Magic rushed to complete the film's special effects in less than five months. "I like creating separation with lighting as opposed to using color," he explained. The set lasted less than a day in its pristine condition before it was "Borgified". [61] "I created this really odd, raking three-quarter backlight coming from the right or left side, which I balanced out with nets and a couple of little lights. [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. "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. The nebular columns and solid areas were modeled with basic wireframe geometry, with surface shaders applied to make the edges of the nebula glow. [35] Stewart met a potential candidate and concluded that "they didn't know Star Trek". When the actors first put the helmets on, the fully enclosed design made it hard to breathe; after a minute of wearing the suit Stewart became ill, and shooting was discontinued. [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. Cast. 1996 Directed by Jonathan Frakes. [113] This version contained the feature and two trailers, but no other special features. The time is the 24th century and the ship is the newly commissioned Enterprise-E. [49] Some set designs took inspiration from the Alien film series, Star Wars and 2001: A Space Odyssey. 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". Star Trek: First Contact is the eighth feature film in the Star Trek science fiction franchise. While Joel composed many of the film's action cues, his father contributed to the spacewalk and Phoenix flight sequences. "They were fearsome. 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. Synopsis Resistance is futile. 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. https://www.moviefone.com/movie/star-trek-first-contact/3096/credits [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. To give the Cube greater depth and texture, Rosenberg shot the vessel with harsher light. The teaser poster for Star Trek: First Contact. "When the ship gets Borgified, everything is changed into more of a squared-off, robotic look with sharp edges but rounded images," he explained. 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. [78] The theatrical trailer to the film was included on a Best of Star Trek music compilation, released at the same time as the First Contact soundtrack. [43] Slides of the sets were added behind the window frames to make the interior seem more dimensional when the camera tracked past the ship. Check out the official Star Trek: First Contact (1996) Trailer starring Patrick Stewart! [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. The film's script required the creation of new starship designs, including a new USS Enterprise. 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. [31] Looking at the early scripts, the trio knew that serious work was needed. 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]. [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. Jeff Coopwood as The Voice of the Borg 13. Photos of the Star Trek: First Contact (Movie) voice actors. [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], 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. Leonetti preferred shooting with long lenses to provide a more claustrophobic feel, but made sure the length did not flatten the image. [64][65] A menacing march with touches of synthesizers was used to represent the Borg. The shot continues to pull back and reveal the exterior of a Borg ship. Star Trek First Contact is easily one of the best instalments of the franchise to date. For the Borg intrusion, the lighting originated solely from instrument panels and red-alert displays. 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. Stardate: 50893.5 Original Airdate: Dec 13, 1996 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). Frakes had not been the first choice for director; Ridley Scott and John McTiernan reportedly turned down the project. 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. Jean-Luc Picard. [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". [51], ILM was tasked with imagining what the immediate assimilation of an Enterprise crewmember would look like. Here is real acting! ILM instead cut the windows using a laser. Brannon Braga as holographic nightclub patron 8. By separating the backlights, Leonetti made sure that the principal actors stood out of the backdrop. [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. 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". Sloane confronts the captain and makes him realize he is acting irrationally because of his own past with becoming Locutus of the Borg. Sir Patrick Stewart, Brent Spiner, Jeri Ryan, and Jonathan Del Arco share their fond memories while at San Diego Comic-Con. Scholarly analysis of the film has focused on Captain Jean-Luc Picard's parallels to Herman Melville's Ahab and the nature of the Borg. [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. Tracee Lee Cocco as Jae 12. Gates McFadden. 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. Everyone just uncomfortable in their presence. [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. 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. 1 images of the Star Trek: First Contact cast of characters. [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. Deanna Troi. 2 years ago. [71], Frakes believes that the main themes of First Contact—and Star Trek as a whole—are loyalty, friendship, honesty, and mutual respect. Dr. Beverly Crusher. The wormlike geometry was animated over the actor's face, then blended in with the addition of a skin texture over the animation. New flatscreen computer monitors were used for displays, using less space and giving the bridge a cleaner look. 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. 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. 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. [5] The android ruptures a coolant tank, and the corrosive vapor eats away the biological components of the Borg. Jaeger came up with a set of cables that sprang from the Borg's knuckles and buried themselves in the crewmember's neck. 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. [64] The young composer provided additional music for the film, writing three cues based on his father's motifs[66] and a total of 22 minutes of music. 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. [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. 1 hr 50 min. Find out where Star Trek: First Contact is streaming, if Star Trek: First Contact is on Netflix, and get news and updates, on Decider. Cochrane and Sloane greet the aliens. Get your swag on with discounted movies to stream at home, exclusive movie gear, access to advanced screenings and discounts galore. 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. Braga and Moore, meanwhile, wanted to use the Borg. 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. "[106], The special effects were generally praised. The entire transformation was created using computer-generated imagery. [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. Star Trek: First Contact. Patrick Stewart. [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. [89], First Contact garnered positive reviews on release. Because of budget constraints, the full ship was realized as a computer-generated design. [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. 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. The scene was difficult to execute, taking ILM five months to finish. "[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. [20] Shooting took a total of sixty days. [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. Braga and Moore wanted to feature the Borg in the plot, while producer Rick Berman wanted a story involving time travel. Interactive lighting was played across the computer-generated Enterprise model for when the ship is caught in the time vortex. [95] The New York Times' Janet Maslin said that the "film's convoluted plot will boggle all but hard-core devotees" of the series,[96] while Variety's Joe Leydon wrote that the film did not require intimate knowledge of the series and that fans and non-fans alike would enjoy the film. [42], 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. Patrick Barnitt as Borg drone 3. [69] The album contained 51 minutes of music, with 35 minutes of Jerry Goldsmith's score, 10 minutes of additional music by Joel Goldsmith, "Ooby Dooby" and "Magic Carpet Ride". 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. [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". [79] A video game adaptation of the film was also announced by Spectrum HoloByte, and would have taken the form of a real-time strategy game set entirely on the Enterprise during the Borg takeover,[80] though it was never released. Enterprise arrives in time to assist the crew of USS Defiant and its captain, the Klingon Worf. 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]. The model had specific areas which could be blown up multiple times without damaging the miniature. [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. First Contact (Live In Concert 6 2001)This was on the soundtrack I got. 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. Cmdr. As Cochrane, Riker, and engineer Geordi La Forge prepare to activate the warp drive on Phoenix, Picard discovers that the Borg Queen has grafted human skin onto Data, giving him the sensation of touch he has long desired so that she can obtain the android's encryption codes to the Enterprise computer. 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. [6] Braga and Moore intended it to be more muscular and militaryesque. We were on a circle, which has no geography to it. 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. LeVar Burton. 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