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- I am Ronald D Moore.
- Brannon Braga.
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We are the co-writers of Star Trek
Generations here for your pleasure.
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This was our first feature film,
for Brannon and I.
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Rick Berman approached us,
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the Next Generation's
executive producer,
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about midway through Next Generation's
sixth season, as I recall.
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We got a mysterious message
from Rick's office
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to "come immediately and Rick has
something to talk to you about".
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Given the nature of Star Trek and how
it ran, we assumed we were being fired.
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There was much panic and stress,
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because Rick generally didn't ask
to see the two of us together ever.
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We sat in his office, and Rick being Rick,
he milked it for all it was worth.
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We sat there and he got up,
paced around his office,
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looked out the window,
and very dramatically said,
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"I've just been in negotiations
with the studio for several months."
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A very long pause. Brannon and I
sat there, our sphincters tightening.
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He said, "I've been asked to produce
the next Star Trek feature film
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"and I want you two to write it."
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He looked out the window again,
looking like he was posing for Rushmore.
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Brannon and I looked at each other,
our eyes popping out of our heads.
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We were almost giggling
and shifted in our seats.
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He said, "They'll commission
two scripts.
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"One with the original cast,
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"bridging the original series
to the Next Generation.
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"Then they'll do another
without the original cast altogether.
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"Then we'll see which one's better and
make that movie. What do you say?"
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We, of course, said, "Yes, please!
Thank you, Daddy! We're so happy!"
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And so we were asked to write
the version that would bridge the two
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that ultimately became Generations.
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This champagne bottle sequence
was my only contribution to the script.
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- I think you wrote this on a Post-it.
- You folded it in. I appreciate that.
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As I recall, it was a difficult genesis
for this project.
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There were a series of requirements
that this film had to have
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that we thrashed out early on.
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We wanted this, like I said earlier,
to bridge the two generations.
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I love that shot. We wanted it to...
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The studio required
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that the original cast only appear
in the first 10 or 15 minutes of the film.
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- Right.
- Captain Kirk could reappear at the end.
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He could have an adventure with Picard,
but this was a Next Generation film.
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They also wanted a very large villain,
an arch-nemesis throughout the film
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� la Khan, who was in
the most successful,
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creatively successful Star Trek film,
The Wrath of Khan.
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They also wanted some Klingons
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and also a Data comedy runner
to go through it.
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With those requirements in mind,
we started crafting the story.
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I remember early discussions
about what the film would be.
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Brannon had this great image.
Remember your idea for the poster?
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I always seem to start with posters,
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just in images
of the two Enterprises in battle.
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Is that the one? That it should be
Kirk versus Picard. It didn't go anywhere.
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That was the best poster,
the Enterprises fighting!
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"Kirk versus Picard. This summer."
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Of course, we didn't make that movie.
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I think if you...
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Somewhere in here,
right there, is Tim Russ.
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He goes on to play Tuvok in Voyager,
but was one of the bridge officers here.
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Is that right? Well, there's Noreen
in the background.
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That lady with the long hair was
a recurring extra on Next Generation.
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This scene went through many drafts.
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An early draft had the entire original cast
make an appearance in this sequence.
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In fact, I think you would open
in a turbolift on the way to the bridge,
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and all of them were crammed into
this one turbolift, uncomfortably close.
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They'd make little cracks back and forth.
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You got the sense that they were rolling
their eyes at doing this publicity stunt,
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but they were also happy to be back
together and giving it one last go.
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We were looking over a very early draft
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that had some of the other
original series characters in it.
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We ended up with these.
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There was a point where we started
contacting all the original cast members
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and eventually we met all of them.
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We met DeForest Kelley at a Star Trek
convention in Detroit.
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We were working on the script
and he was appearing. We ran into him.
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That was the first time I'd met him
and for you, too.
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He was looking forward to the script.
He was such a wonderful, sweet man.
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It was very happy and great to meet.
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Walter Koenig came in a couple of times.
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We'd met with Jimmy Doohan
on the show, 'cause he appeared on it.
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They were all wonderful.
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The only cast member I didn't meet,
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I don't know if you did,
was Leonard Nimoy.
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You're forgetting
that we had a meeting with him.
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I didn't. Did you?
I never met with Leonard.
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Maybe I remember
Rick telling us about a meeting.
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There was a meeting with Leonard...
Yeah, they tried to get him to direct it.
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I remember Rick was meeting with
Leonard. We were in the Hart building.
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We were told, "Rick wants to see you."
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As we walked over, Leonard
was coming out of the building.
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He was walking fast and didn't look up,
the first hint that he wasn't directing it.
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By the way, I love...
This is the Enterprise-B.
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Always loved this starship design.
I talked about which ship it would be.
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That was from an earlier film,
that design, wasn't it?
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- I believe it's a riff on the Excelsior.
- That's right. I always loved it.
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I think it's a great design, too,
and I liked this bridge.
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I really liked this version
of the Enterprise. It was really nice.
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This is a pretty good...
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...opening to the film.
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Lots of fun to have them sequestered
off to the side in an undignified way.
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Then Kirk has to take control
of the situation.
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I like the way he just stands up there.
Shatner knows this character so well.
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He's a blend of the man
and the character.
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You can't imagine anyone else having
played Kirk, once he's made it his own.
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- That's the woman from Aliens, right?
- Right.
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- She played... the Hispanic lady.
- I cannot remember her name.
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Brannon and I had one meeting
with William Shatner.
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There was a point during development
where Bill wanted to talk about the script.
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We had a meeting over in Rick's office
and I'd never met Shatner before.
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I don't know that you had. But I was
the original Star Trek fan growing up.
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Captain Kirk was my hero,
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so this was a major moment
when I met Shatner for the first time.
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We're in the office,
kind of nervous and waiting.
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Rick's also a little nervous around him.
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Shatner comes in, looks at us,
shakes our hands and goes,
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"They're so young. Look at them,
they're so young!"
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- It immediately puts us in our place.
- I peed my pants. I'm confessing it here.
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We sit down, we're having the meeting
and Bill didn't say much for some while.
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- He kind of sat there...
- I don't even think he looked at us.
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- No.
- He just talked to Rick.
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He talked to Rick mostly. We were the
people on the couch that were also there.
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- He eventually warmed up.
- He did. He's a charming, funny guy.
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Do you remember the Kirk moment?
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We were sitting talking with him and
his chief note that he wanted to convey
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was that he didn't feel that Kirk
was integral to the plot of the film.
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And we were... I think it was you or I,
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or the two of us were basically
spinning him and telling him,
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"Well, no, he is very integral to the plot
because the theme's immortality..."
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We're going on a bit, doing the sales job.
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- Suddenly he just uses the Kirk voice.
- Yeah, I remember.
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He just goes, "Well, he's not
in fact integral to the plot!"
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Our heads snapped back
and Rick readjusted in his chair.
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The captain had spoken and that was it.
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I think that broke the ice and he was
pretty funny and charming after that.
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- He was right, actually.
- He was right.
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Writing a feature film with established
characters is a particular challenge.
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You get a lot of input from different
sources, whether it's the director,
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Patrick Stewart, William Shatner
or Brent Spiner.
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A lot of people chimed in because they'd
played these characters for so long.
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Everyone has kind of good points
and bad points.
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You try to take the notes
that are good and weave it all together.
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Ultimately it's a very collaborative
process to write a feature film like this.
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All these things had many drafts.
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This whole sequence was rewritten
and rewritten. And rewritten on the day.
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Exactly what the orders were,
how Kirk saves the day,
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what is his idea versus
what's Harriman's idea...
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Then we were also juggling this notion
of them getting close to the Nexus
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but not in it, because
Guinan has to cross over.
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Guinan's going to be in there, too,
and Kirk is in there and then not.
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It was very confusing to write.
There's Tim.
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Yeah, well...
they're in a temporal flux again.
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You learn riffs when you write Star Trek.
Brannon and I wrote it for many years.
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There's certain terms, phrases
in the techno-talk that keep recurring:
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temporal flux, capacitors, auxiliary power,
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plasma conduits, the warp core is
continually on the verge of being ejected.
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We put the number 47 into many scripts
over the years on Next Generation
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as we thought it was lucky.
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Joe Menosky, one of the writers
at the time, got us hooked on this.
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Every episode either references 47
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or it's on a graphic
somewhere in the show.
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There was even a website a long
time ago about the 47 s on Star Trek.
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If you look at the DVDs now
of Next Generation,
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starting around the fifth season
you'll see 47 s in every episode.
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It'll be like "Find Waldo" for people
who have extra time on their hands.
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- I still put 47 s into scripts.
- Do you?
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I absolutely do. The cult of 47
has gone far and wide.
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Yeah, this was all a complicated bit
of business, figuring out Soran.
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Soran's there. Soran saw something
and wants to get back.
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Then we go
and the camera finds Guinan.
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Whoopi was great to work with.
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I think it was her idea originally to appear
on Next Generation, so the story goes.
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She went and met
with Gene Roddenberry
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who came up with the idea of Guinan
on Next Generation.
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- Named after "Texas" Guinan, right?
- I don't know.
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I think it's named after "Texas" Guinan
who was a famous bartender
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back in New York City, I believe.
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She was a very difficult character
to write for. The scenes had to be...
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The dictum on those scenes was:
she has to make a really good point,
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but not seem like she's making a point.
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Yeah, it has to be oblique
to the vanishing point.
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We always struggled with her scenes
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and got a lot of notes
from Mike Piller on those scenes.
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"More off the nose."
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We joked that we wanted to write a
Picard-Guinan scene played with looks.
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- Yeah.
- Remember? No dialogue.
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Could we convey a scene
with just looks, meaningful looks?
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He sits at the bar. She comes over.
He looks up.
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She nods, pours him a drink.
He shakes his head, takes a sip.
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Almost takes a second.
Puts it down. Guinan nods.
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Picard's problem solved,
he exits Ten-Forward.
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Ron mentioned
all the challenges of this film,
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bridging the generations,
trying to tell the cohesive story.
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There were so many parameters.
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Another thing we considered going into
this, we were writing the final episode
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while doing the core screenplay work.
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We wrote many drafts,
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but when it started getting into prep and
we were doing the final rewrites on this,
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we were also writing the final episode
of Next Generation, All Good Things.
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It was interesting to compare
writing a two-hour TV episode
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versus a two-hour movie.
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The same was true on First Contact.
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When you write a weekly TV show
with continuing characters,
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you want to keep them
more or less the same
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because you're with that family week
to week and want incremental evolution.
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In a feature film my analogy was that
you move away from the family.
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You only see them every 2 to 4 years
and want to do bigger things.
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So we introduced Data's emotion chip,
something you'd never do on TV
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because you'd essentially unravel
his whole reason to be.
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But because it's a movie, we knew
there may not be another movie.
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You want to do bigger things in a feature,
not only in an optical budget sense,
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but in character.
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Features are events in character's lives.
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The series is "next week
on Next Generation, this will happen".
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The film is supposed to be
big pivotal events in their lives.
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I also love that
even the shakes are bigger.
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People get... We can afford
to have them thrown off their feet.
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00:15:45,560 --> 00:15:48,757
- Actually, wasn't this set on a gimbal?
- Was it?
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00:15:48,960 --> 00:15:55,399
Yeah, the set really shook. On the TV
show we didn't have the money for that.
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- The bridge actually shakes in this.
- You're right. I think I remember that.
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I really liked this piece.
I felt this was very effective.
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I liked it on the page
and it was well realised on the screen
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when they realise that Kirk is gone
and rush down to find him.
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James Doohan here was terrific.
He really... It's coming up here.
222
00:16:27,760 --> 00:16:31,912
The shot coming up,
the big pull-back from the Enterprise
223
00:16:32,120 --> 00:16:34,953
and seeing the big gaping hole,
224
00:16:35,160 --> 00:16:38,232
it's really touching
and I like this transition.
225
00:16:38,440 --> 00:16:44,151
There's a nice transition coming between
space and then it goes to the water.
226
00:16:49,200 --> 00:16:52,715
- Was that "Aye"?
- "Aye."
227
00:16:54,040 --> 00:16:57,828
There was a cut back after this
that was scripted and filmed,
228
00:16:58,040 --> 00:17:03,637
after this moment, going back
to the bridge and confirming he's gone
229
00:17:03,840 --> 00:17:08,311
and them saying they've looked
everywhere and he can't be found.
230
00:17:08,520 --> 00:17:13,071
I think Chekov weeps
and they confirm that he's dead.
231
00:17:13,280 --> 00:17:16,636
- But it's not as effective as this.
- That's a great shot.
232
00:17:16,840 --> 00:17:21,436
Because we'd just spent
the first 20 minutes in space,
233
00:17:21,640 --> 00:17:27,556
we wanted to get to the Next Generation
cast in an offbeat, surprising way.
234
00:17:29,080 --> 00:17:33,596
- We came up with the...
- It was Jeri Taylor's idea, as I recall.
235
00:17:33,800 --> 00:17:37,588
Jeri Taylor was a writer/producer
on Next Generation
236
00:17:37,800 --> 00:17:41,679
and what we had in the initial drafts
for this transition...
237
00:17:41,880 --> 00:17:46,590
I love that, Picard standing
near the taff rail of the Enterprise.
238
00:17:46,800 --> 00:17:52,272
In the early drafts the transition
to the Next Generation was to be
239
00:17:52,480 --> 00:17:58,157
that you'd cut into a small Federation
outpost out in the middle of nowhere
240
00:17:58,360 --> 00:18:03,639
and there are these two guys,
who are low-level Starfleet nobodies,
241
00:18:03,840 --> 00:18:06,070
stuck in the middle of nowhere.
242
00:18:06,280 --> 00:18:11,434
I don't remember what they're doing.
They're wasting time staring at screens.
243
00:18:11,640 --> 00:18:16,077
- Like Beavis and Butthead.
- Yeah, talking and doing nothing.
244
00:18:16,280 --> 00:18:22,719
Then the Romulans attack. A warbird
de-cloaks and the Romulans board.
245
00:18:22,920 --> 00:18:27,914
They're shooting everyone and these
guys are about to get blown away.
246
00:18:28,120 --> 00:18:32,398
Then the Enterprise, under Picard,
comes to the rescue and saves the day.
247
00:18:32,600 --> 00:18:37,310
That was the opening of the Next
Generation section, a big action piece.
248
00:18:37,520 --> 00:18:40,796
Then we gave the script
to Jeri Taylor to read,
249
00:18:41,000 --> 00:18:44,390
who Brannon and I
worked for on Next Gen and respected.
250
00:18:44,600 --> 00:18:49,037
She commented, "It wasn't very exciting."
We were, "It's a big action sequence."
251
00:18:49,240 --> 00:18:53,279
- She said, "Yeah, but not interesting."
- And seen a million times.
252
00:18:53,480 --> 00:18:58,156
She came up with not this, but was
saying do it in some offbeat way.
253
00:18:58,360 --> 00:19:03,070
Her image was what if you cut...?
I wish we'd done it, as it was so bizarre.
254
00:19:03,280 --> 00:19:06,636
- The nose.
- She wanted to cut to Ten-Forward.
255
00:19:06,840 --> 00:19:10,958
Picard is pushing an egg
across the floor with his nose.
256
00:19:11,160 --> 00:19:15,915
What does that mean? She said, "I don't
know, but it's an interesting image."
257
00:19:16,120 --> 00:19:21,194
That got us thinking about offbeat,
bizarre ways to get into this sequence.
258
00:19:21,400 --> 00:19:26,076
We started talking about the holodeck
and came to this romantic notion
259
00:19:26,280 --> 00:19:31,832
that there's always been this analogy
to the seafaring tradition in Star Trek
260
00:19:32,040 --> 00:19:34,873
and why don't we put them on a ship.
261
00:19:36,440 --> 00:19:41,036
- Weren't you on there?
- I did go out one day.
262
00:19:41,240 --> 00:19:46,792
I was very grateful that I'd put on
my seasickness patch.
263
00:19:47,000 --> 00:19:50,788
Some people had not, like Marina Sirtis,
and they weren't happy.
264
00:19:51,000 --> 00:19:54,879
They were pretty much throwing up
the entire day.
265
00:19:55,080 --> 00:19:59,039
- This is off the coast of LA?
- Off Marina del Rey.
266
00:19:59,240 --> 00:20:01,834
It really wasn't that far out.
267
00:20:02,040 --> 00:20:06,158
If you look the opposite direction
you see traffic.
268
00:20:09,560 --> 00:20:12,916
We always enjoyed humiliating Worf.
269
00:20:13,120 --> 00:20:17,716
It was a pastime for the writers
to do something to humiliate Worf.
270
00:20:26,680 --> 00:20:31,310
I was really sad that I didn't get
to go and do this. I'd scheduled vacation.
271
00:20:31,520 --> 00:20:35,718
In between Next Gen and Deep Space,
where I'd go next, I needed a break.
272
00:20:35,920 --> 00:20:39,117
I was overseas
when you were shooting this.
273
00:20:39,320 --> 00:20:41,993
I love nautical and naval history
274
00:20:42,200 --> 00:20:47,149
and Hornblower books and the O'Brian
books, so I was sad not to do this.
275
00:20:47,360 --> 00:20:50,477
I bet it would have been
deeply uncomfortable.
276
00:20:50,680 --> 00:20:55,959
It was so cramped on that ship
and shooting on...
277
00:20:59,560 --> 00:21:01,516
Back into the water!
278
00:21:01,720 --> 00:21:07,317
Throwing a doctor and a Klingon into
the water really spices up a show.
279
00:21:15,320 --> 00:21:21,475
So, this was back in the visor days here,
before Geordi got his ocular implants.
280
00:21:21,680 --> 00:21:28,074
LeVar, as an actor, was getting a little
tired of having his eyes covered.
281
00:21:28,280 --> 00:21:30,794
It was a very good idea to give him...
282
00:21:31,000 --> 00:21:35,232
- It was in First Contact that he gets...
- Gets the eyes.
283
00:21:35,440 --> 00:21:38,512
Yeah, but I always thought
we lost something, too.
284
00:21:38,720 --> 00:21:42,156
- It was so distinctive. The visor...
- It was Geordi.
285
00:21:42,360 --> 00:21:45,397
It was. Everybody knew who Geordi was.
286
00:21:45,600 --> 00:21:49,593
In his defence, LeVar had campaigned
to lose the visor for a couple of years.
287
00:21:49,800 --> 00:21:54,476
- When you wear that for ten years...
- It's hard to see out of.
288
00:21:54,680 --> 00:21:58,798
The point he always made
is that it robbed him of an acting tool.
289
00:21:59,000 --> 00:22:01,833
An actor's eyes
are really important to his performance
290
00:22:02,040 --> 00:22:06,875
and we had robbed Geordi of the ability
to convey anything with his eyes.
291
00:22:10,400 --> 00:22:13,676
- Good old holodeck.
- Always a favourite.
292
00:22:13,880 --> 00:22:17,236
We came up with many
holodeck scenarios on the show,
293
00:22:17,440 --> 00:22:20,989
so it was a given
that we'd use it in the movie.
294
00:22:22,160 --> 00:22:26,870
One of the coolest inventions of
The Next Generation was the holodeck.
295
00:22:27,080 --> 00:22:30,675
I don't think anything had been seen
like that before.
296
00:22:30,880 --> 00:22:32,757
It's virtual reality,
297
00:22:32,960 --> 00:22:38,318
but done before that was being thought
about a lot in mainstream sci-fi.
298
00:22:38,520 --> 00:22:42,672
Yeah. In fact it goes back a ways,
in Star Trek that is.
299
00:22:42,880 --> 00:22:48,512
Gene Roddenberry put a holodeck
on the animated series in the early 70s.
300
00:22:48,720 --> 00:22:52,759
Gene thought about a lot of these things
way in advance of anybody else.
301
00:22:52,960 --> 00:22:59,115
Tangible virtual reality was something
he had introduced into this concept.
302
00:22:59,320 --> 00:23:01,595
So, here's where Picard learns...
303
00:23:03,800 --> 00:23:10,592
...about the death of his nephew,
who had been established in...
304
00:23:10,800 --> 00:23:13,951
- In Family.
- Was it Family?
305
00:23:14,160 --> 00:23:17,994
An episode of Next Generation
from the fourth season.
306
00:23:18,200 --> 00:23:23,069
Ultimately the theme of the movie
is mortality, dealing with one's mortality
307
00:23:23,280 --> 00:23:29,594
and having epic heroic characters
of fiction grapple with their mortality.
308
00:23:30,200 --> 00:23:35,718
That was the underlying theme we talked
about ad nauseum in the writers' room,
309
00:23:35,920 --> 00:23:39,993
Rick, Brannon and I,
and that was what we set out to do.
310
00:23:40,200 --> 00:23:46,230
OK, let's tackle a thing that Star Trek
never tackles really: death.
311
00:23:46,440 --> 00:23:50,752
Star Trek II handled it beautifully in the
death of Spock, but he comes back.
312
00:23:50,960 --> 00:23:57,229
So it's not really a death.
In this film the Enterprise-D dies.
313
00:23:57,440 --> 00:23:59,749
More importantly, Captain Kirk dies,
314
00:23:59,960 --> 00:24:05,353
and Picard, through that experience,
starts to grapple with his own mortality,
315
00:24:05,560 --> 00:24:12,033
which we felt was really interesting
to present a big heroic character with.
316
00:24:12,240 --> 00:24:17,519
Typically there's always a way for
the hero to win at the end and not die.
317
00:24:17,720 --> 00:24:22,236
We said let's not do that. Let's confront
this head on and say everybody dies.
318
00:24:22,440 --> 00:24:25,512
Even larger than life characters
ultimately die.
319
00:24:25,720 --> 00:24:28,075
In my opinion,
320
00:24:28,280 --> 00:24:33,070
I think our reach exceeded
our grasp on that level in the film.
321
00:24:33,280 --> 00:24:39,958
I think that it's a provocative theme
and I'm not sure the film brings it home...
322
00:24:40,160 --> 00:24:42,037
I don't think...
323
00:24:42,240 --> 00:24:47,792
Just to be candid, again those
parameters, those things to be unified,
324
00:24:48,000 --> 00:24:52,152
all the things we had to accomplish
and those we couldn't do.
325
00:24:52,360 --> 00:24:57,275
I think to figure out even how to get
these two captains together
326
00:24:57,480 --> 00:25:00,950
and the whole Nexus business,
it was unwieldy.
327
00:25:01,160 --> 00:25:03,196
In the end, I think we never really knew...
328
00:25:03,400 --> 00:25:08,793
Although everything you're saying
about the general themes is right,
329
00:25:09,000 --> 00:25:15,599
I don't know that it coheres into anything.
It's a little all over the place.
330
00:25:15,800 --> 00:25:22,069
But interesting nonetheless. I think it all
had to do with the passing of the baton.
331
00:25:22,280 --> 00:25:23,554
Yeah.
332
00:25:23,760 --> 00:25:26,479
There were really interesting sentiments
333
00:25:26,680 --> 00:25:30,468
that never cohered into a theme
you could put your finger on.
334
00:25:30,680 --> 00:25:36,676
This is one of those things I look
back on and wish we had written now,
335
00:25:36,880 --> 00:25:42,193
years later when we were more
seasoned and had done two features
336
00:25:42,400 --> 00:25:45,472
and weren't doing
our very first motion picture,
337
00:25:45,680 --> 00:25:49,798
and that then we had tackled
this kind of subject matter.
338
00:25:50,000 --> 00:25:54,949
I think we'd have been able to make it hit
on all cylinders in terms of the script.
339
00:25:55,960 --> 00:26:01,990
I'm proud of it. I think it's a good picture,
but wish I could take another crack at it.
340
00:26:05,000 --> 00:26:07,275
Love Malcolm McDowell.
341
00:26:07,480 --> 00:26:10,074
He's one of my favourite actors.
342
00:26:10,280 --> 00:26:13,192
No matter what he's in, you watch him
343
00:26:13,400 --> 00:26:19,794
because his performance will always
be interesting and always fun to watch.
344
00:26:20,000 --> 00:26:26,235
He plays a character here terrified
of death, obsessed with immortality.
345
00:26:28,080 --> 00:26:30,913
- Much like Brannon and I.
- Yeah.
346
00:26:32,200 --> 00:26:33,519
"Romulans!"
347
00:26:34,120 --> 00:26:37,192
He has a lot of one of the things that I...
There's Spot.
348
00:26:37,400 --> 00:26:41,791
Spot the cat, version 4 of 12 or
something. We had so many Spots.
349
00:26:43,120 --> 00:26:45,076
Brent hates the cat.
350
00:26:45,280 --> 00:26:48,716
- Brent Spiner actually hates cats.
- That's so great!
351
00:26:48,920 --> 00:26:53,675
The cat was always all over him
and he always hated the cat.
352
00:26:55,520 --> 00:27:02,039
Here's the emotion chip scene,
again pretty radical for Data's character.
353
00:27:02,240 --> 00:27:08,349
This brings up another challenge of this
movie, of Star Trek movies in general.
354
00:27:08,560 --> 00:27:15,113
The emotion chip is established
about a couple of seasons ago, right?
355
00:27:15,320 --> 00:27:20,269
Here you have a TV series
with a seven-year run
356
00:27:20,480 --> 00:27:24,234
with continuing characters,
storylines, back story
357
00:27:24,440 --> 00:27:30,754
that the TV audience is up on and
they love it and are imbued with all of it,
358
00:27:30,960 --> 00:27:36,318
but the feature films go at the audience...
in a different way.
359
00:27:36,520 --> 00:27:41,992
They don't assume that the audience
for the features has seen the TV show,
360
00:27:42,200 --> 00:27:47,593
so you're sort of reintroducing everything
while also trying to bring the fans along
361
00:27:47,800 --> 00:27:51,713
and trying to bring people that
just go to the movies on Friday night.
362
00:27:51,920 --> 00:27:57,552
It's a difficult balancing act, continually
tripping over how do we establish...?
363
00:27:57,760 --> 00:28:03,551
Here's an emotion chip and we need
to say what it is without boring the fans
364
00:28:03,760 --> 00:28:06,957
or confusing the audience
new to Star Trek.
365
00:28:07,160 --> 00:28:12,393
There were executives at Paramount
who were good measuring rods,
366
00:28:12,600 --> 00:28:15,990
who'd say things like,
"What's a holodeck?"
367
00:28:16,200 --> 00:28:20,876
It's tricky, 'cause at what point do you...?
You won't explain what a holodeck is.
368
00:28:21,080 --> 00:28:24,789
You have to just leave
some things alone.
369
00:28:25,000 --> 00:28:30,791
Some of it is just part of this universe,
so you just have to go in and accept it.
370
00:28:31,000 --> 00:28:34,356
It's interesting also to see all these sets
on the big screen.
371
00:28:34,560 --> 00:28:39,680
We went in and did extensive reworking
of the sets and lighting schemes
372
00:28:39,880 --> 00:28:42,633
to prepare them for the feature.
373
00:28:42,840 --> 00:28:48,392
This is the ready room seen in the TV
show for seven seasons unchanged.
374
00:28:48,600 --> 00:28:54,072
You've never seen it lit like this,
never seen this glow through the window
375
00:28:54,280 --> 00:28:56,236
giving it more texture.
376
00:28:56,440 --> 00:28:59,398
It had to be painted differently, I believe.
377
00:28:59,600 --> 00:29:03,752
It was never meant to be seen
in really exquisite detail.
378
00:29:03,960 --> 00:29:08,750
John Alonzo photographed this,
who recently passed away.
379
00:29:10,840 --> 00:29:14,549
An amazing cinematographer.
380
00:29:14,760 --> 00:29:19,754
A couple of things are remembered
about this film. One is the lighting.
381
00:29:19,960 --> 00:29:26,638
People have often commented on how
Ten-Forward had never looked better.
382
00:29:26,840 --> 00:29:31,391
This set has never looked as good
as it did in this. Part of that is time.
383
00:29:31,600 --> 00:29:38,153
In a feature film you have so much more
time to light each individual shot.
384
00:29:38,360 --> 00:29:43,070
In TV you basically have to go in
and shoot what the lighting scheme is.
385
00:29:43,280 --> 00:29:47,717
You can set up some key lights,
bounce cards and specific lights,
386
00:29:47,920 --> 00:29:53,472
but you didn't have time to go
into Ten-Forward and light it like this.
387
00:29:53,680 --> 00:29:56,831
Ten-Forward is lit
the same way every week.
388
00:29:59,040 --> 00:30:03,875
We also never had the budget
in the TV show to use this many extras.
389
00:30:04,080 --> 00:30:07,550
Ten-Forward should have
always been like this week to week,
390
00:30:07,760 --> 00:30:13,039
filled with people, alive, a common place
for people on the Enterprise.
391
00:30:13,240 --> 00:30:16,198
In production meetings
on the TV show,
392
00:30:16,400 --> 00:30:19,358
one of the first things you'd chop
would be extras.
393
00:30:19,560 --> 00:30:23,269
For a ship that had
1,000 people on it,
394
00:30:23,480 --> 00:30:26,517
walk down the corridor,
there'd be one dude.
395
00:30:26,720 --> 00:30:30,508
People slept a lot on the Enterprise
on the TV show.
396
00:30:33,880 --> 00:30:37,156
- Brent was great here.
- Yeah, Brent's great.
397
00:30:45,880 --> 00:30:51,591
Brent is one of the most reliable
and "go to" actors I've ever worked with.
398
00:30:51,800 --> 00:30:55,918
You know if you give Brent Spiner
something, he'll deliver it in spades
399
00:30:56,120 --> 00:30:58,509
and probably surprise you.
400
00:30:58,720 --> 00:31:03,271
I remember when we were shooting
First Contact and I was on the set.
401
00:31:03,480 --> 00:31:07,314
They were doing a big scene
with Brent and the Borg Queen.
402
00:31:07,520 --> 00:31:12,230
He was doing that thing when
she blows on his little patch of flesh.
403
00:31:12,440 --> 00:31:15,113
He reacts to it and he was so good.
404
00:31:15,320 --> 00:31:19,916
He was just so good. I said,
"You're such my hero on this show."
405
00:31:20,120 --> 00:31:26,309
Always he and Patrick really would
blow you away on a continuing basis.
406
00:31:26,520 --> 00:31:28,511
Not to slight the other cast.
407
00:31:28,720 --> 00:31:32,076
I loved the entire Next Generation cast
and respected them.
408
00:31:32,280 --> 00:31:36,592
Brent really just would knock it out
of the park regularly.
409
00:31:36,800 --> 00:31:41,669
Another thing that people
sometimes do with this movie...
410
00:31:44,400 --> 00:31:46,675
...is quote that line.
411
00:31:46,880 --> 00:31:48,836
He has lots of time quotes
412
00:31:49,040 --> 00:31:54,637
and I still have
Bartlett's quotation book
413
00:31:54,840 --> 00:31:59,197
with pages marked where
we were groping for time quotes.
414
00:31:59,400 --> 00:32:04,076
- That's right.
- We either made these up...
415
00:32:04,280 --> 00:32:09,718
...or changed them from other quotes,
but I should show you this.
416
00:32:09,920 --> 00:32:15,153
I've got 20 pages marked
with all these time quotes.
417
00:32:15,360 --> 00:32:18,193
We were hunting for little aphorisms
about time like,
418
00:32:18,400 --> 00:32:22,154
"Time is the fire in which we burn."
419
00:32:22,360 --> 00:32:25,750
The pocket watch.
All those little touches were very nice.
420
00:32:25,960 --> 00:32:31,432
But we would also have long tedious
discussions about the pocket watch.
421
00:32:31,640 --> 00:32:35,872
Is it really a pocket watch? Do they
still have them in the 24th century?
422
00:32:36,080 --> 00:32:39,914
Could he have found one? Why would
he carry that and not a digital watch?
423
00:32:40,120 --> 00:32:43,112
- He's obsessed with time.
- Yeah.
424
00:32:43,320 --> 00:32:46,437
Ultimately we came to those answers.
425
00:32:46,640 --> 00:32:51,998
Guinan's sixth sense. I never really
knew what the hell... Was she psychic?
426
00:32:52,200 --> 00:32:54,316
I don't know.
427
00:32:54,520 --> 00:33:00,868
In the series there was that business
between her and Q, a weird relationship.
428
00:33:01,080 --> 00:33:04,868
Did finger puppets
at each other periodically.
429
00:33:07,480 --> 00:33:11,712
These uniforms, you'll notice that
we're blending the uniforms at this point.
430
00:33:11,920 --> 00:33:17,392
There was a concern that Worf has
the traditional Next Generation uniform.
431
00:33:17,600 --> 00:33:21,991
Riker has the uniform that was
about to become Voyager's uniform
432
00:33:22,200 --> 00:33:24,919
and also Deep Space Nine's.
433
00:33:25,120 --> 00:33:28,908
- It was Deep Space Nine's first, I think.
- I can't remember.
434
00:33:29,120 --> 00:33:32,192
You might be right.
It was Deep Space Nine's uniform.
435
00:33:32,400 --> 00:33:35,437
In the movie we started blending
the two back and forth,
436
00:33:35,640 --> 00:33:38,473
partially because Bob Blackman
was worried
437
00:33:38,680 --> 00:33:42,639
that the costumes wouldn't
hold up on a 30-foot screen.
438
00:33:42,840 --> 00:33:48,233
He was worried about the zippers.
Next Generation was designed for TV.
439
00:33:48,440 --> 00:33:51,557
Suddenly it was being projected
30 feet tall.
440
00:33:51,760 --> 00:33:56,595
There was worry that not all the uniforms
were up to the same level of quality.
441
00:33:56,800 --> 00:34:01,590
I think that was where we started
discussing using both uniforms.
442
00:34:08,960 --> 00:34:12,157
And the communicator pins as well.
443
00:34:12,360 --> 00:34:15,432
This is the sick detail
that fans obsess about,
444
00:34:15,640 --> 00:34:19,189
that we would talk about
and I would notice.
445
00:34:19,400 --> 00:34:22,949
The communicator pin, how it looked
in Star Trek: The Motion Picture
446
00:34:23,160 --> 00:34:28,154
and how it looked in the next films and
"it used to be a circle and now it's a bar".
447
00:34:28,360 --> 00:34:34,037
Then it's two bars and then it was several
bars in All Good Things in the future.
448
00:34:42,120 --> 00:34:45,032
I remember being concerned early on
449
00:34:45,240 --> 00:34:48,596
that the tonal shifts
between this Data comedy runner
450
00:34:48,800 --> 00:34:54,397
and the main story would be a problem,
but watching the film I never felt that.
451
00:34:54,600 --> 00:34:58,752
I always felt like it blended pretty well
into the overall piece.
452
00:35:08,240 --> 00:35:13,030
These are the kind of jokes that got
groans and laughs from the audience
453
00:35:13,240 --> 00:35:19,270
in test screenings and at the premiere,
unable to believe he's making that pun.
454
00:35:19,480 --> 00:35:23,473
He's so obviously doing it for a joke that
everybody enjoys it at the same time.
455
00:35:23,680 --> 00:35:27,150
We wanted him to become annoying.
456
00:35:27,360 --> 00:35:29,874
And we succeeded.
457
00:35:31,960 --> 00:35:33,871
A lot of people...
458
00:35:35,040 --> 00:35:38,669
...talk about techno-babble
in Star Trek.
459
00:35:38,880 --> 00:35:43,158
There are scenes in this movie that...
that have techno-babble.
460
00:35:43,360 --> 00:35:49,037
It's a constant struggle
to give the script a little v�rit�
461
00:35:49,240 --> 00:35:51,595
and make it believable.
462
00:35:51,800 --> 00:35:54,633
So often, particularly on the TV show,
463
00:35:54,840 --> 00:35:59,356
we just fell into
way too much of that stuff.
464
00:36:01,160 --> 00:36:06,473
We had long discussions in the writers'
room on technical aspects of the show.
465
00:36:06,680 --> 00:36:13,358
Many times you were depending on
techno-babble to carry plot information,
466
00:36:13,560 --> 00:36:19,237
so you'd find yourself in a room with
other seemingly intelligent people,
467
00:36:19,440 --> 00:36:25,276
arguing about what the warp drive could
and could not do, and getting passionate.
468
00:36:25,480 --> 00:36:31,669
"No! You can't do that with the warp
drive. You have to envelop the ship."
469
00:36:31,880 --> 00:36:35,998
Ultimately I don't think the audience
really cares about a lot of that.
470
00:36:36,200 --> 00:36:41,911
A trap that we all fell into was that
the tech talk ran away with the show.
471
00:36:42,120 --> 00:36:45,829
In the final moments of an episode,
to get out of a tight spot
472
00:36:46,040 --> 00:36:50,670
someone would "tech the tech",
you know, and "The End".
473
00:36:50,880 --> 00:36:53,155
You'd write that in the scripts.
474
00:36:53,360 --> 00:36:59,310
I wrote scenes where Picard would say,
"Commander La Forge, tech the tech."
475
00:36:59,520 --> 00:37:03,308
Geordi would say,
"I've teched the tech, but it's not working.
476
00:37:03,520 --> 00:37:07,433
"If we tech the tech in a tech direction,
maybe we can tech."
477
00:37:07,640 --> 00:37:11,269
Picard would say,
"Very well. Tech the tech."
478
00:37:11,480 --> 00:37:15,109
You'd take this page
to the science consultant.
479
00:37:15,320 --> 00:37:21,509
He'd come back with three options for
every single tech that should be there.
480
00:37:21,720 --> 00:37:27,431
Then you'd try to assemble something
from that and then it wasn't really drama.
481
00:37:27,640 --> 00:37:33,158
- It was just sort of jargon.
- It was definitely our show at its worst.
482
00:37:33,360 --> 00:37:36,670
- Here's the nephew.
- Right, the nephew.
483
00:37:36,880 --> 00:37:39,713
Someone Picard was very close to.
484
00:37:42,000 --> 00:37:45,913
Counsellor Troi is...
I'm glad we got a scene for her,
485
00:37:46,120 --> 00:37:49,112
as Marina's a lovely actress.
486
00:37:49,320 --> 00:37:55,919
She was a tough character to utilise.
Her empathic powers were really...
487
00:37:57,080 --> 00:38:03,553
So she can read emotions. Was it really
ever helpful? That's to say that people...
488
00:38:03,760 --> 00:38:08,197
"He's angry, Captain."
It was usually pretty obvious anyway.
489
00:38:10,040 --> 00:38:13,510
It was a difficult character to conceive
and to figure out,
490
00:38:13,720 --> 00:38:19,113
because an empathic ability to feel what
someone else feels is hard to dramatise.
491
00:38:19,320 --> 00:38:24,314
What is that? The audience has
no touchstone for that.
492
00:38:24,520 --> 00:38:28,832
When she feels someone else's anger,
does that mean she feels angry
493
00:38:29,040 --> 00:38:31,349
or just has a sense of anger?
494
00:38:31,560 --> 00:38:35,155
It was a very weird, ineffable thing
to try to convey.
495
00:38:35,360 --> 00:38:37,715
It was, to me, a paradox.
496
00:38:37,920 --> 00:38:44,473
In Gene Roddenberry's 24th century
world of highly evolved humans,
497
00:38:44,680 --> 00:38:48,468
why is a therapist on board and
what are they encountering?
498
00:38:48,680 --> 00:38:52,878
What hang-ups do they have? Gene was
big on "people don't have hang-ups."
499
00:38:53,080 --> 00:38:56,914
They don't have sexual hang-ups,
there's no more prejudice, no crime.
500
00:38:57,120 --> 00:39:02,797
- They're not racists.
- These humans are so far beyond.
501
00:39:03,000 --> 00:39:07,278
Except for moments like this when
someone's sad and needs to talk,
502
00:39:07,480 --> 00:39:09,835
why is a therapist on board?
503
00:39:10,040 --> 00:39:11,996
It's a military vessel.
504
00:39:12,200 --> 00:39:16,830
Not only is she on board, she has a seat
right next to the captain on the bridge.
505
00:39:17,040 --> 00:39:21,352
Joe Menosky used to say the one thing
that would date Next Generation
506
00:39:21,560 --> 00:39:27,829
was the idea that the therapist was so
important she'd sit next to the captain.
507
00:39:28,040 --> 00:39:32,238
Very 80s sensibility
with the therapy craze.
508
00:39:32,440 --> 00:39:37,309
So in the show we shifted her away from
the empathic aspect of the character
509
00:39:37,520 --> 00:39:39,670
and more towards therapist.
510
00:39:39,880 --> 00:39:45,318
Then we made her in charge
of the schools aboard the ship,
511
00:39:45,520 --> 00:39:48,478
and like a cruise-line social director.
512
00:39:48,680 --> 00:39:54,676
She had various aspects 'cause she was
a lovely actress and great to work with.
513
00:39:54,880 --> 00:39:58,589
She was very good and
you wanted to give her more,
514
00:39:58,800 --> 00:40:03,271
but you had to find roles for her to do
other than go, "Why do you feel angry?"
515
00:40:03,480 --> 00:40:08,031
In this movie she finally gets to drive
Enterprise and ends up crashing it.
516
00:40:08,240 --> 00:40:12,358
- Right. She finally got to steer the ship...
- Women drivers!
517
00:40:12,560 --> 00:40:16,109
- Or Betazed drivers.
- And she ploughed right into a planet!
518
00:40:17,360 --> 00:40:21,194
- If I may sound juvenile for a second?
- Oh, please.
519
00:40:21,400 --> 00:40:26,952
- I never liked Picard crying here.
- I never liked that.
520
00:40:27,160 --> 00:40:30,675
I don't know if it was scripted
or Patrick's choice,
521
00:40:30,880 --> 00:40:34,793
it just felt like in his big screen debut,
522
00:40:35,000 --> 00:40:37,389
Picard should not be crying.
523
00:40:37,600 --> 00:40:41,388
I tend to agree. It's one
of those moments I cringe a little bit.
524
00:40:41,600 --> 00:40:46,151
You don't want to see the great Captain
Picard weeping, not in this movie.
525
00:40:46,360 --> 00:40:51,115
It didn't seem like a right choice and
I can't remember if we wrote that or not.
526
00:41:05,560 --> 00:41:09,348
Picard's quarters also wonderfully lit,
like nothing else we ever did in the show.
527
00:41:09,560 --> 00:41:14,714
Picard's quarters were the same set
that we used for Marina's quarters.
528
00:41:14,920 --> 00:41:19,038
Not Data's quarters, but everyone
who had living space with a window
529
00:41:19,240 --> 00:41:23,028
was basically this set
and we swapped the walls, repainted
530
00:41:23,240 --> 00:41:26,118
and moved all the fixtures around.
531
00:41:27,400 --> 00:41:32,190
My big bugaboo with the quarters was
that they had space pictures on the wall.
532
00:41:32,400 --> 00:41:34,470
I thought that absurd.
533
00:41:34,680 --> 00:41:38,719
If you're on a sailing ship,
do you have pictures of the ocean?
534
00:41:38,920 --> 00:41:42,708
Maybe you do, but if you've got
a window looking at space,
535
00:41:42,920 --> 00:41:46,435
do you then hang
a space picture on the wall?
536
00:41:46,640 --> 00:41:49,791
This is Soran destroying stars.
537
00:41:53,440 --> 00:41:59,117
This was a very convoluted aspect
of the story that I hated working on,
538
00:41:59,320 --> 00:42:04,269
which was why Soran destroys stars
to alter the trajectory of the Nexus.
539
00:42:04,480 --> 00:42:06,436
It was so complicated,
540
00:42:06,640 --> 00:42:11,714
but it did result in what I think
is the best scene in this movie,
541
00:42:11,920 --> 00:42:16,755
which is the... Stellar Cartography scene.
542
00:42:16,960 --> 00:42:21,829
Picard and Data map the trajectory and
talk about what they're going through.
543
00:42:22,040 --> 00:42:27,068
I thought that was such a Star Trek
scene. Great imagery, great emotion.
544
00:42:29,840 --> 00:42:31,910
Here we go. Enter the Klingons.
545
00:42:33,080 --> 00:42:36,550
Lursa and B'Etor
were Klingon sisters introduced...
546
00:42:36,760 --> 00:42:42,278
This is bringing characters from
the series to the feature audience
547
00:42:42,480 --> 00:42:44,789
without giving their back story.
548
00:42:45,000 --> 00:42:51,394
I remember when Soran was picked up
by Lursa and B'Etor in early drafts,
549
00:42:51,600 --> 00:42:55,149
there was a big, almost Roman orgy
scene on their ship.
550
00:42:55,360 --> 00:42:56,793
- Remember?
- No.
551
00:42:57,000 --> 00:43:02,870
Lursa, B'Etor and Soran were
having dinner on their bird-of-prey,
552
00:43:03,080 --> 00:43:07,756
and Lursa and B'Etor have these male
Klingon slaves that are half naked
553
00:43:07,960 --> 00:43:10,713
and serving them grapes and stuff.
554
00:43:10,920 --> 00:43:14,151
There's all this weird sexual energy
going around,
555
00:43:14,360 --> 00:43:18,148
and they're trying
to give Soran a girl or a boy.
556
00:43:18,360 --> 00:43:21,796
- There was this whole bacchanal.
- I don't recall that.
557
00:43:22,000 --> 00:43:26,790
It was pretty wild and got cut.
"We can't produce this! This is crazy!"
558
00:43:28,800 --> 00:43:33,669
You know, you try to pick
the popular characters.
559
00:43:35,280 --> 00:43:39,432
I don't think First Contact did it.
Oh, Barclay was in First Contact.
560
00:43:39,640 --> 00:43:43,758
You try to throw a couple
of those characters into the movies.
561
00:43:45,720 --> 00:43:47,631
This was weird. He's smiling.
562
00:43:47,840 --> 00:43:51,594
Every time I saw this
it's like he's amused.
563
00:43:53,880 --> 00:43:55,154
Very cool effects.
564
00:43:55,360 --> 00:44:01,674
Many effects were in the transitional
period between model work and CGI.
565
00:44:01,880 --> 00:44:07,910
If I'm not mistaken, most of the ships
and stations in this film are actual...
566
00:44:08,120 --> 00:44:09,394
They're models.
567
00:44:09,600 --> 00:44:16,073
Some computer animation was used
in a destruction sequence like that.
568
00:44:16,280 --> 00:44:19,352
By and large this is the last
of the old-school model work.
569
00:44:19,560 --> 00:44:24,873
The entire crash sequence in this film
is model work.
570
00:44:25,080 --> 00:44:29,915
Although it's spectacularly done
and the sound mixing is wonderful,
571
00:44:30,120 --> 00:44:36,309
I think it shows that it's a model, although
there are two CG shots after it's crashed.
572
00:44:36,520 --> 00:44:39,432
They probably enhanced things with CG,
573
00:44:39,640 --> 00:44:43,428
but it's all a gigantic ship
that they're flying on wires.
574
00:44:43,640 --> 00:44:46,313
Yeah, and a big, table-top model.
575
00:44:50,000 --> 00:44:55,074
Some of the fans were more upset
that we killed Lursa and B'Etor than Kirk.
576
00:44:55,280 --> 00:45:00,149
That's very true. There was a version of
the script where Lursa and B'Etor live.
577
00:45:00,360 --> 00:45:06,151
In an early version... Not to jump ahead
of the film, but why not?
578
00:45:06,360 --> 00:45:12,469
The Enterprise crashes and Lursa
and B'Etor's ship is destroyed in the film.
579
00:45:12,680 --> 00:45:15,592
There were a couple of drafts where,
580
00:45:15,800 --> 00:45:19,634
as you cut back and forth between
what's going on in the Nexus,
581
00:45:19,840 --> 00:45:25,995
Riker et al on the Enterprise are crashed
on this planet and need to get out.
582
00:45:26,200 --> 00:45:31,035
They discover that Lursa and B'Etor
and some Klingons have also crashed.
583
00:45:31,240 --> 00:45:36,872
They're out there as well. They come
under attack by Lursa and B'Etor.
584
00:45:37,080 --> 00:45:41,676
Then everybody realises,
"OK, we all need to get off this planet.
585
00:45:41,880 --> 00:45:45,919
"You guys have part of a ship. So do we.
We work together or all die."
586
00:45:46,120 --> 00:45:50,955
There was a whole thing between Riker
and Lursa and B'Etor negotiating this.
587
00:45:51,160 --> 00:45:57,838
Lursa and B'Etor were double-dealing
and I think they all got away in the end.
588
00:45:58,040 --> 00:46:01,749
- Didn't they actually rescue everybody?
- What's amazing is I think we wrote that.
589
00:46:01,960 --> 00:46:05,669
- We did. A couple of versions of it.
- It's amazing.
590
00:46:08,200 --> 00:46:11,749
Guinan, of course...
has this nice big space picture
591
00:46:11,960 --> 00:46:15,430
and she's selling Pottery Barn candles
for some reason.
592
00:46:18,000 --> 00:46:22,710
It's the only time we saw her quarters.
We never went there in the show.
593
00:46:22,920 --> 00:46:25,434
We kept her enigmatic.
594
00:46:28,760 --> 00:46:32,878
Again, somehow Guinan
knows all of these things.
595
00:46:33,080 --> 00:46:39,189
She met Soran in the past, but she has
some sort of psychic powers.
596
00:46:39,400 --> 00:46:43,598
Guinan just knows things.
She knows what we need her to know.
597
00:46:43,800 --> 00:46:46,792
- Right.
- That's what Guinan knows.
598
00:46:49,320 --> 00:46:54,838
- We learn about the great Nexus here.
- A very confusing concept.
599
00:46:55,040 --> 00:47:00,319
If I remember, the whole notion
of the Nexus came out of us saying
600
00:47:00,520 --> 00:47:03,796
we're going to have the old crew
and the new crew.
601
00:47:04,000 --> 00:47:09,199
In Star Trek time those two time periods
are separated by 80 years.
602
00:47:09,400 --> 00:47:14,349
How do you cross the two? We don't
want an ancient Kirk in a wheelchair.
603
00:47:14,560 --> 00:47:16,790
We want Kirk and Picard.
604
00:47:17,000 --> 00:47:21,278
Was it going to be time travel?
These movies have done time travel.
605
00:47:21,480 --> 00:47:24,438
First Contact is going to do time travel.
606
00:47:24,640 --> 00:47:28,758
We were hunting for a way to cross
the two captains without time travel.
607
00:47:28,960 --> 00:47:35,433
The Nexus was an interesting alternative,
this region that was outside of time,
608
00:47:35,640 --> 00:47:38,791
- that they were drawn to.
- We never conveyed...
609
00:47:39,000 --> 00:47:41,878
I haven't seen this in a while
and may be wrong.
610
00:47:42,080 --> 00:47:46,437
We thought of it as a point at which
the past, present and future converge.
611
00:47:46,640 --> 00:47:47,914
Yes.
612
00:47:48,120 --> 00:47:50,839
It seemed a super-tantalising concept
613
00:47:51,040 --> 00:47:56,956
that I don't think was properly conveyed
or even exploited enough,
614
00:47:57,160 --> 00:48:00,755
and the Nexus just came off vague.
615
00:48:02,040 --> 00:48:05,271
The best thing about it in this
is the way it looks.
616
00:48:05,480 --> 00:48:12,079
The ribbon of energy is very cool,
but the concept seems contrived
617
00:48:12,280 --> 00:48:15,158
in getting these two guys together.
618
00:48:16,280 --> 00:48:20,114
You're right. I forgot that. It was past,
present and future at the same point.
619
00:48:20,320 --> 00:48:24,313
At some point in the universe
there are points where this occurs.
620
00:48:24,520 --> 00:48:29,594
- Where the time all became one.
- There's still a good episode in that.
621
00:48:31,680 --> 00:48:34,148
Playing with the visor.
622
00:48:35,160 --> 00:48:38,470
It's always thrilling
to be able to do a dirty set,
623
00:48:38,680 --> 00:48:44,835
'cause we've spent so much time
on these super-tidy Enterprise sets.
624
00:48:45,920 --> 00:48:49,071
This sequence was actually cut here.
625
00:48:49,280 --> 00:48:54,308
I'm not sure if it's in the deleted section,
but there was more torture here.
626
00:48:54,520 --> 00:49:00,038
He literally stops Geordi's heart
as he tortures him for information.
627
00:49:00,240 --> 00:49:03,676
- With a device, and then starts it again.
- Isn't that in the cut?
628
00:49:03,880 --> 00:49:08,112
If I'm not mistaken,
I think it was cut before the final...
629
00:49:08,320 --> 00:49:11,118
We'll see if it's in here.
630
00:49:14,560 --> 00:49:20,874
Another good Next Generation
plot device is Geordi's visor.
631
00:49:21,080 --> 00:49:24,834
Every now and then he'd see something
no one else could,
632
00:49:25,040 --> 00:49:28,555
or in this case a villain uses it to see
through his eyes.
633
00:49:28,760 --> 00:49:34,437
I'm sure there were half a dozen other
examples of things we did with his visor.
634
00:49:36,440 --> 00:49:39,113
Yeah, we cut before he tortures him.
635
00:49:39,320 --> 00:49:43,518
There was a sequence where,
to get information out of Geordi,
636
00:49:43,720 --> 00:49:50,319
he has some device that you see on
a monitor and he stops Geordi's heart.
637
00:49:50,520 --> 00:49:55,389
Geordi's in agonising pain
and then he starts it up again.
638
00:49:55,600 --> 00:49:59,718
- Here's the Stellar Cartography scene.
- Well, this is not the...
639
00:49:59,920 --> 00:50:03,595
- Is it not the big scene?
- This isn't it, I don't think.
640
00:50:03,800 --> 00:50:07,873
Or maybe it is. This was a set
that was just spectacular.
641
00:50:08,080 --> 00:50:12,119
Herman Zimmerman did Next Gen...
642
00:50:13,360 --> 00:50:19,754
... Deep Space Nine and then Enterprise,
and also most of the films.
643
00:50:19,960 --> 00:50:25,512
Wonderful set designer. This set was
way up high and was just spectacular.
644
00:50:25,720 --> 00:50:29,349
To stand in the set
was like being in the real thing.
645
00:50:29,560 --> 00:50:35,430
We referenced Stellar Cartography
on the show, but we never went in.
646
00:50:35,640 --> 00:50:39,872
I think if we did once,
it was a tiny little crappy set.
647
00:50:40,080 --> 00:50:43,914
You're right, this is the big scene
and my personal favourite scene,
648
00:50:44,120 --> 00:50:50,036
because the performances are great,
this is where the themes converge...
649
00:50:50,240 --> 00:50:54,358
It seems this is the one point in the film
where it does seem to gel,
650
00:50:54,560 --> 00:50:56,596
at least with these two.
651
00:50:56,800 --> 00:51:02,796
I love the images here, the two Star Trek
heroes surrounded by the galaxy.
652
00:51:03,000 --> 00:51:05,560
It just felt good.
653
00:51:07,520 --> 00:51:11,274
I liked this idea
that you could go into a room and...
654
00:51:11,480 --> 00:51:16,508
It grew out of this idea of,
well, how do you...?
655
00:51:16,720 --> 00:51:21,191
What's a map in the 24th century,
for people that live in space?
656
00:51:21,400 --> 00:51:26,713
Wouldn't it be a three-dimensional thing
where you could walk around the planets
657
00:51:26,920 --> 00:51:32,233
and walk through and see them from
all angles, instead of in two dimensions?
658
00:51:32,440 --> 00:51:34,476
That's where this came from.
659
00:51:37,960 --> 00:51:43,557
When we wrote it, it wasn't this elevated
platform. That was Herman's idea.
660
00:51:43,760 --> 00:51:47,309
What we had in the script was,
you walked into the room,
661
00:51:47,520 --> 00:51:52,389
turned on the machine and it surrounded
you, like you were standing in the middle.
662
00:51:52,600 --> 00:51:53,874
In space.
663
00:51:54,080 --> 00:51:58,471
- You could walk around.
- It wouldn't have looked as good.
664
00:51:58,680 --> 00:52:02,958
At the time, that was a little beyond
what they were capable of in CGI.
665
00:52:03,160 --> 00:52:07,392
- For our budget.
- They would've stood on a green screen.
666
00:52:07,600 --> 00:52:10,398
Total green, it would have been.
667
00:52:13,040 --> 00:52:16,715
I remember walking onto that platform
and feeling a little uneasy,
668
00:52:16,920 --> 00:52:20,708
'cause it was a good
10 or 15 feet off the floor.
669
00:52:33,840 --> 00:52:38,960
Again, this is nothing
you would ever see on the TV show.
670
00:52:39,960 --> 00:52:43,430
I actually liked this sub-plot.
671
00:52:44,440 --> 00:52:50,788
This is a film that, in retrospect,
was very successful in some ways
672
00:52:51,000 --> 00:52:55,915
and, I think, not all that great in others,
and there are things...
673
00:52:56,120 --> 00:53:00,352
I love that first sequence
on the Enterprise-B. That's terrific.
674
00:53:00,560 --> 00:53:02,118
I love...
675
00:53:02,320 --> 00:53:05,039
I think the film really is very good.
676
00:53:05,240 --> 00:53:09,631
Where it falters for me
is when we get in the Nexus
677
00:53:09,840 --> 00:53:13,116
and the two captains
are scrambling eggs.
678
00:53:13,320 --> 00:53:17,836
- That wasn't the poster I had hoped for.
- No, it wasn't.
679
00:53:18,040 --> 00:53:21,510
From two Enterprises locked in battle
to two captains cooking.
680
00:53:21,720 --> 00:53:24,996
"You'll believe a captain
can scramble eggs."
681
00:53:25,200 --> 00:53:27,998
I don't know quite what happened.
682
00:53:28,200 --> 00:53:33,672
We were obviously trying to convey
a paradise, a nice place in the Nexus,
683
00:53:33,880 --> 00:53:38,908
but... there was something about it
that just doesn't feel right.
684
00:53:39,120 --> 00:53:43,591
I think in many ways this was
the most true to what the series was
685
00:53:43,800 --> 00:53:46,155
of the Next Generation films.
686
00:53:46,360 --> 00:53:53,038
First Contact is a big gigantic adventure,
but we never did that in an episode.
687
00:53:53,240 --> 00:53:56,232
Because you're in
a different time period, it felt...
688
00:53:56,440 --> 00:54:02,913
This is sort of the show. Good and bad,
this is what the show was really.
689
00:54:03,120 --> 00:54:05,429
And we were writing the show.
690
00:54:05,640 --> 00:54:11,749
It was strange to write the final two-hour
and this. They were both movies really.
691
00:54:11,960 --> 00:54:15,589
I remember thinking, "Oh, my God!
All Good Things is better."
692
00:54:15,800 --> 00:54:18,075
- I did, too!
- That's the movie.
693
00:54:18,280 --> 00:54:22,159
It was the irony of it all, 'cause
we laboured on this for a year and a half.
694
00:54:22,360 --> 00:54:25,636
- All Good Things took three weeks!
- We just did it.
695
00:54:25,840 --> 00:54:28,673
Being asked to do it was a surprise.
696
00:54:28,880 --> 00:54:34,512
We assumed Michael Piller would write
the final episode and he was busy.
697
00:54:34,720 --> 00:54:39,919
He asked us and it was like, "Wow! God,
now I have to write another two-hour."
698
00:54:40,120 --> 00:54:46,309
But it flowed. Because of the lack of
time, we couldn't think about it. We did it.
699
00:54:46,520 --> 00:54:50,308
- And it was so much more complicated.
- Yeah.
700
00:54:50,520 --> 00:54:56,993
It's like when you have a year and a half
to develop a feature and so much input,
701
00:54:57,200 --> 00:55:02,069
it just maybe is not
the most ideal process
702
00:55:02,280 --> 00:55:05,113
for a piece of film writing.
703
00:55:06,720 --> 00:55:11,271
You'd think it would be. Maybe in most
cases it is better to have more time.
704
00:55:11,480 --> 00:55:12,754
You're right.
705
00:55:12,960 --> 00:55:17,829
We were immersed in the show,
so this does feel like Next Gen.
706
00:55:18,040 --> 00:55:21,476
When we were writing them...
707
00:55:22,080 --> 00:55:26,790
...both simultaneously and we were really
getting tired and stressed,
708
00:55:27,000 --> 00:55:33,678
there were times where I remember us
getting confused on which script it was.
709
00:55:33,880 --> 00:55:37,270
It was the same characters
on the same sets
710
00:55:37,480 --> 00:55:40,916
dealing with various techno issues.
711
00:55:41,120 --> 00:55:44,032
"Is this the Nexus or is this the Q court?"
712
00:55:44,240 --> 00:55:48,791
- Is this the time... whatever that was?
- What did we call it?
713
00:55:49,000 --> 00:55:51,514
- I can't remember. Time...
- Anti-time?
714
00:55:51,720 --> 00:55:54,951
- Anti-time.
- "Is it anti-time or is this the Nexus?
715
00:55:55,160 --> 00:55:58,516
"Which script are we on?
No, you're talking about the other scene."
716
00:55:58,720 --> 00:56:01,188
That was a weird period.
717
00:56:01,400 --> 00:56:05,393
- There's the great Klingon cleavage.
- I had a thing for the Klingon sisters.
718
00:56:05,600 --> 00:56:09,639
- Who did you like better?
- If I knew them apart! That's...
719
00:56:09,840 --> 00:56:13,958
That's Lursa isn't it? B'Etor is
the saucier one. I always liked B'Etor.
720
00:56:14,160 --> 00:56:16,230
I think I liked Lursa.
721
00:56:22,040 --> 00:56:25,749
"Mistress!" That was a good one!
722
00:56:25,960 --> 00:56:27,757
Big eyebrows.
723
00:56:27,960 --> 00:56:31,919
The Klingons haven't changed
their clothes in a long time.
724
00:56:32,120 --> 00:56:36,511
These costumes were established
in the very first Star Trek movie
725
00:56:36,720 --> 00:56:40,156
and have not really changed
in a century in Star Trek time.
726
00:56:40,360 --> 00:56:44,148
The Klingons get something
and they stick with it.
727
00:56:45,160 --> 00:56:47,754
Ah! Another time phrase.
728
00:57:01,520 --> 00:57:07,277
The Enterprise-D I thought was awkward
to photograph from certain angles.
729
00:57:07,480 --> 00:57:09,471
Like that angle.
730
00:57:09,680 --> 00:57:14,549
It has that very large saucer
that overpowers the entire form.
731
00:57:14,760 --> 00:57:17,115
The post-production guys complained
732
00:57:17,320 --> 00:57:20,198
that it was hard to film
and make look heroic.
733
00:57:20,400 --> 00:57:26,157
- It was a bit top heavy in design.
- Yeah. And a stumpy little rear.
734
00:57:26,360 --> 00:57:31,115
There were some angles it looked really
nice from. Others just looked awkward.
735
00:57:32,120 --> 00:57:34,839
Oh! "That's a pretty big margin of error."
736
00:57:35,040 --> 00:57:40,956
If you think about that line, it's wrong.
It's should be "narrow margin".
737
00:57:41,160 --> 00:57:46,393
"Too narrow" is a small margin. With
a big margin of error, everything's cool!
738
00:57:46,600 --> 00:57:51,276
But nobody caught it. Not the actors,
not at any point did anyone catch it.
739
00:57:51,480 --> 00:57:53,914
It drove Rick nuts.
740
00:57:54,120 --> 00:57:59,274
He's a real stickler when it comes
to specific words and dialogue.
741
00:57:59,480 --> 00:58:03,632
- Syntax and exact on grammar.
- Missed it. Everyone missed it.
742
00:58:03,840 --> 00:58:07,116
"That's a pretty big margin of error,"
he says.
743
00:58:07,320 --> 00:58:10,039
- "Too big."
- "Too big."
744
00:58:35,000 --> 00:58:41,519
This was also very convoluted,
reasoning who went where and why.
745
00:58:41,720 --> 00:58:47,636
I remember lots of drafts on the trade
and how Picard gets to the surface.
746
00:58:47,840 --> 00:58:54,075
It was Data, now it's Picard. They'll beam
Geordi over, but that's not our concern...
747
00:58:54,280 --> 00:58:57,875
Lots and lots of stuff to try to just...
748
00:58:58,080 --> 00:59:01,959
This is sort of indicative
of bigger problems.
749
00:59:02,160 --> 00:59:04,913
You just need to get him to the surface.
750
00:59:05,120 --> 00:59:08,112
All we care about is getting Picard
to the surface
751
00:59:08,320 --> 00:59:10,788
to meet Soran and how to do it.
752
00:59:11,000 --> 00:59:16,393
We wanted the hero and villain to have
a scene. They really haven't met so far.
753
00:59:16,600 --> 00:59:22,311
- Great location. Where was this?
- Valley of Fire, outside Las Vegas.
754
00:59:22,520 --> 00:59:24,078
Oh, right.
755
00:59:24,280 --> 00:59:30,515
I wasn't on this location, but I heard
it was brutal heat and wind.
756
00:59:30,720 --> 00:59:34,429
It's really high up.
They had to lug all the stuff up.
757
00:59:34,640 --> 00:59:37,677
Yeah, way up the side of this mountain.
758
00:59:37,880 --> 00:59:40,235
It's a spectacular location.
759
00:59:41,240 --> 00:59:45,597
This is Soran's best scene I think. I like
what he has to say as he climbs around.
760
00:59:45,800 --> 00:59:50,351
I like the way it's shot
by the director David Carson,
761
00:59:50,560 --> 00:59:53,996
who was our ace director
on Next Generation.
762
00:59:54,200 --> 00:59:58,716
He did Yesterday's Enterprise,
the pilot for Deep Space Nine,
763
00:59:58,920 --> 01:00:02,071
many memorable things
on the TV show.
764
01:00:05,040 --> 01:00:11,115
I don't know if this villain
was as successful as we'd hoped...
765
01:00:14,040 --> 01:00:19,114
- Ye olde forcefield, the biggest ever.
- The biggest forcefield we ever did!
766
01:00:20,120 --> 01:00:25,240
What made Khan great was that he had
a personal vendetta against Kirk.
767
01:00:25,440 --> 01:00:30,309
- This guy's just narcissistic.
- Yeah. He just wants to be immortal.
768
01:00:34,640 --> 01:00:37,996
I love when Lursa and B'Etor
are revolted by Beverly.
769
01:00:38,200 --> 01:00:42,955
And in First Contact Alfre Woodard
wakes up and sees her and screams.
770
01:00:43,160 --> 01:00:47,073
We were always being vicious to Gates
for no real reason.
771
01:00:47,280 --> 01:00:49,919
Just to be mean.
772
01:00:51,560 --> 01:00:54,757
There was more
and we had a ball in the script
773
01:00:54,960 --> 01:01:00,159
with people watching through Geordi's
eyes while he did nothing interesting.
774
01:01:00,360 --> 01:01:05,639
He took a bath. We were going
to show his feet sticking out of the tub.
775
01:01:05,840 --> 01:01:11,597
He dries off and has a snack, screwing
around before he gets to the bridge.
776
01:01:19,680 --> 01:01:26,313
Geordi and Data always had
a really nice relationship on the screen.
777
01:01:26,520 --> 01:01:30,832
Along with Picard,
Geordi was Data's mentor.
778
01:01:31,040 --> 01:01:34,715
This whole business
with Picard and the forcefield
779
01:01:34,920 --> 01:01:37,912
went through many iterations
on the page.
780
01:01:38,120 --> 01:01:41,556
We were just constantly rewriting this.
781
01:02:00,440 --> 01:02:05,560
When this was first written,
I had always envisaged this sequence...
782
01:02:05,760 --> 01:02:09,435
Say if I'm wrong,
wasn't it a jungle environment?
783
01:02:09,640 --> 01:02:13,519
I don't remember describing it
as a barren wasteland.
784
01:02:13,720 --> 01:02:17,508
They changed it in production,
but I always envisioned this
785
01:02:17,720 --> 01:02:23,829
in a heavier, overgrown,
wilder kind of atmosphere
786
01:02:24,040 --> 01:02:26,838
where this was all taking place.
787
01:02:30,520 --> 01:02:36,516
Was this new? Did we reshoot this
to better motivate his character?
788
01:02:36,720 --> 01:02:40,679
- We might have.
- I think it originally ended on "Nice try."
789
01:02:40,880 --> 01:02:46,910
We came back later when we reshot
the ending and added this entire scene
790
01:02:47,120 --> 01:02:51,716
with him talking
about why he's doing this
791
01:02:51,920 --> 01:02:54,195
to flesh out the villain more.
792
01:02:54,400 --> 01:02:57,995
We either added it or just reshot it.
793
01:02:58,200 --> 01:03:02,432
It wasn't in the first cut, but I remember
what you're talking about.
794
01:03:02,640 --> 01:03:05,438
I think this was in the first cut.
795
01:03:07,560 --> 01:03:12,554
This is the heart of the show,
thematically, this spiel from Soran.
796
01:03:12,760 --> 01:03:18,630
And time, Kirk talking about making
a difference before it's too late.
797
01:03:22,720 --> 01:03:24,631
You know...
798
01:03:26,040 --> 01:03:30,989
...even Picard, one of the things
we did on the series was
799
01:03:31,600 --> 01:03:36,310
we hinted that he regretted
not having a family.
800
01:03:36,520 --> 01:03:40,149
Which is why we gave him a family.
Here's your thing.
801
01:03:40,360 --> 01:03:45,514
This is as much as you got,
where he's just roaming the ship.
802
01:03:46,680 --> 01:03:49,353
And Worf finally got a chair in the movie.
803
01:03:49,560 --> 01:03:54,156
All those years on Next Generation Worf
never had a chair at his tactical station.
804
01:03:54,360 --> 01:03:58,797
Now we've got a motion picture
and extra money, give the man a chair.
805
01:04:01,640 --> 01:04:03,596
This is, like...
806
01:04:05,760 --> 01:04:11,073
This was an uncomfortable moment
in the movie theatre. I'm not sure...
807
01:04:11,280 --> 01:04:13,999
There was a little bit of laughter.
808
01:04:14,200 --> 01:04:19,149
But I think we enjoyed it more than
the audience, 'cause we're so twisted!
809
01:04:19,360 --> 01:04:24,559
Brent was hesitant to do it. "Come on,
guys, you really want me to sing this?"
810
01:04:29,120 --> 01:04:33,511
You want to run a level three diagnostic
on the port plasma relays? Well!
811
01:04:33,720 --> 01:04:39,795
You realise in retrospect how much
of that is completely unnecessary
812
01:04:40,000 --> 01:04:44,152
and you just wish you could get in there
and take it all out.
813
01:04:44,360 --> 01:04:48,717
What did we need with that? Why not
have Geordi just walk to the console?
814
01:04:48,920 --> 01:04:54,836
- Why the extra talk about tech?
- Tech that has nothing to with the plot.
815
01:04:56,720 --> 01:04:59,518
This was cool. I enjoyed the space battle.
816
01:04:59,720 --> 01:05:04,589
It came at a point in the film where there
had been no action since the opening.
817
01:05:04,800 --> 01:05:10,875
Maybe too long, so finally we get excited.
This is good old-fashioned Star Trek.
818
01:05:11,080 --> 01:05:15,915
There's the periscope. We don't know
why Klingon ships have a periscope.
819
01:05:16,120 --> 01:05:18,475
They shoot through the shields.
820
01:05:26,360 --> 01:05:30,069
I love those Klingon birds-of-prey.
821
01:05:30,280 --> 01:05:35,195
You'll notice - this is an obvious
observation - the damage to the bridge
822
01:05:35,400 --> 01:05:40,758
is much more extreme and so much
more cool than anything we did on TV.
823
01:05:40,960 --> 01:05:44,396
- By far.
- Lost of stunts, lots of pyrotechnics.
824
01:05:44,600 --> 01:05:46,955
Lots of wounded.
825
01:05:48,720 --> 01:05:53,236
Like Brannon said, the Enterprise-B
bridge was gimballed and could shake.
826
01:05:53,440 --> 01:05:57,956
This is the old Enterprise-D, TV series
bridge which was not gimballed,
827
01:05:58,160 --> 01:06:04,599
so this is the actors throwing themselves
around as we shake the camera,
828
01:06:04,800 --> 01:06:07,951
which they'd gotten very good at
by this point.
829
01:06:08,160 --> 01:06:12,312
You could tell them it was
a slight shudder and they'd give you that.
830
01:06:12,520 --> 01:06:15,080
Or that it rocks hard and they'd do that.
831
01:06:15,280 --> 01:06:17,953
And they'd all just do it in sync.
832
01:06:18,160 --> 01:06:22,472
Yeah, at exactly the same moment, and
they all had their places they liked to fall
833
01:06:22,680 --> 01:06:25,035
and places they liked to hold on to.
834
01:06:29,000 --> 01:06:32,754
I'll say this now so you can watch for it.
835
01:06:32,960 --> 01:06:35,997
After the Klingons' ship is destroyed,
836
01:06:36,200 --> 01:06:40,637
Data has this moment where
he makes a fist and says, "Yes!"
837
01:06:41,320 --> 01:06:47,031
Right before that, there's a hammy extra
in the background who does the gesture.
838
01:06:47,240 --> 01:06:51,995
Do you remember how upset we all got?
839
01:06:52,200 --> 01:06:56,352
- Oh, I do remember!
- He ruined it, but we couldn't reshoot it.
840
01:06:56,560 --> 01:06:59,438
He stole Data's moment, that's right.
841
01:06:59,640 --> 01:07:04,555
- He never worked in this town again.
- We'd never throw this guy on a show.
842
01:07:04,760 --> 01:07:07,797
If you said this in a production meeting
on the TV series,
843
01:07:08,000 --> 01:07:12,073
they'd say, "He'll bounce on
the captain's chair." And it doesn't turn.
844
01:07:12,280 --> 01:07:15,590
You can't destroy...
can't touch the captain's chair.
845
01:07:15,800 --> 01:07:18,234
On the show...
846
01:07:19,320 --> 01:07:23,199
...if we wanted to have someone throw
food at someone, it had to be dry food.
847
01:07:23,400 --> 01:07:26,995
- You couldn't soil the uniforms.
- Or get anything wet on them.
848
01:07:27,200 --> 01:07:32,877
Or spill coffee on the floors,
'cause you'd have to re-carpet.
849
01:07:33,880 --> 01:07:36,997
- Great stuff.
- This is pretty cool.
850
01:07:37,200 --> 01:07:42,320
- That shot's actually from an earlier film.
- Yeah, that's a stolen shot.
851
01:07:42,520 --> 01:07:47,071
The budget for these films wasn't huge.
I can't remember what it was on this one.
852
01:07:47,280 --> 01:07:49,999
- Here's the guy.
- There he is in the background!
853
01:07:50,200 --> 01:07:51,519
He just does it!
854
01:07:53,840 --> 01:07:55,796
What are you thinking?
855
01:07:56,800 --> 01:08:01,669
What was the budget for this?
Do you recall? In the 48 range?
856
01:08:01,880 --> 01:08:06,192
I think it was more like 60 to 65,
but don't quote me on that.
857
01:08:06,400 --> 01:08:12,748
I don't know exactly what it was,
but in terms of big, sci-fi, action films,
858
01:08:12,960 --> 01:08:17,192
it was not... it was a little
on the mid-range side.
859
01:08:17,400 --> 01:08:20,153
That was a surprise.
860
01:08:20,360 --> 01:08:23,750
We had to cut on this
and on First Contact.
861
01:08:23,960 --> 01:08:27,430
We had to have meetings just
to take out opticals,
862
01:08:27,640 --> 01:08:32,236
and it was painful to try to figure out
where we were going to trim back.
863
01:08:32,440 --> 01:08:35,796
On the TV show you'd get
to production meetings,
864
01:08:36,000 --> 01:08:38,753
you'd have a phaser fight between people
865
01:08:38,960 --> 01:08:42,839
and there'd be a process of saying,
"OK, this show's over pattern.
866
01:08:43,040 --> 01:08:47,750
"We need to make cuts. The optical
budget is this. Cut some phaser shots."
867
01:08:47,960 --> 01:08:49,598
You'd count shots.
868
01:08:49,800 --> 01:08:55,113
You'd count the shots Picard could shoot
and how many the bad guy could return.
869
01:08:55,320 --> 01:08:58,312
You'd trade. "One less shot from Picard."
870
01:08:58,520 --> 01:09:02,149
You'd do the features
and think that nonsense is over.
871
01:09:02,360 --> 01:09:08,390
No, you have to do it, and now every
phaser shot costs ten times as much.
872
01:09:08,600 --> 01:09:11,114
It's the same problems, just writ large.
873
01:09:11,320 --> 01:09:17,839
I remember the agony of figuring out
how Picard would cross the forcefield.
874
01:09:18,040 --> 01:09:19,598
I know.
875
01:09:19,800 --> 01:09:24,271
Didn't we end up with, after weeks
of work, a little break in the rocks?
876
01:09:24,480 --> 01:09:27,597
There's some rocks
and he notices a hole.
877
01:09:27,800 --> 01:09:31,349
This was a spectacular sequence to see
in the movie theatre.
878
01:09:31,560 --> 01:09:35,678
Sorry to interrupt,
but LeVar wanted this so bad.
879
01:09:35,880 --> 01:09:41,876
The door's coming down and LeVar
waits. He waits... Oh, and just me!
880
01:09:47,120 --> 01:09:49,680
And a cool roll. This was great.
881
01:09:49,880 --> 01:09:55,591
We always talked about
saucer separation.
882
01:09:55,800 --> 01:10:02,148
I'm glad we always saved it for special
occasions. Almost never done on TV.
883
01:10:02,360 --> 01:10:08,356
A very special moment, to separate
the saucer from the warp drive.
884
01:10:08,560 --> 01:10:12,155
This is when you go,
"Oh, there are kids on the Enterprise."
885
01:10:12,360 --> 01:10:16,911
It was always a bizarre concept and
we always struggled with it in the series.
886
01:10:17,120 --> 01:10:20,715
- This ship carries families.
- And they take on the Borg!
887
01:10:20,920 --> 01:10:23,639
Does Picard have to worry about them?
888
01:10:23,840 --> 01:10:27,435
It would come up on the show
and a character would say,
889
01:10:27,640 --> 01:10:29,710
"Our families are our strength."
890
01:10:29,920 --> 01:10:33,469
Never quite knew what that meant,
but we said it a lot.
891
01:10:33,680 --> 01:10:38,708
So is it strong to go fight the Borg
and potentially kill all these kids?
892
01:10:38,920 --> 01:10:42,799
That teddy bear is sentient.
Most people don't know.
893
01:10:43,000 --> 01:10:46,231
It gave us story material
when we used the kids.
894
01:10:46,440 --> 01:10:51,275
- It was a nice concept that it was a city.
- It brought home that's it's a community.
895
01:10:51,480 --> 01:10:57,749
That space travel had reached that point
was a great Roddenberry idea.
896
01:10:59,320 --> 01:11:02,153
- Ye olde graphics.
- Yeah.
897
01:11:02,360 --> 01:11:05,352
Lots of discussion on what that would be.
898
01:11:05,560 --> 01:11:11,237
You shouldn't rely on graphics too much
on Star Trek, which we've done before.
899
01:11:12,240 --> 01:11:15,710
"Is that guy going to get through
the forcefield?
900
01:11:15,920 --> 01:11:19,913
"No, he's not.
I'm going to go climb my ladder."
901
01:11:25,120 --> 01:11:28,749
Soran does a lot of ladder climbing
in this movie.
902
01:11:28,960 --> 01:11:32,032
Good exercise.
It's basically incline cardio.
903
01:11:32,240 --> 01:11:36,028
- So he's a fit villain.
- He's a very fit villain.
904
01:11:37,640 --> 01:11:41,030
This was a great sequence
to behold in the theatre.
905
01:11:42,800 --> 01:11:45,109
Big rumbling stuff.
906
01:11:46,800 --> 01:11:51,749
It's a moment where they'll applaud
when it's over because it was so exciting.
907
01:11:51,960 --> 01:11:56,476
Like you said, I don't know that
it was done, except in the first season.
908
01:11:56,680 --> 01:11:59,240
- Yeah, that was the only time.
- I think so.
909
01:11:59,440 --> 01:12:02,591
It was, yeah. You're absolutely right.
910
01:12:02,800 --> 01:12:09,148
No, no, there was a two-part episode
where Data took the battle bridge
911
01:12:09,360 --> 01:12:12,432
for some reason,
so it's only one other time.
912
01:12:12,640 --> 01:12:16,997
- And the shock wave. That's "hard rock".
- That's the biggest...
913
01:12:17,200 --> 01:12:20,351
That's the biggest one we ever did.
914
01:12:20,560 --> 01:12:22,676
And then back again.
915
01:12:22,880 --> 01:12:27,829
The long-standing joke I'm sure
everyone can appreciate is,
916
01:12:28,040 --> 01:12:30,110
why no seat belts?
917
01:12:30,320 --> 01:12:35,189
Seat-belt technology fell on hard times,
like the 22nd century.
918
01:12:35,400 --> 01:12:37,994
The "Oh, shit!" is a great laugh line
919
01:12:38,200 --> 01:12:42,193
and some people were shocked
that we'd do such a thing.
920
01:12:42,400 --> 01:12:46,791
The first... profanity
ever said on Star Trek.
921
01:12:48,720 --> 01:12:52,633
I never liked the image of him
wiggling through the rocks.
922
01:12:52,840 --> 01:12:58,039
And look at the rocks themselves.
They're so obviously stacked there.
923
01:12:58,240 --> 01:13:00,231
That was cool.
924
01:13:11,960 --> 01:13:17,193
We're here. This is the cool sequence
in the film, a good roller-coaster ride.
925
01:13:18,320 --> 01:13:20,880
There's Troi. "Hey, I'm steering!"
926
01:13:24,560 --> 01:13:29,873
- I'm not sure where they're taking them.
- Where is it safest? By the windows?
927
01:13:30,080 --> 01:13:34,073
- "Down on these beds! This'll be safe!"
- "Yeah, you'll be fine over here!"
928
01:13:34,280 --> 01:13:38,398
Not that the beds have seat belts either.
This is all model, a big model.
929
01:13:38,600 --> 01:13:40,113
Big...
930
01:13:40,320 --> 01:13:42,629
Yeah, it's all model.
931
01:13:42,840 --> 01:13:47,197
This entire notion
of the saucer separating
932
01:13:47,400 --> 01:13:50,153
and crash-landing on the planet's surface
933
01:13:50,360 --> 01:13:54,035
was inspired by something Mike Okuda,
who was an art director,
934
01:13:54,240 --> 01:14:00,190
drew and wrote about in the Star Trek
Technical Manual he put out.
935
01:14:00,400 --> 01:14:05,679
We were leafing through that publication
because we used it for the show,
936
01:14:05,880 --> 01:14:11,750
and he had this notion that the saucer
could separate and also land on a planet.
937
01:14:11,960 --> 01:14:14,235
We were fascinated by that.
938
01:14:14,440 --> 01:14:20,231
There was an episode we proposed
for the sixth-season cliffhanger.
939
01:14:20,440 --> 01:14:24,797
It was going to be called All Good Things
and the plot was going to be
940
01:14:25,000 --> 01:14:29,551
Starfleet recalls the Enterprise home
to turn it into a museum ship.
941
01:14:29,760 --> 01:14:35,198
It's past its prime, the crew
will be broken up, Picard reassigned.
942
01:14:35,400 --> 01:14:39,029
The journey's over and
the Enterprise is going home.
943
01:14:39,240 --> 01:14:44,633
On the way home something happened.
I can't remember the plot.
944
01:14:44,840 --> 01:14:49,868
The ship is attacked, the saucer
separated and the battle section lost.
945
01:14:50,080 --> 01:14:55,200
The saucer crash-landed on some alien
planet and that was the cliffhanger.
946
01:14:55,400 --> 01:15:00,793
I don't even know if we had a second
part, but that was the cliffhanger.
947
01:15:02,280 --> 01:15:05,192
It was the destruction
of the Enterprise-D.
948
01:15:05,400 --> 01:15:09,996
It was rejected, but we held on
to the saucer separation and the crash
949
01:15:10,200 --> 01:15:14,876
and used it in the movie and it was
the title for the final episode of Next Gen.
950
01:15:19,240 --> 01:15:24,109
I like those shots the best, the ones
straight on at the tip of the saucer.
951
01:15:24,320 --> 01:15:29,030
You rarely get to see that level of detail
as the ship's usually seen in wide angle.
952
01:15:33,160 --> 01:15:37,995
That's supposed to be the wreckage
of the view screen.
953
01:15:38,200 --> 01:15:44,594
That's hard to convey. There was this
question of what it looks like turned off.
954
01:15:44,800 --> 01:15:48,998
- That was always a question.
- You never turn it off in the show.
955
01:15:49,200 --> 01:15:53,751
If it's just a movie screen that would be
disappointing. What would it be?
956
01:15:53,960 --> 01:15:59,159
We just crashed into it and smashed it,
and it became wreckage.
957
01:15:59,360 --> 01:16:05,071
This is the death of the Enterprise.
A lot of... death imagery in this.
958
01:16:05,280 --> 01:16:09,637
I liked this. Riker can see the sky
through the top of the bridge.
959
01:16:10,680 --> 01:16:12,910
This is a pretty cool shot.
960
01:16:13,120 --> 01:16:16,112
Is this the combo CGl-model shot?
961
01:16:16,320 --> 01:16:21,110
I'm not the guy to ask,
but I believe this is CG.
962
01:16:27,200 --> 01:16:31,113
- And here comes the Nexus.
- Here comes the Nexus.
963
01:16:31,320 --> 01:16:34,471
This is where the difficulties really begin.
964
01:16:39,480 --> 01:16:43,155
I'm just being candid and it's been
a number of years, so I feel I can.
965
01:16:43,360 --> 01:16:49,549
We didn't really exploit the two captains.
It's cool that they work together.
966
01:16:49,760 --> 01:16:54,117
It's a great idea that Kirk dies in the film
967
01:16:54,320 --> 01:16:57,710
in Picard's arms,
but they're never in conflict.
968
01:16:57,920 --> 01:17:03,074
There's conflict in Kirk not wanting to
leave the Nexus and nice sentiments.
969
01:17:03,280 --> 01:17:07,796
There is some nice stuff, but I always
thought that these two guys
970
01:17:08,000 --> 01:17:12,790
needed to be on their bridges fighting
each other and then working together.
971
01:17:13,000 --> 01:17:18,836
Although Kirk dies on a bridge, it should
have been the bridge of his ship.
972
01:17:19,040 --> 01:17:23,272
- I tend to agree.
- Those were things that I just...
973
01:17:24,800 --> 01:17:27,439
I'm not blaming anyone but myself.
974
01:17:27,640 --> 01:17:32,236
I think at the time we were so concerned
about not doing what was expected.
975
01:17:32,440 --> 01:17:38,959
It's expected that he'll die on the bridge of
his ship, save the day and die heroically.
976
01:17:39,160 --> 01:17:45,349
We were so concerned not to do that
and went to something not as satisfying.
977
01:17:45,560 --> 01:17:49,189
Again, the constraints of two generations
978
01:17:49,400 --> 01:17:51,960
and just all the stuff.
979
01:17:55,720 --> 01:17:57,915
This was done day for night.
980
01:17:58,120 --> 01:18:03,831
They just narrowed down the shutter.
Good old technique, filmic technique.
981
01:18:04,040 --> 01:18:07,635
There's that really cool ribbon.
982
01:18:10,680 --> 01:18:14,229
That's really nice.
I like that effect a lot.
983
01:18:14,440 --> 01:18:18,228
When you talk about
something that is heaven-like
984
01:18:18,440 --> 01:18:24,629
and something that Soran wants
to get back to that's so unbelievable,
985
01:18:24,840 --> 01:18:27,593
it's best left to the imagination.
986
01:18:27,800 --> 01:18:33,909
You get there and it's clever that it's
shown by memories you wanted to be in,
987
01:18:34,120 --> 01:18:36,509
but... I don't know.
988
01:18:36,720 --> 01:18:40,793
- It just becomes a fantasy.
- I love this planet blowing up.
989
01:18:41,000 --> 01:18:43,036
This is pretty cool.
990
01:18:43,240 --> 01:18:45,549
That's pretty brutal.
991
01:18:46,840 --> 01:18:50,674
They reset time again.
There's a bit of time travel here where...
992
01:18:50,880 --> 01:18:52,836
Where we go back.
993
01:18:53,040 --> 01:18:58,398
We did many, many, many versions
of the Nexus and what it is for Picard.
994
01:18:58,600 --> 01:19:04,835
There was a version where
Picard ended up in his father's...
995
01:19:05,040 --> 01:19:07,679
He's from a family of vintners in France,
996
01:19:07,880 --> 01:19:11,919
and there was a version
where he ended up in the wine cellar
997
01:19:12,120 --> 01:19:16,591
where he used to play as a boy,
and his brother was there.
998
01:19:16,800 --> 01:19:20,076
It was like reliving
a moment from his youth.
999
01:19:20,280 --> 01:19:25,400
We tied it into family
and the whole nephew thing.
1000
01:19:25,600 --> 01:19:30,435
It might have been at a meeting with
Patrick that we came up with Christmas.
1001
01:19:30,640 --> 01:19:35,111
- Yeah, I think you're right.
- Maybe it was even Patrick's idea.
1002
01:19:35,320 --> 01:19:40,235
I don't know if it came out of his doing
A Christmas Carol on stage, or what.
1003
01:19:40,440 --> 01:19:43,830
He was not happy with the Nexus.
1004
01:19:44,040 --> 01:19:47,669
Neither were we.
We were groping for what it would be.
1005
01:19:49,120 --> 01:19:56,071
Although something bugs me
about this little perfect scene,
1006
01:19:56,280 --> 01:20:00,592
and it's a little cloying, this perfect family
and perfect little Christmas,
1007
01:20:00,800 --> 01:20:04,110
it is, for the character of Picard,
really appropriate.
1008
01:20:04,320 --> 01:20:07,949
Fans of the series know
that he never had the family.
1009
01:20:08,160 --> 01:20:10,628
It's true, absolutely.
1010
01:20:10,840 --> 01:20:14,628
You believe it's his notion
of an idealised Christmas
1011
01:20:14,840 --> 01:20:18,674
with the wife he never had
and the children he never had.
1012
01:20:19,760 --> 01:20:26,313
Another problem with the Nexus is that
it's difficult to watch your captains...
1013
01:20:27,720 --> 01:20:31,110
...that are usually one step ahead of you
as the heroes,
1014
01:20:31,320 --> 01:20:34,039
to be one step behind you as a viewer,
1015
01:20:34,240 --> 01:20:38,028
and you're thinking,
"Hey, this isn't real! Snap out of it!"
1016
01:20:38,240 --> 01:20:43,439
I think on a subliminal level
you grow impatient with them.
1017
01:20:43,640 --> 01:20:46,473
- Do you know what I'm saying?
- Yeah.
1018
01:20:48,000 --> 01:20:50,639
It was interesting that when it came up,
1019
01:20:50,840 --> 01:20:55,072
there was debate on whether
there's Christmas in the 24th century,
1020
01:20:55,280 --> 01:21:00,308
because Gene's vision of the future
was a very secular, humanist one.
1021
01:21:00,520 --> 01:21:05,753
Religion, in Gene's viewpoint, was
something man had long since let go of,
1022
01:21:05,960 --> 01:21:09,555
so do they really celebrate Christmas?
1023
01:21:09,760 --> 01:21:14,197
There was maybe one reference
to Christmas in the original series,
1024
01:21:14,400 --> 01:21:19,235
but Next Generation went out of its way
never to mention these holidays.
1025
01:21:19,440 --> 01:21:20,714
It's true.
1026
01:21:21,760 --> 01:21:26,754
But it's the Nexus, so...
there is Christmas in the Nexus,
1027
01:21:26,960 --> 01:21:29,997
they still celebrate all that stuff.
1028
01:21:30,200 --> 01:21:34,910
I forgot about this. This was a really neat
little effect, almost like the star exploding.
1029
01:21:35,120 --> 01:21:40,069
- Picard trying to remind himself of...
- I don't know that that came across.
1030
01:21:40,280 --> 01:21:42,919
I don't know if anybody but us got that.
1031
01:21:43,120 --> 01:21:47,079
For the record, that's what it was,
not just a pretty ornament.
1032
01:21:47,280 --> 01:21:49,191
To remind you of...
1033
01:21:49,400 --> 01:21:53,029
It was like a harbinger.
It was, "Oh, there's death."
1034
01:21:53,240 --> 01:21:56,198
But it just looks like a pretty ornament.
1035
01:21:56,400 --> 01:22:01,315
That's... something that we worked out
in a novel where you could explain it.
1036
01:22:01,520 --> 01:22:07,311
Now, a lot of this house
is an actual house in Pasadena.
1037
01:22:07,520 --> 01:22:11,308
They shot this on location, this house.
A beautiful home.
1038
01:22:11,520 --> 01:22:14,318
This was also the subject of a reshoot.
1039
01:22:14,520 --> 01:22:19,230
We went back and reshot sections of
Picard's Christmas Nexus experience.
1040
01:22:19,440 --> 01:22:24,355
- Why did we do that?
- I don't recall. I'd have to look back at it.
1041
01:22:24,560 --> 01:22:29,270
- I'm not sure what the difference is.
- Could be performance. Maybe the kids.
1042
01:22:29,480 --> 01:22:33,871
Maybe there were some problems there.
I don't think it was a scripting issue.
1043
01:22:34,080 --> 01:22:36,514
Yeah, it was about the shoot.
1044
01:22:36,720 --> 01:22:41,953
That painting behind is a nautical
representation of an ancestor of Picard's.
1045
01:22:42,160 --> 01:22:48,508
If you saw it closely, you'd see Picard's
face painted onto an existing portrait.
1046
01:22:48,720 --> 01:22:54,272
This was a real pain to justify
what Guinan's doing there,
1047
01:22:54,480 --> 01:22:59,873
because Guinan's on Enterprise,
so there's some part of her...
1048
01:23:00,080 --> 01:23:05,200
An echo. "I'm an echo," I think she says,
"of the Guinan that you know."
1049
01:23:05,400 --> 01:23:11,873
At the end of the movie fans rightly
started saying, "Is there an echo of Kirk?
1050
01:23:12,080 --> 01:23:17,552
"Is there an echo of Picard?"
We never had a good answer for that!
1051
01:23:17,760 --> 01:23:22,595
It was all very confusing
how this Nexus worked.
1052
01:23:24,360 --> 01:23:27,875
This I just thought was nauseating.
1053
01:23:28,080 --> 01:23:30,594
Yeah, it's too treacly.
1054
01:23:30,800 --> 01:23:33,439
In a way, what we should have done is...
1055
01:23:33,640 --> 01:23:37,428
Picard's fantasy should have been
the Roman orgy.
1056
01:23:37,640 --> 01:23:40,837
It should have been so dark and weird.
1057
01:23:41,040 --> 01:23:46,160
More like, "Whoa! That's what
he really wishes he was doing?"
1058
01:23:49,200 --> 01:23:53,352
- Isn't she David Carson's wife?
- That's the director's wife.
1059
01:23:53,560 --> 01:23:57,030
- And I believe his kids are in it.
- That's his son.
1060
01:24:01,360 --> 01:24:05,319
Any time you have five kids
all saying "Yeay!", you're in trouble.
1061
01:24:05,520 --> 01:24:07,397
"Yeay!"
1062
01:24:09,360 --> 01:24:12,511
Picard goes off
to have a very special relationship with...
1063
01:24:16,560 --> 01:24:20,314
Very well dressed
at the Picard household.
1064
01:24:24,520 --> 01:24:29,753
Again, well performed,
nice music, beautifully lit,
1065
01:24:29,960 --> 01:24:32,076
but not...
1066
01:24:32,280 --> 01:24:36,671
- Something always bugged me about it.
- It doesn't really touch you.
1067
01:24:36,880 --> 01:24:41,670
- It touches you in concept.
- In concept it's perfect for the captain.
1068
01:24:41,880 --> 01:24:45,475
It's a sweet Christmas,
the family he never had, emotional,
1069
01:24:45,680 --> 01:24:51,915
it's the life that could have been that
wasn't, but you don't connect with it.
1070
01:24:52,120 --> 01:24:58,195
I hated it. I cringed every time I saw
Guinan sitting on that carousel.
1071
01:24:58,400 --> 01:25:00,277
This is just...
1072
01:25:02,160 --> 01:25:06,233
The thing about time travel is,
it better be iron clad.
1073
01:25:06,440 --> 01:25:10,877
If you're going to travel back in time,
although it's all fantasy,
1074
01:25:11,080 --> 01:25:14,470
we normally apply
a little scientific flair to it.
1075
01:25:14,680 --> 01:25:18,832
There are reasons things
are being done. This is pure fantasy.
1076
01:25:19,040 --> 01:25:21,554
Think it and you'll go there.
1077
01:25:22,640 --> 01:25:25,837
That's just not good enough.
It wasn't...
1078
01:25:26,040 --> 01:25:29,510
I don't know if people
really thought about it.
1079
01:25:29,720 --> 01:25:34,271
I don't know. And here he is!
He can just go anywhere he wants.
1080
01:25:34,480 --> 01:25:37,358
That's not a satisfying way
to save the universe.
1081
01:25:37,560 --> 01:25:42,509
It's not. We wrote ourselves into a corner
because he's just swept into the Nexus.
1082
01:25:42,720 --> 01:25:45,473
- He has no equipment.
- No way out except think it.
1083
01:25:45,680 --> 01:25:48,399
Except to think, "I'll just get out now."
1084
01:25:48,600 --> 01:25:53,196
Of course,
the age-old paradox is,
1085
01:25:53,400 --> 01:25:58,679
when you do leave with Kirk,
why don't you go back...?
1086
01:25:58,880 --> 01:26:02,350
Why go back to when the world ends?
Go back two months.
1087
01:26:02,560 --> 01:26:05,996
- Go back a while. Take your time.
- Go back a couple of years.
1088
01:26:06,200 --> 01:26:10,193
Get Soran when he's in the bathroom
somewhere and handcuff him.
1089
01:26:10,400 --> 01:26:15,394
- And there is no answer for that.
- It's true of the Terminator films.
1090
01:26:15,600 --> 01:26:19,991
You know, the Terminator
could go back at any time.
1091
01:26:20,200 --> 01:26:24,273
Why not send another Terminator?
You don't ask these questions.
1092
01:26:24,480 --> 01:26:26,755
Or hope you don't ask them.
1093
01:26:26,960 --> 01:26:29,997
You hope that the movie is so engaging
1094
01:26:30,200 --> 01:26:33,476
that you don't stop and go,
"Wait a minute..."
1095
01:26:33,680 --> 01:26:36,877
This is the infamous breakfast scene,
1096
01:26:37,080 --> 01:26:40,231
which again came out of our desire
1097
01:26:40,440 --> 01:26:44,797
to have the two captains
do something different and unexpected.
1098
01:26:45,000 --> 01:26:50,393
- That's where it came from, but then...
- The only things missing are aprons.
1099
01:26:50,600 --> 01:26:53,433
If only Martha Stewart
had been as popular then!
1100
01:26:53,640 --> 01:26:57,428
Martha could have made
a cameo in this scene.
1101
01:27:00,560 --> 01:27:06,476
- Shatner gives a lovely performance.
- Yeah, he's definitely selling this.
1102
01:27:06,680 --> 01:27:09,911
This is the first time
that the captains meet.
1103
01:27:10,120 --> 01:27:14,955
The audience saw the poster.
They've been waiting for this.
1104
01:27:15,160 --> 01:27:17,515
I don't think they expected...
1105
01:27:17,720 --> 01:27:23,431
I think they wanted something more high
octane than hanging around a house.
1106
01:27:24,800 --> 01:27:29,351
Butler, his dog. In the script it was Jake,
as my dog Jake had recently died.
1107
01:27:29,560 --> 01:27:35,192
Bill's dog had recently died, named
Butler, so he renamed it on the set.
1108
01:28:31,760 --> 01:28:36,197
I remember some complaints
in fan letters...
1109
01:28:37,760 --> 01:28:44,279
...about why Picard saw that it wasn't
real in 2 minutes and Kirk took 80 years.
1110
01:28:44,480 --> 01:28:47,438
- Yeah.
- I always thought it was a good point.
1111
01:28:47,640 --> 01:28:53,829
It was also always a little unclear.
Kirk enters the Nexus 80 years ago.
1112
01:28:54,040 --> 01:28:58,795
From his perspective, has he just arrived
or has he chopped logs for 80 years?
1113
01:28:59,000 --> 01:29:01,036
There's no time in the Nexus.
1114
01:29:01,240 --> 01:29:05,392
- It has no meaning, so it's a bit...
- We should have better defined it.
1115
01:29:05,600 --> 01:29:10,674
It was a better concept
than we executed, I think.
1116
01:29:13,400 --> 01:29:15,277
Well...
1117
01:29:17,320 --> 01:29:20,118
Yeah, this is just painful.
1118
01:29:23,040 --> 01:29:28,114
Again, I think you're right. We thought
it would be charming and offbeat.
1119
01:29:28,320 --> 01:29:32,711
"Let's do something totally different:
the two captains cooking."
1120
01:29:32,920 --> 01:29:37,038
I think we were really intrigued
with just trying to do something off.
1121
01:29:38,080 --> 01:29:40,036
They worked well together.
1122
01:29:40,240 --> 01:29:45,951
Everybody going into this picture,
the fans, the press and even us,
1123
01:29:46,160 --> 01:29:52,315
had this idea that when you do this film,
look out for Shatner and Stewart.
1124
01:29:52,520 --> 01:29:56,638
That's going to be a thing! It's going to be
the two giant egos and they won't talk.
1125
01:29:56,840 --> 01:30:01,038
They got along wonderfully. They really
enjoyed each other on the set.
1126
01:30:01,240 --> 01:30:05,518
They sparked well in their scenes
with no clashes of egos
1127
01:30:05,720 --> 01:30:09,633
or "star pulls" by either one of these two.
1128
01:30:09,840 --> 01:30:15,472
They were professionals. They worked
well, helped each other and were lovely.
1129
01:30:22,960 --> 01:30:25,758
I did like the idea that Kirk would think,
1130
01:30:25,960 --> 01:30:30,476
"The galaxy owes me one.
I've saved the galaxy a lot of times."
1131
01:30:30,680 --> 01:30:35,800
It was great and there was something
interesting about him being a mentor
1132
01:30:36,000 --> 01:30:40,755
when he gives Picard some interesting
advice in the next couple of scenes.
1133
01:30:42,200 --> 01:30:46,318
Yeah, that the two men are facing
similar things in their lives,
1134
01:30:46,520 --> 01:30:51,514
that they both walked away from family
and home for a career in the stars.
1135
01:30:51,720 --> 01:30:56,271
They're both worried about the same
thing, that it's all going to become empty,
1136
01:30:56,480 --> 01:31:02,032
that they'll go home to empty homes
and lives when the adventure is over.
1137
01:31:02,240 --> 01:31:07,598
That I thought was intriguing, that it
frightened both of them on some level.
1138
01:31:08,640 --> 01:31:12,110
This is presumptuous of Picard.
Antonia could be naked.
1139
01:31:12,320 --> 01:31:16,313
What's he doing?
He doesn't even knock. He just goes in.
1140
01:31:21,360 --> 01:31:26,070
The introduction of the horses into
the movie, correct me if I'm wrong,
1141
01:31:26,280 --> 01:31:29,829
it was a flat-out appeal
to Bill to do the movie.
1142
01:31:30,040 --> 01:31:33,032
We knew Bill had horses
and loved horses.
1143
01:31:33,240 --> 01:31:38,360
We said, "We've got to put horses
in this film. Then he'll do it!"
1144
01:31:38,560 --> 01:31:40,516
Yeah, you're right.
1145
01:31:40,720 --> 01:31:42,756
He was wise to that
1146
01:31:42,960 --> 01:31:48,671
and signalled in the script meeting that
he knew that's why we were doing it.
1147
01:31:48,880 --> 01:31:51,553
He got back at us. These are his horses.
1148
01:31:51,760 --> 01:31:57,710
He didn't loan them! He rented
the horses to the production company!
1149
01:32:01,600 --> 01:32:08,278
Again, a great image to have these
two futuristic captains on horseback.
1150
01:32:08,480 --> 01:32:12,553
None of it's real.
They might as well be on a holodeck.
1151
01:32:12,760 --> 01:32:17,515
- Yeah.
- It's just not really an action sequence.
1152
01:32:17,720 --> 01:32:22,475
It's an uncomfortable place to put them.
One doesn't want to save the day.
1153
01:32:22,680 --> 01:32:27,117
The other one is forced into the position
of begging him to save the day.
1154
01:32:27,320 --> 01:32:32,872
It's an awkward dynamic
to have Picard chasing after Kirk.
1155
01:32:34,680 --> 01:32:39,276
But there's stuff I like coming up,
when they stop and they talk.
1156
01:32:39,480 --> 01:32:41,994
It's some good captainly sentiment.
1157
01:32:42,200 --> 01:32:46,796
I think also the two actors,
in a very real way,
1158
01:32:47,000 --> 01:32:52,393
the actors are better than the material
and take you through this section.
1159
01:32:52,600 --> 01:32:57,549
You really invest in the two captains
because of the performances.
1160
01:32:57,760 --> 01:33:02,550
This whole section works
because of these two actors.
1161
01:33:05,600 --> 01:33:09,388
I recall that this whole business
about "making a difference",
1162
01:33:09,600 --> 01:33:11,909
some of this came from Shatner.
1163
01:33:12,120 --> 01:33:16,238
He had some nice insights
into what Kirk would say.
1164
01:33:16,440 --> 01:33:21,036
- And who would know better?
- He really understands the character.
1165
01:33:21,240 --> 01:33:25,153
I think Shatner over the years
has got a bad rap.
1166
01:33:25,360 --> 01:33:30,195
People have dismissed him as an actor
or they make fun of him as an actor.
1167
01:33:30,400 --> 01:33:36,509
He has a goofy personality sometimes,
deliberately so in the Priceline ads.
1168
01:33:36,720 --> 01:33:43,114
He's very smart and really understands
Kirk, and why he's a hero to so many.
1169
01:33:43,320 --> 01:33:46,153
He understands what makes him tick.
1170
01:33:53,560 --> 01:33:58,395
This whole little speech that's coming up
here as he walks the horse around,
1171
01:33:58,600 --> 01:34:03,037
is all ADR added later, 'cause we rewrote
this section after it was completed.
1172
01:34:03,240 --> 01:34:08,712
Everyone was dissatisfied with
what he said. I can't recall the draft.
1173
01:34:08,920 --> 01:34:12,959
This business about the empty chair
on the bridge and making a difference
1174
01:34:13,160 --> 01:34:15,469
was done in post-production.
1175
01:34:15,680 --> 01:34:18,672
Any time his back was turned
we changed stuff.
1176
01:34:18,880 --> 01:34:20,757
Yeah.
1177
01:34:26,920 --> 01:34:33,553
The stuff about making a difference
is very nice, but how does it fit in?
1178
01:34:33,760 --> 01:34:37,355
- It doesn't.
- It doesn't stick with other themes.
1179
01:34:37,560 --> 01:34:40,996
It's too many notions
and many different directions.
1180
01:34:41,200 --> 01:34:46,149
Making a difference isn't dealing with
the mortality thing, of accepting that.
1181
01:34:46,360 --> 01:34:48,237
It kind of does.
1182
01:34:48,440 --> 01:34:52,558
Like, "You're here for a short time,
so make a difference."
1183
01:34:54,760 --> 01:34:59,834
I think this being our first film,
we were very eager to please,
1184
01:35:00,040 --> 01:35:06,718
we were a little scared, we were...
being pulled in so many directions.
1185
01:35:06,920 --> 01:35:10,435
- It was a major career break for us.
- And a lot of input.
1186
01:35:10,640 --> 01:35:15,270
It was very challenging
to try to pull it all together.
1187
01:35:15,480 --> 01:35:19,598
- I'm not making excuses.
- No, I think it's a fact.
1188
01:35:19,800 --> 01:35:24,157
We were young, green in the feature
world and excited at the possibilities.
1189
01:35:24,360 --> 01:35:29,753
It was big deal. A lot of people would see
this and everybody had an opinion.
1190
01:35:30,760 --> 01:35:34,673
I think also this was, in some ways,
the high watermark of Trek's popularity.
1191
01:35:36,920 --> 01:35:39,878
When this film came out,
it got the cover of Time magazine
1192
01:35:40,080 --> 01:35:42,310
with Shatner and Stewart.
1193
01:35:42,520 --> 01:35:45,398
I remember us saying at the time,
1194
01:35:45,600 --> 01:35:50,469
"This is the peak.
Where do you go from here?"
1195
01:35:50,680 --> 01:35:53,513
Next Gen was at the height,
Voyager was coming out,
1196
01:35:53,720 --> 01:35:56,314
Deep Space Nine was on,
the cover of Time.
1197
01:35:56,520 --> 01:36:00,513
They were talking about the thing
in Vegas at this point.
1198
01:36:00,720 --> 01:36:03,280
- It was...
- The apex.
1199
01:36:04,720 --> 01:36:09,157
Trek never quite captured
the pop-cultural zeitgeist like it did then.
1200
01:36:13,480 --> 01:36:15,630
Now we go back.
1201
01:36:15,840 --> 01:36:22,518
We did a lot of repeating time cycles on
the show like this and many afterwards,
1202
01:36:22,720 --> 01:36:26,759
but this one just...
didn't work quite as well.
1203
01:36:26,960 --> 01:36:30,396
This section all through here becomes...
1204
01:36:30,600 --> 01:36:34,878
Maybe we'll talk about it
during the deleted scene section.
1205
01:36:35,080 --> 01:36:38,789
It was the subject of a vast reshoot
and what happened was,
1206
01:36:39,000 --> 01:36:42,390
we watched it with a test audience
and Sheri Lansing
1207
01:36:42,600 --> 01:36:45,592
and the Paramount executives on the lot,
1208
01:36:45,800 --> 01:36:51,397
a recruited screening where an audience
is brought in to give their reactions.
1209
01:36:51,600 --> 01:36:57,948
We were watching with the test audience
and the audience was really with us.
1210
01:36:58,160 --> 01:37:01,436
They stayed with us.
Laughed at the right parts.
1211
01:37:01,640 --> 01:37:06,668
Gasped at the right parts. Everyone
applauded when the Enterprise crashed.
1212
01:37:06,880 --> 01:37:12,318
It was like we had them. At the Nexus
they quietened, but we hadn't lost them.
1213
01:37:12,520 --> 01:37:16,274
Here, when Kirk dies
in the original version,
1214
01:37:16,480 --> 01:37:19,438
there was utter silence in the audience.
1215
01:37:19,640 --> 01:37:23,076
It wasn't that stunned,
on the edge of your seat silence,
1216
01:37:23,280 --> 01:37:28,274
but we had lost them
and we all knew it.
1217
01:37:28,480 --> 01:37:31,119
The movie ended. Polite applause.
1218
01:37:31,320 --> 01:37:36,394
Brannon and I and Rick
and the executives went to Sheri's office.
1219
01:37:36,600 --> 01:37:41,276
Before she got the test results back,
as they did a quick and dirty test,
1220
01:37:41,480 --> 01:37:46,793
Sheri sat down and said, "You have
a great movie, but a bad ending.
1221
01:37:47,000 --> 01:37:51,755
"So we're giving you some more money.
Go out and reshoot the ending."
1222
01:37:51,960 --> 01:37:55,919
She knew. She was smart enough
and intuitive enough to know instantly.
1223
01:37:56,120 --> 01:38:02,798
The test results came in maybe an hour
later and proved her exactly right.
1224
01:38:03,000 --> 01:38:07,073
She was the captain of that Enterprise
and she knew what to do.
1225
01:38:07,280 --> 01:38:09,271
She said, "You've got to reshoot."
1226
01:38:09,480 --> 01:38:12,438
We left Sheri's office, you, me and Rick.
1227
01:38:12,640 --> 01:38:15,871
Paramount's deserted,
it's the middle of the night,
1228
01:38:16,080 --> 01:38:21,712
and we're walking back to Rick's office
trying to figure out what we'll do,
1229
01:38:21,920 --> 01:38:27,278
how to get a second shot at killing
Kirk that has to be in this same scene
1230
01:38:27,480 --> 01:38:29,232
on the same set.
1231
01:38:29,440 --> 01:38:33,638
We'll rebuild this whole lattice work
and the bridge.
1232
01:38:33,840 --> 01:38:39,597
It has to fit within the movie. It can only
cost whatever they were going to give us.
1233
01:38:39,800 --> 01:38:43,588
It has to be done in the next three weeks.
It was madness.
1234
01:38:43,800 --> 01:38:50,353
To make matters worse, Patrick
had shaved his head for a different role.
1235
01:38:50,560 --> 01:38:56,237
He's wearing a piece. Patrick's hair
in this is a toupee. Bizarre, but it's true.
1236
01:38:56,440 --> 01:39:00,956
If you watch the original ending...
1237
01:39:01,160 --> 01:39:03,435
This is actually very exciting stunt work.
1238
01:39:03,640 --> 01:39:08,270
This was pretty good stunt work.
None of this is CGI. It's real stuff.
1239
01:39:08,480 --> 01:39:13,600
This isn't even models. These are guys
on this cliff, clinging to things collapsing.
1240
01:39:15,320 --> 01:39:18,551
By comparison it is astonishing to me
1241
01:39:18,760 --> 01:39:22,355
that we even ever thought
that original ending would fly.
1242
01:39:22,560 --> 01:39:26,792
Yeah, the original ending was...
In concept it sounded good.
1243
01:39:27,000 --> 01:39:33,678
I think that what happened
in the original ending was that
1244
01:39:33,880 --> 01:39:37,350
Kirk knocks out Soran,
who gets the remote,
1245
01:39:37,560 --> 01:39:40,120
and he helps Picard save the day.
1246
01:39:40,320 --> 01:39:44,677
Soran wakes up. Kirk doesn't see him.
Soran shoots him and he dies.
1247
01:39:44,880 --> 01:39:51,149
What attracted us to that version of
the death of Captain Kirk was the irony.
1248
01:39:51,360 --> 01:39:56,559
Here's a man who's done these amazing
things, saved the day so many times.
1249
01:39:56,760 --> 01:40:00,878
- In the end, he's shot in the back.
- There was a John Wayne film like that.
1250
01:40:01,080 --> 01:40:04,152
John Wayne is shot in the back
at the end of Sands of lwo Jima.
1251
01:40:04,360 --> 01:40:09,070
He goes through World War II and
the invasion of Iwo Jima with his platoon.
1252
01:40:09,280 --> 01:40:14,479
He's up on the hill and they're going,
"We did it." There's this off-camera bang.
1253
01:40:14,680 --> 01:40:17,319
He's just shot in the back. It's powerful.
1254
01:40:17,520 --> 01:40:20,671
That's what we were trying
to do originally.
1255
01:40:20,880 --> 01:40:23,269
- Absolutely didn't work.
- Didn't work.
1256
01:40:23,480 --> 01:40:28,554
So then we... I don't know how
we came up this bridge stuff.
1257
01:40:28,760 --> 01:40:32,878
There were many versions of this.
There was an underground version.
1258
01:40:33,080 --> 01:40:39,428
Soran had an underground chamber
filled with cases of some explosive.
1259
01:40:39,640 --> 01:40:44,589
He was going to blow them all up.
There were variations.
1260
01:40:44,800 --> 01:40:49,635
The multi-forcefield version had Soran
inside one forcefield in a bubble.
1261
01:40:49,840 --> 01:40:53,116
Then there's another bubble
with Picard in it and another with Kirk.
1262
01:40:53,320 --> 01:40:55,959
The forcefields moved and could kill.
1263
01:40:56,160 --> 01:41:02,554
All these elaborate things
kept falling on plausibility, logic,
1264
01:41:02,760 --> 01:41:07,595
and we were having trouble fitting them
back into the existing footage.
1265
01:41:13,720 --> 01:41:17,269
The prevailing opinion is that this was...
1266
01:41:18,520 --> 01:41:21,353
- That's a dummy.
- Yeah, that's a dummy.
1267
01:41:21,560 --> 01:41:25,997
This just wasn't
the most fitting end for Kirk.
1268
01:41:26,200 --> 01:41:32,275
I think that, in my opinion
and it's just my opinion,
1269
01:41:32,480 --> 01:41:35,438
it would've been fine
to have him die that way.
1270
01:41:35,640 --> 01:41:40,873
The physicality of the death was fine,
although he should have been on a ship.
1271
01:41:41,080 --> 01:41:45,517
I think it was the whole Nexus thing.
I think the movie works.
1272
01:41:45,720 --> 01:41:48,792
- It's just the...
- It's the Nexus.
1273
01:41:49,000 --> 01:41:52,709
You go into this section
where you just lose it.
1274
01:41:52,920 --> 01:41:57,596
You start to think about the movie
and start wondering what's going on.
1275
01:41:57,800 --> 01:42:04,273
Instead of being caught up in it, you start
to pull out and never really check back in.
1276
01:42:04,480 --> 01:42:11,079
It's hard to go from Kirk making breakfast
to caring when he falls off the bridge.
1277
01:42:11,280 --> 01:42:16,115
- You're just in a weird head space.
- Now, here a spectacular fireball.
1278
01:42:16,320 --> 01:42:20,074
- In the original Soran just gets shot.
- That's right.
1279
01:42:20,280 --> 01:42:24,273
If you compare the two, this is
much better. There's no comparison.
1280
01:42:24,480 --> 01:42:28,268
It's better shot, it's better produced,
it has more action to it.
1281
01:42:28,480 --> 01:42:32,268
This is a nice shot where
Picard comes out of the smoke.
1282
01:42:32,480 --> 01:42:33,754
I remember...
1283
01:42:33,960 --> 01:42:39,990
...when we wrote
the first draft of the movie...
1284
01:42:42,200 --> 01:42:45,397
...we had taken a month off
and went away.
1285
01:42:45,600 --> 01:42:48,797
- Yeah.
- We were sitting in a hotel room.
1286
01:42:49,000 --> 01:42:53,073
- We were in Hawaii.
- We were writing the death of Kirk.
1287
01:42:53,280 --> 01:42:56,556
The "It was fun" line
was always in the script,
1288
01:42:56,760 --> 01:43:02,312
but it just got moved and changed round
and I remember a touching moment.
1289
01:43:02,520 --> 01:43:04,909
You at the computer, me on the couch.
1290
01:43:05,120 --> 01:43:11,798
We'd talk, as that's what our method
was. One typing and one talking.
1291
01:43:12,000 --> 01:43:17,120
We got to this beat, "It was fun."
And Kirk dies. I was really moved. I cried.
1292
01:43:17,320 --> 01:43:23,429
It was like, God, I've killed a childhood
hero and what are the implications?
1293
01:43:26,680 --> 01:43:32,516
Bill wanted Kirk's final line to be,
"Oh, my." He says, "Oh, my."
1294
01:43:32,720 --> 01:43:37,555
It was because he sees something,
but what is it that Kirk sees?
1295
01:43:37,760 --> 01:43:42,515
- Is he back in the Nexus?
- Is it the next life? He sees something.
1296
01:43:42,720 --> 01:43:45,678
We wanted his last line to be,
"It was fun."
1297
01:43:45,880 --> 01:43:50,158
It was a comment not just
on this adventure, but on Star Trek.
1298
01:43:50,360 --> 01:43:53,158
I didn't like "Oh, my" at all.
1299
01:44:01,440 --> 01:44:04,238
A moment of silence here.
1300
01:44:07,160 --> 01:44:12,359
That's like he went to hell or something.
It's not even a pleasant "Oh, my".
1301
01:44:12,560 --> 01:44:15,711
It's like, "Oh, my, I'm terrified. I'm dying."
1302
01:44:15,920 --> 01:44:19,435
Which I guess is human.
It's a human reaction.
1303
01:44:21,720 --> 01:44:27,875
I don't think... I think about the fans
of Star Trek, the original series,
1304
01:44:28,080 --> 01:44:33,359
and I don't know that there's anything
we could have done to please everybody.
1305
01:44:33,560 --> 01:44:38,634
It's just, as you say,
one of those icons that...
1306
01:44:38,840 --> 01:44:43,118
There's going to be someone
who's pissed that you killed him at all...
1307
01:44:50,080 --> 01:44:53,868
- It's nice that we buried him up here.
- I liked this shot. It's not Patrick.
1308
01:44:54,080 --> 01:44:56,833
No, that's his stand-in.
1309
01:44:57,040 --> 01:45:01,113
"We need somebody to stand on
the mountain as the helicopter circles."
1310
01:45:01,320 --> 01:45:06,394
"Well, I'll be in my trailer." Sorry, Patrick.
You probably didn't say that.
1311
01:45:09,040 --> 01:45:10,951
Other pieces were cut here.
1312
01:45:11,160 --> 01:45:15,551
There was Picard getting into the shuttle
that'll be in the deleted scenes,
1313
01:45:15,760 --> 01:45:21,995
but none of it was really crucial, just
shoe leather that didn't advance the plot.
1314
01:45:22,200 --> 01:45:25,510
I never liked that shot of the shuttle.
It doesn't seem real.
1315
01:45:26,120 --> 01:45:29,635
- Very phoney.
- It's too broad daylight.
1316
01:45:29,840 --> 01:45:32,638
It's broad daylight.
1317
01:45:34,160 --> 01:45:38,915
A lot of nice detail in that. It's hard to see
people walking around on the show.
1318
01:45:43,080 --> 01:45:47,631
Actually, I think people at home
will probably be able to see the detail.
1319
01:45:47,840 --> 01:45:53,198
We're actually watching this
on a two-inch monitor in a tiny room.
1320
01:45:53,400 --> 01:45:55,994
Ron and I are officially snuggling.
1321
01:45:56,200 --> 01:45:59,510
We haven't been this close
in a very long time.
1322
01:46:03,360 --> 01:46:09,390
These cargo containers can be seen
to this very day on Enterprise.
1323
01:46:09,600 --> 01:46:13,354
- They've been in every Star Trek show.
- For ages.
1324
01:46:24,880 --> 01:46:26,836
What could it be?
1325
01:46:27,040 --> 01:46:32,319
It's the cat. Brent hated this!
He was so... Remember this?
1326
01:46:32,520 --> 01:46:36,308
"Does he have to find the cat?
Does it have to be the cat?
1327
01:46:36,520 --> 01:46:39,273
"Can't it be Geordi?"
1328
01:46:39,480 --> 01:46:42,916
I said, "No. Trust us, the cat.
There won't be a dry eye."
1329
01:46:43,120 --> 01:46:47,113
People love the cat. We force him
to cuddle the thing, no less.
1330
01:46:47,320 --> 01:46:49,197
The cat knows he hates him.
1331
01:46:49,400 --> 01:46:54,110
The cat's like, "Get me away from him.
He's choking me."
1332
01:47:09,880 --> 01:47:11,916
- Yeah. Boy!
- Cut!
1333
01:47:12,120 --> 01:47:14,509
- A little music cue.
- Yeah.
1334
01:47:14,720 --> 01:47:19,840
I was there for the shooting of this.
I happened to be around.
1335
01:47:20,040 --> 01:47:25,398
I wasn't around for much of the shooting.
I was getting ready to do Deep Space.
1336
01:47:25,600 --> 01:47:29,991
I walked into the soundstage
to see what they were shooting,
1337
01:47:30,200 --> 01:47:34,318
and they were shooting this sequence
with Riker and Picard
1338
01:47:34,520 --> 01:47:40,277
and the wrecked bridge of the Enterprise,
and them basically saying goodbye to it.
1339
01:47:40,480 --> 01:47:44,109
The entire crew was emotional.
1340
01:47:44,320 --> 01:47:48,199
Everyone behind the camera
had tears in their eyes.
1341
01:47:48,400 --> 01:47:52,359
It was like an impromptu moment of
everyone saying goodbye to the show.
1342
01:47:52,560 --> 01:47:56,394
- It was different on the last episode.
- 'Cause we knew a movie was coming.
1343
01:47:56,600 --> 01:48:00,434
The final day on All Good Things
was the poker scene. We all went down.
1344
01:48:00,640 --> 01:48:04,110
It was applause
and there was a bit of wistfulness,
1345
01:48:04,320 --> 01:48:09,075
but the genuine emotion of letting go
of the series really happened here,
1346
01:48:09,280 --> 01:48:11,919
when they were saying
goodbye to the set,
1347
01:48:12,120 --> 01:48:17,240
the set that they'd been on for seven
years and had launched their careers.
1348
01:48:17,440 --> 01:48:20,398
It had become a phenomenon
and it was gone.
1349
01:48:20,600 --> 01:48:26,311
These two were saying goodbye to it
and everybody in the soundstage was...
1350
01:48:26,520 --> 01:48:31,913
I got caught up in it. I was completely
surprised and I was moved by it.
1351
01:48:32,120 --> 01:48:35,430
They called, "Cut! Print!"
and people collapsed.
1352
01:48:35,640 --> 01:48:39,428
It was really the goodbye
to the entire series.
1353
01:48:45,480 --> 01:48:49,951
I wish that had been the last shot
'cause you traditionally do this.
1354
01:48:50,160 --> 01:48:54,199
You go back up into space in these films.
Who cares about these ships?
1355
01:48:54,400 --> 01:48:59,315
We don't even know who's on these
ships. I wish we'd stayed down there.
1356
01:49:02,600 --> 01:49:05,319
- And that's... the end of the movie.
- That's it.
1357
01:49:05,520 --> 01:49:09,308
- Thanks for listening.
- Thank you for listening.