[68], 1996 marked the 30th anniversary of the Star Trek franchise. Template:Star Trek Borg Stories Moore recalled the first meeting: Brainstorming sessions began between the writer/producers' day jobs on Star Trek: Deep Space Nine and Star Trek: Voyager. [43] Among the new additions was a larger holographic viewscreen that would operate only when activated, leaving a plain wall when disabled. In sketches dated January 1996, the Enterprise-E had finally been settled upon. "He nailed it. Smaller effects sequences, such as phaser fire, computer graphics, and transporter effects, were delegated to a team led by visual-effects supervisor David Takemura. [1] Eaves recalled the experience: Despite the number of new sets created for the film, the production once again reused old material, including turbolift wall sections dating back to 1979's Star Trek: The Motion Picture. Using separate motion control passes on the set, Knoll shot the lower of the upper torso and the secondary sequence with Krige's entire body. This ship used to be a nuclear missile!" Picard and Data locate the warp ship, damaged but repairable. The bulky suits were made sleeker and outfitted with fiber optic lights. hardcover - December 1996 [36] In preparation, he watched Jaws, Close Encounters of the Third Kind, 2001: A Space Odyssey and the works of James Cameron and Ridley Scott. [80], First Contact garnered positive reviews on release. Wormlike tubes would course through the victim's body and mechanical devices break the skin. [19] Paramount wanted writers Brannon Braga and Ronald D. Moore, who had written the Generations script and a number of Next Generation episodes,[13] to pen the screenplay. Rumors persist that both Nichelle Nichols and Kelsey Grammer (captain of the USS Bozeman from "Cause and Effect") have uncredited "voice cameos", though these claims are unsubstantiated. [15] While Westmore estimated that a fully staffed production would have around 50 makeup artists, First Contact had to make do with fewer than ten people involved in preparation, and at most 20 artists a day. The Borg Queen makes an entrance and mocks Picard. 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. Brannon Braga & Ronald D. Moore On another part of the deck, Picard’s team encounters their first Borg drones. Sloane confronts the captain and, reminding him of Moby-DickTemplate:'s Captain Ahab, makes him realize his own irrational behavior. [7] Lily's words cause Picard to reconsider, and he quotes Ahab's words of vengeance, recognizing the death wish embedded therein. While being pursued by the Borg aboard the Enterprise, Picard and Lily duck into a holodeck running a 1930's-era mystery simulation.Picard promptly confronts several gangsters in the simulation and commandeers an M1928 Thompson from a violin case, using it to mow down the Borg drones chasing them, continuing to fire until he empties the weapon's 50-round drum magazine and … Ebert wrote that while previous films had often looked "clunky" in the effects department, First Contact benefited from the latest in effects technology. But, when Starfleet's fight does not go well, Picard and the crew of the new USS Enterprise disobey orders to join the fight, following the Borg three hundred years into the past just as Zefram Cochrane prepares to launch Humanity's first warp-capable engine, the Phoenix, and make first contact with an alien race. Down on Earth, the Starfleet people catch Cochrane. [13] Most of the effects sequences were planned using low-resolution computer-generated animatics. "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. Taking the postcard to a local store, the gift shop owner faxed a picture of the phoenix to the Paramount production offices where Eaves went to work. Picard unemotionally informs her that the Borg was formerly Starfleet Ensign Lynch. He wakes up again, now to reality, only to hear that the Borg have returned and they are heading towards Earth. Up on the bridge Worf explains to Captain Picard that all contact with Deck 16 has been lost. The teaser trailer for Star Trek: First Contact premiered with Paramount movies in early summer 1996. The new monitors also allowed for video playback that could simulate interaction with the actors. The writers combined the two ideas; they initially set the film during the European Renaissance, but changed the time period that the Borg corrupted to the mid-21st century, after fearing the Renaissance idea would be "too kitsch". Assigned to refresh the Borg make up that had previously consisted of simple pale faces and cobbled together bodysuits, Deborah Everton and Michael Westmore cooperated with Herman Zimmerman and his team. [55] Rosenberg preferred motion-control passes of ships over computer-generated versions, as it was much easier to capture a high level of detail with physical models rather than trying to recreate it by computer graphics. [57] The Klingon theme from the same film is used to represent Worf. The Orchestra and Chorus of the Royal Opera House, Convent Garden, Star Trek: The Next Generation Sketchbook: The Movies, Star Trek: The Next Generation - The Continuing Mission, https://memory-alpha.fandom.com/wiki/Star_Trek:_First_Contact?oldid=2617992, Outstanding Supporting Actress in a Motion Picture, Favorite Supporting Actor – Science Fiction, The reference that Data makes about using his "fully functional" sexual organs seemingly references the time he used them with Tasha in, This film marks the first canon reference to the number of planets in the Federation (over 150) and its size (over 8,000 light years), The bar in Bozeman featured bar signs based on mission patches for NASA vessels, including the, Early in the movie, Zefram Cochrane points out the constellation Leo, the constellation in which, When Picard announces to the crew his intention to break his orders and join the engagement, Data's response is ", The program menu in the holosuite depicts various holodeck programs from previous episodes, specifically, Lily says that "Borg" sounds Swedish. Picard assures him that how contact proceeds will be up to him, and if asked to leave, the Federation will do so. Intercepting the overwhelmed fleet's audio communications, Picard disobeys orders and heads the Enterprise for Earth, where a single, damaged Borg cube is destroying opposing Starfleet vessels. At that time, First Contact included more complex visual effects shots than any Star Trek film before; low-tech methods, however, were still utilized.

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