ILM instead cut the windows using a laser. [42] The crew had multiple difficulties in prepping the miniature for filming; while the model shop originally wanted to save time by casting windows using a clear fiberglass, the material came out tacky. Star Trek: First Contact is a 1996 American science fiction film directed by Jonathan Frakes (in his motion picture directorial debut) and based on the franchise Star Trek. [79] A video game adaptation of the film was also announced by Spectrum HoloByte, and would have taken the form of a real-time strategy game set entirely on the Enterprise during the Borg takeover,[80] though it was never released. Effects company Industrial Light & Magic rushed to complete the film's special effects in less than five months. The wormlike geometry was animated over the actor's face, then blended in with the addition of a skin texture over the animation. Everyone just uncomfortable in their presence. Principal photography began with weeks of location shooting in Arizona and California, before production moved to new sets for the ship-based scenes. Unsere Auswahl an Produkten ist auf unserer Seite zweifelsfrei extrem gigantisch. Each time it was a real pleasure, seeing the Next Generation crew battle the Borg and travel back in time to one of the key events that shaped they world they know and love. In the twenty-fourth century, the crew of the U.S.S. [87] The film was the best-performing Star Trek film in international markets until 2009's Star Trek film,[88] and Paramount's best showing in markets such as New Zealand, making $315,491 from 28 sites by year's end. With Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton. [12] Picardo's fellow Voyager actor Ethan Phillips, who played Neelix, cameos as a nightclub maître d' in the holodeck scene. Star Trek: First Contact Captain Jean-Luc Picard awakens from a nightmare about his Borg assimilation experience to an incoming message from Admiral Hayes. To make the prosthetics appear at the proper angle when her lower body was removed, Krige extended her neck forward so it appeared in line with the spine. Riker's and Picard's roles were swapped, and the planetside story was shortened and told differently. The second draft, titled Star Trek: Resurrection, was judged complete enough that the production team used it to plan expenses. Wählen Sie aus erstklassigen Inhalten zum Thema Star Trek First Contact in … The film was presented in its original 2.35:1 anamorphic aspect ratio, with a surround sound Dolby Digital 5.1 audio mix. When the actors first put the helmets on, the fully enclosed design made it hard to breathe; after a minute of wearing the suit Stewart became ill, and shooting was discontinued. Eaves made sure to emphasize the mechanical aspect of the ship, to suggest it was a highly experimental and untested technology. [62] As reference to the animators, the shot required Krige to realistically portray "the strange pain or satisfaction of being reconnected to her body". Use the HTML below. It was followed by Star Trek: Insurrection in 1998. [8] Zimmerman, Everton and Westmore combined their efforts to design and create the Borgified sections of the Enterprise to build tension and to make the audience feel that "[they are being fed] the Borg". [12] A similar Moby-Dick reference was made in Star Trek II: The Wrath of Khan, and although Braga and Moore did not want to repeat it, they decided it worked so well they could not leave it out. To balance these elements he added more comedic elements to the Earth scenes, intended to momentarily relieve the audience of tension before building it up again. [99], The film's acting met with mixed reception. We were on a circle, which has no geography to it. Enterprise arrives in time to assist the crew of USS Defiant and its captain, the Klingon Worf. The story is fairly simple and goes places that us Trekkies have always enjoyed. A digital version of the Borg body suit was used for the lowering sequence, at which point the image was morphed back to the real shot of Krige's body. [89], First Contact garnered positive reviews on release. Four days were spent in the Titan Missile Museum, south of Tucson, Arizona—the disarmed nuclear missile was fitted with a fiberglass capsule shell to stand in for the Phoenix's booster and command module. [105], Critics reacted favorably to the Borg, describing them as akin to creatures from Hellraiser. [77], First Contact was heavily marketed, to an extent not seen since the release of Star Trek: The Motion Picture in 1979. To give the scene a black-and-white feel, Leonetti made sure to use light without any coloration. [86], First Contact opened in Britain on December 13, 1996 at number two and was the first Star Trek film not to reach number one in that market since The Wrath of Khan. Picard has Cochrane's assistant Lily Sloane sent back to Enterprise for medical attention. The idea of Borg fighting among period costumes coalesced into a "Dixon Hill" holographic novel sequence on the holodeck. “Star Trek: First Contact” is one of the best of the eight “Star Trek” films: Certainly the best in its technical credits, and among the best in the ingenuity of its plot. [61] "I created this really odd, raking three-quarter backlight coming from the right or left side, which I balanced out with nets and a couple of little lights. "And since we figured a lot of the background action in the space battle would need to be done with computer-generated ships that needed to be built from scratch anyway, I realized there was no reason not to do some new designs." The entire transformation was created using computer-generated imagery. Star Trek THE NEXT GENERATION … Format: CD (77 min) Star Trek: 50th Anniversary CollectionLimited Edition of 3,000 Units La-La Land Records. Appearing on his desktop terminal, Starfleet Admiral Hayes relays distressing news that Picard partially guesses from his dream: a Borg cube has attacked a Federati… [49] For its Borg-corrupted state, the engineering section was outfitted with Borg drone alcoves, conduits and Data's "assimilation table" where he is interrogated by the Queen. In the mirror, he is surprised by a Borg Assimilation Unit emerging from his face. [68] When the Borg invade sickbay and the medical hologram distracts them, Joel wrote what critic Jeff Bond termed "almost Coplandesque" material of tuning strings and clarinet, but the cue was unused. [109] First Contact was among the first titles announced for the DVD-alternative rental system Digital Video Express in 1998. EUR 32,79 + Versand . For the final explosion of the Cube, Rosenberg shot ten 30-inch (76 cm) Cube miniatures with explosive-packed lightweight skins. You must be a registered user to use the IMDb rating plugin. [72] Several lines in the film refer to the 21st-century dwellers being primitive, with the people of the 24th century having evolved to a more utopian society. [8] First Contact saw the introduction of cinematographer Matthew F. Leonetti to the Star Trek franchise; Frakes hired him out of admiration for some of his previous work on films such as Poltergeist and Strange Days. [16], In First Contact, the individually inscrutable and faceless Borg fulfil the role of the similarly unreadable whale in Melville's work. [47] The time-travel aspect of the story also required period costumes for the mid 21st century and the 1940s "Dixon Hill" nightclub holodeck recreation. OPENING CREDITS [Picard's quarters] (Picard is having a dream about his memories from end of "Best of Both Worlds, Part I.") These lights were then directed towards the actors' faces at 90-degree angles. [69] Simon & Schuster Interactive developed a Borg-themed video game for Macintosh and Windows personal computers. Enterprise pursues the sphere into a temporal vortex. Star Trek: First Contact is a 1996 American science fiction film directed by Jonathan Frakes (in his motion picture directorial debut) and based on the franchise Star Trek. [43] Working from blueprints created by Paramount's Rick Sternbach, the model shop at effects house Industrial Light & Magic (ILM) fabricated a 10.5-foot (3.2 m) miniature over a five-month period. Games Movies TV Video. [35] Stewart met a potential candidate and concluded that "they didn't know Star Trek". Handheld cameras were used for battle sequences so that viewers were brought into the action and the camera could follow the movements of the actors. [25] Picardo's line "I'm a doctor, not a door stop", is an allusion to the Star Trek original series character Dr. Leonard McCoy. Playmates Toys produced six and nine-inch action figures in addition to ship models and a phaser. In addition to composing new music, Goldsmith used music from his previous Star Trek scores, including his theme from The Motion Picture. After taking a few films off, Jerry Goldsmith returned to score First Contact. Knoll did not want it to seem that the Queen was on a hard, mechanical rig; "we wanted her to have the appropriate 'float'," he explained. [16], Cast member Frakes was chosen to direct. Add new page. During the fight on the deflector dish, Goldsmith used low-register electronics punctuated by stabs of violent, dissonant strings. Their only chance to do away with the Borg and their seductive Queen is to make sure that Zefram Cochrane makes his famous faster-than-light travel to the stars. Safety glass was placed over the lens to prevent damage, while the camera was covered with plywood to protect it from bits of plastic that rained down after each explosion. With the assistance of the Enterprise crew, Admiral Kirk must stop an old nemesis, Khan Noonien Singh, from using the life-generating Genesis Device as the ultimate weapon. [52] Everton was tasked with updating the Borg's costumes to something new, but reminiscent of the television series. [28] One major question was identifying the time period to which the Borg would travel. The first story draft, titled Star Trek: Renaissance, had the crew of the Enterprise track the Borg to their hive in a castle dungeon. Author Joanna Zylinska notes that while other alien species are tolerated by humanity in Star Trek, the Borg are viewed differently because of their cybernetic alterations and the loss of freedom and autonomy. Star Trek: First Contact. [58] The shoot used a ten-piece orchestra, 15 stuntmen, and 120 extras to fill the seats. At the last moment the torpedoes miss, and the Queen realizes Data betrayed her. Smaller effects sequences, such as phaser fire, computer graphics, and transporter effects, were delegated to a team led by visual-effects supervisor David Takemura. Star Trek Tag) am 8. Small 30- and 50-watt lights were used to throw localized shafts of light onto the sets. [51] A one-armed actor portrayed the Borg whose arm Worf slices off to accurately portray the effect intended,[12] and the actors' shoes were fitted with lead weights to remind the actors they were to move slowly as if actually wearing gravity boots. [64][65] A menacing march with touches of synthesizers was used to represent the Borg. The theme uses a four-note motif used in Goldsmith's Star Trek V: The Final Frontier score, which is used in First Contact as a friendship theme and general thematic link. [115] As with other special-edition DVD releases, the disc includes a text track by Michael and Denise Okuda that provides production trivia and relevant facts about the Star Trek universe. Akira class (with Norway and Saber) in "Star Trek: First Contact" Akira class (with Norway and Saber) in "Star Trek: First Contact" Akira class (with Steamrunner and Sovereign) in "Star Trek: First Contact" Akira - 5 views (via Drex Files) Akira - angled (via Drex Files) Akira class - CGI model (Star Trek Fact Files) Akira class - orthographic views (Star Trek Fact Files) Saber Class. The Borg and the special effects were lauded, while characterization was less evenly received. He deactivates the self-destruct and fires torpedoes at Phoenix. [3], A group of Borg invade Enterprise's lower decks and begin to assimilate its crew and modify the ship. The main theme for First Contact is quite beautiful. We had our three heroes [Picard, Worf and Hawk] in space suits, which look identical so you couldn't tell who was who until you got in real close. These rough animated storyboards established length, action and composition, allowing the producers and director to ascertain how the sequences would play out before they were shot. [21] In this draft Picard has a love interest in the local photographer Ruby, while Riker leads the fight against the Borg on the Enterprise. Star Trek: First Contact. Set almost 100 years after Captain Kirk's five-year mission, a new generation of Starfleet officers set off in the U.S.S. What has made this movie all the sweeter is the fact that it comes with an excellent score form Jerry Goldsmith. In addition to the returning DVD extras, new special features for the Blu-ray version of First Contact include "Scene Deconstruction" featurettes and a new commentary by Star Trek (2009) co-producer Damon Lindelof and contributor Anthony Pascale. [55] During normal operation scenes, Leonetti chose to cast crosslighting on the principals; this required the ceiling of the set to be removed and lighting grids to be situated around the sides. [12][38], The spacewalk scene on the Enterprise exterior was one of the most challenging sets to envision and construct for the film. [107] Thompson's assessment mirrored Carr's; he agreed that the film managed to convey much of the original 1960s television show, and contained enough "special effects wonders and interstellar gunplay" to sate all types of viewers. Captain Picard and his crew pursue them to ensure that Zefram Cochrane makes his maiden flight reaching warp speed. First Contact was nominated for the Academy Award for Best Makeup and won three Saturn Awards. "Right on the spot, we said maybe we can do both, the Borg and time travel," Moore recalled. Star Trek: First Contact (1996) cast and crew credits, including actors, actresses, directors, writers and more. As the year comes to a close, we present the top TV shows of 2020, including "Money Heist" and "The Mandalorian. "I like creating separation with lighting as opposed to using color," he explained. Format: CD . [66], Because of delays with Paramount's The Ghost and the Darkness, the already-short four-week production schedule was cut to just three weeks. While Joel composed many of the film's action cues, his father contributed to the spacewalk and Phoenix flight sequences. The entire set for the scene was 100 feet (30 m) wide and 25 feet (7.6 m) high; gaps left by the dolly reveal were filled in later digitally. The surface of the stage proved too uneven to accomplish the smooth dolly pullback required by the effects team, who needed a steady shot to blend a computer-generated version of Picard's eye with the pullback. [43] With the Enterprise-D destroyed during the events of Generations, the task of creating a new starship fell to veteran Star Trek production designer Herman Zimmerman. In the vicinity of the liberated planet of Bajor, the Federation space station Deep Space Nine guards the opening of a stable wormhole to the far side of the galaxy. [39], Frakes had directed multiple episodes of The Next Generation, Deep Space Nine and Voyager, but First Contact was his first feature film. [107] Renzetti credited them with breathing "new life" into the crew of the Enterprise while simultaneously trying to kill them. [116][117] The second disc contains six making-of featurettes, storyboards, and trailers. [44], The miniature Enterprise was again used for the spacewalk sequence. The film would have featured sword fights alongside phasers in 15th-century Europe, while Data became Leonardo da Vinci's apprentice. EAGLEMOSS STAR TREK STARSHIPS FIG MAG 180 BORG CUBE ST FIRST CONTACT PRE-ORDER. [46] Eaves considered the Vulcan ship a "fun" vessel to design. [54] The Borg scenes were received positively by test-screening audiences, so once the rest of the film had been completed, a Borg assimilation scene of the Enterprise crew was added in using some of the money left in the budget to add action. [21] The Borg had not been seen in full force since the fourth-season episode of The Next Generation, "The Best of Both Worlds", and had never been heavily featured in the series due to budget constraints and the fear that they would lose their scare factor. [71], Frakes believes that the main themes of First Contact—and Star Trek as a whole—are loyalty, friendship, honesty, and mutual respect. Interactive lighting was played across the computer-generated Enterprise model for when the ship is caught in the time vortex. Goldsmith wrote a sweeping main title which begins with Alexander Courage's Star Trek fanfare. [83] The film received a royal premiere in the United Kingdom, with the first screening attended by Charles, Prince of Wales. McDonough was cavalier about his role as a disposable "redshirt", saying that since one of the characters in the deflector dish battle had to die, "that would be me". [23] Goldberg only learned about the decision through the newspapers. [43] Slides of the sets were added behind the window frames to make the interior seem more dimensional when the camera tracked past the ship. Inhaltsangabe: Der Tag, vor dem sich die Föderation jahrelang fürchtete, ist gekommen. To make the Borg vessel appear even larger than it was, Knoll made sure that an edge of it was facing the camera like the prow of a ship and that the Cube broke the edges of the frame. [110] It was launched with five other test titles in the select markets of Richmond and San Francisco. Everton enjoyed designing Woodard's costumes because the character went through many changes during the course of the film, switching from a utilitarian vest and pants in many shots to a glamorous dress during the holodeck scene.[52]. [44] Small lights attached to the Cube's surface helped to create visual interest and convey scale; the model was deliberately shot with a slow, determined pacing to contrast with the Federation ships engaged in battle with the Borg. Unser Team begrüßt Sie auf unserem Testportal. I thought, great; they made this, and they've scared themselves! [16] Lily's words cause Picard to reconsider, and he quotes Ahab's words of vengeance, recognizing the death wish embedded therein. Krige is confident, convincing, and absolutely threatening in her performance, and seems to almost border on a character from a horror film. "[21], In deciding to combine the two story ideas, the writers decided that the time travel element could play out as the Borg attempt to prevent humanity from ever reaching space and becoming a threat. It is action packed, filled with decent visual effects, clearly plotted, and supplies a threatening villain. "[107], Star Trek: First Contact was first released on VHS in late 1997 as one of several titles expected to boost sluggish sales at video retailers. The model had specific areas which could be blown up multiple times without damaging the miniature. It has morphed into something less innocent and more derivative than it used to be, something the noncultist is ever less likely to enjoy. The central villain in this chapter is the Borg Queen, played by the chilly yet seductive Alice Krige. [45] ILM layered their 30-inch (76 cm) model with an additional five inches of etched brass over a glowing neon lightbox for internal illumination. Many of the Star Trek Films have relied heavily on character interaction, dialogue, and suggested events to tell the story. [21] Paramount wanted Braga and Moore, who had written the Generations script and a number of Next Generation episodes,[12] to pen the screenplay. The impact of Federation weaponry on the Borg Cube was simulated using a 60-inch (150 cm) model of the Cube. [47], The Starfleet uniforms were redesigned for the film by longtime Star Trek costumer Bob Blackman to give a more militaristic feel, with grey padded shoulders and colored undershirts. Star Trek First Contact has always been a favourite for myself and my family. Starting from Stewart's eye, the camera pulled back 25 feet (7.6 m), requiring the key light to increase in intensity up to 1,000 foot-candles so that there was enough depth to keep the eye sharp. These lights were supplemented by what Leonetti called "interactive light"; these were off-stage, red-gelled lights that cast flashing rims on the bridge set and heads of the crew. Star Trek: First Contact breaks from this tradition by producing a sharp, fast paced action film that never relents from beginning to end. Braga and Moore wanted to feature the Borg in the plot, while producer Rick Berman wanted a story involving time travel. Captain Picard and his crew pursue them to ensure that Zefram Cochrane makes his maiden flight reaching warp speed. The expanded album [GNPD 8079] runs 79 minutes and includes three tracks of alternates. Some script pages were distributed on red paper to foil attempted photocopies or faxes; "We had real trouble reading them," Frakes noted. The eighth score in the franchise, and this movie would bring a much needed breath of fresh air into the series. Everton and makeup designers Michael Westmore, Scott Wheeler, and Jake Garber wanted to upgrade the pasty white look the Borg had retained since The Next Generation's second season, born out of a need for budget-conscious television design. He won the cameo after suggesting to producers that the Enterprise should have the same technology as Voyager. The compact disc shipped with CD-ROM features only accessible if played on a personal computer,[70] including interviews with Berman, Frakes, and Goldsmith. Cochrane and Sloane greet the aliens. In the film, the crew of the USS Enterprise-E travel back in time from the 24th century to the mid-21st century in order to stop the cybernetic Borg from conquering Earth by changing their past. As the Borg continue to assimilate more decks, Worf suggests destroying the ship, but Picard angrily calls him a coward, infuriating Worf because of his Klingon heritage. The effort of writers Brannon Braga and Ronald D. Moore was chosen and developed into Star Trek Generations. [38] Jaeger devised a rig that would lower the actress on the set, and applied a prosthetic spine over a blue suit so that ILM could remove Krige's lower body. Leonetti preferred shooting with long lenses to provide a more claustrophobic feel, but made sure the length did not flatten the image. [47] Among the new additions was a larger holographic viewscreen that would operate only when activated, leaving a plain wall when disabled. Watch Star Trek: First Contact with Director Jonathan Frakes - WFH Theater. [47], The makeup time for the Borg expanded from the single hour needed for television to five hours, in addition to the 30 minutes necessary to get into costume and 90 minutes to remove the makeup at the end of the day. [65], In a break with Star Trek film tradition, the soundtrack incorporated two licensed songs: Roy Orbison's "Ooby Dooby" and Steppenwolf's "Magic Carpet Ride". [42], First Contact was the last film to feature a physical model of the Enterprise. [40] In preparation, he watched Jaws, Close Encounters of the Third Kind, 2001: A Space Odyssey and the works of James Cameron and Ridley Scott. Wide shots used footage of photo doubles walking across a large bluescreen draped across ILM's parking lot at night. But the Borg plan to travel back into the twenty-first century through a vortex with the intention to stop Earth's first contact with an alien race (the Vulcans). [51] Frakes regarded filming the scene to be the most tedious in the film because of the amount of preparation it took for each day's shoot. The Borg travel back in time intent on preventing Earth's first contact with an alien species. [63] Joel used variations of his father's Borg music and the Klingon theme as Worf fights hand-to-hand[65] (Joel said that he and his father decided to use the theme for Worf separately). Jerry Goldsmith and his son Joel collaborated to produce the film's score, though only Jerry was credited. After two better-known directors turned down the job, cast member Jonathan Frakes was chosen to direct to make sure the task fell to someone who understood Star Trek. The time-travel vortex the Sphere creates was simulated with a rocket re-entry effect; bowshock forms in front of the ship, then streams backwards at high speed. "They were using two tubes, and then they were using three tubes, and then they were sticking tubes in the ears and up the nose," Westmore explained. [90] Ryan Gilbey of The Independent considered the film wise to dispense with the cast of The Original Series: "For the first time, a Star Trek movie actually looks like something more ambitious than an extended TV show," he wrote. Rosenberg had previously shot some of the Enterprise-D effects for Generations, but had to adjust his techniques for the new model; the cinematographer used a 50 mm lens instead of the 35 mm used for Generations because the smaller lens made the new Enterprise's dish appear stretched out. Enterprise to return to the restricted Genesis Planet to recover Spock's body. Each drone received an electronic eyepiece. The Borg were redesigned to appear as though they were converted into machine beings from the inside-out; the new makeup sessions took four times as long as their appearances on the television series. With the Borg threat neutralized, Cochrane completes his warp flight. [18] Robert Picardo appears as the Enterprise's Emergency Medical Hologram; Picardo played the holographic Doctor in Voyager. [16] Berman told Braga and Moore that he wanted them to think about doing a story involving time travel. If anything, the film could’ve used more scenes of Picard slowly realizing just how screwed they all are. Vizioneaza filmul Star Trek: First Contact – Star Trek: Primul Contact (1996) Online Subtitrat In Romana la calitate HD. [29] Braga, meanwhile, wanted to see the "birth of Star Trek", when the Vulcans and humans first met; "that, to me, is what made the time travel story fresh", he said. Zylinska draws comparisons between the technological distinction of humanity and machine in Star Trek and the work of artists such as Stelarc. Scholarly analysis of the film has focused on Captain Jean-Luc Picard's parallels to Herman Melville's Ahab and the nature of the Borg. [98] A dissenting opinion was offered by Scott, who wrote that aside from the key effects sequences, Frakes "aims to distract Trekkers from the distinctly cheap-looking remainder". [47] Despite the long hours, Westmore's teams began to be more creative with the prosthetics even as they decreased their preparation times. Two "making of" television specials premiered on HBO and the Sci-Fi Channel, as well as being promoted during a 30th-anniversary television special on UPN. The Borg travel back in time intent on preventing Earth's first contact with an alien species. [69], GNP released the First Contact soundtrack on December 2, 1996. [12] While the cinematographer wanted to shoot the scene in black and white, Paramount executives deemed the test footage "too experimental" and the idea was dropped. [54], Next came the action sequences and the battle for the Enterprise, a phase the filmmakers dubbed "Borg Hell". Captain Picard ist entsetzt, als die Borg die Erde angreifen. Get a sneak peek of the new version of this page. Acest film a avut premiera pe data de Nov. 22, 1996.Genurile acestui film online sunt: Acțiune, Aventură, Science Fiction, Thriller. The Enterprise is diverted to the Romulan homeworld Romulus, supposedly because they want to negotiate a peace treaty. By separating the backlights, Leonetti made sure that the principal actors stood out of the backdrop. Explore Wikis; Community Central; Start a Wiki; Search This wiki This wiki All wikis | Sign In Don't have an account? The nebular columns and solid areas were modeled with basic wireframe geometry, with surface shaders applied to make the edges of the nebula glow. Even on the large model, it was hard to make the miniature appear realistic in extreme close-up shots. [63] The Klingon theme from the same film is used to represent Worf. "[20], The Borg Queen was a challenge because she had to be unique among Borg but still retain human qualities; Westmore was conscious of avoiding comparisons to films like Alien. Since the halls were so small and the ceilings would be visible in many of the shots, special attention was paid to hiding the light fixtures.[54]. In a Star Trek film! Members of the crew who are assimilated into the Collective are subsequently viewed as "polluted by technology" and less than human. This is evident in the film when Picard chooses to rescue Data rather than evacuate the ship with the rest of the crew. [12], Principal photography took a more leisurely pace than on The Next Generation because of a less hectic schedule; only four pages of script had to be filmed each day, as opposed to eight on the television series. [76] The franchise was on rocky ground; ratings for Deep Space Nine and Voyager had shed millions of viewers, being bested by Hercules: The Legendary Journeys as the highest-rated syndicated series. [18] The final appearance involved pale gray skin and an elongated, oval head, with coils of wire rather than hair. Written by Was this review helpful to you? The scene was difficult to execute, taking ILM five months to finish. 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To wash his face under budget Cochrane completes his warp flight the logo branding.