The scene was inspired by a New York City production of Sweeney Todd: the Demon Barber of Fleet Street in which the stage surrounded the audience, giving a sense of realism. Jerry Goldsmith and his son Joel collaborated to produce the film's score, though only Jerry was credited. I became aware, one day on the set, that whenever a Borg moved up to the coffee table, whoever was there would sort of slowly retreat. The set was lined with window paneling backed by red lights, which would blink intermittently during red-alert status. 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. [20] 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. You must be a registered user to use the IMDb rating plugin. Listen free to Jerry Goldsmith – Star Trek: First Contact (Main Title / Locutus, Red Alert and more). The scene was difficult to execute, taking ILM five months to finish. Following the Borg sphere, Picard and his crew realize that they have taken over the Enterprise in order to carry out their mission. [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. For the Borg intrusion, the lighting originated solely from instrument panels and red-alert displays. [30] Working with illustrator John Eaves, the designers conceived the new Sovereign-class Enterprise-E as "leaner, sleeker, and mean enough to answer any Borg threat you can imagine". [17] Whereas Frakes had seven days of preparation followed by seven days of shooting for a given television episode, the director was given a ten-week preparation period before twelve weeks of filming, and had to get used to shooting for a 2.35:1 anamorphic ratio instead of the television standard 1.33:1. Since much of Picard's role made a direct reference to his time as a Borg in The Next Generation episodes "The Best of Both Worlds", the opening dream sequence was added to explain what happened to him in the show. After the screening, 1,500 guests crossed the street to the Hollywood Colonnade, where the interiors had been dressed to match settings from the film: the holodeck nightclub, part of the bridge, a "star room", the Borg hive and the "crash 'n' burn lounge". Format: CD (77 min) Star Trek: 50th Anniversary CollectionLimited Edition of 3,000 Units La-La Land Records. 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). [64] The young composer provided additional music for the film, writing three cues based on his father's motifs[66] and a total of 22 minutes of music. Moore used a laptop with digital reproductions of the set to orient the crew and help Frakes understand what the finished shot would look like. [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. [55] Frakes directed the Borg scenes similar to a horror film, creating as much suspense as possible. Star Trek - Der erste Kontakt ein Film von Jonathan Frakes mit Patrick Stewart, Alfre Woodard. [52] Accustomed to directing episodes for the television series, Frakes was frequently reminded by effects artist Terry Frazee to "think big, blow everything up". Once the shots of the Enterprise had been captured, Turner inserted the ship into the computer-generated background and altered its position until the images matched up. 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. [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. "[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. Explore Wikis; Community Central; Start a Wiki; Search This wiki This wiki All wikis | Sign In Don't have an account? 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. There are moments of reflection for the characters, but the movie has an inertia that makes the other entries in the franchise seem as if they plod along at five miles an hour. Filming then proceeded to the bridge. During the fight on the deflector dish, Goldsmith used low-register electronics punctuated by stabs of violent, dissonant strings. [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. Das hier ist un die erweiterte, mehr-oder-weniger komplette Fassung der Filmmusik zu STAR TREK - FIRST CONTACT von Jerry Goldsmith, unterstützt von seinem inzwischen leider auch schon gestorbenen Sohn Joel. Resistance is futile. He is contacted by Admiral Hayes, who informs him of a new Borg threat against Earth. [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. Some script pages were distributed on red paper to foil attempted photocopies or faxes; "We had real trouble reading them," Frakes noted. "[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. A major concern during the production was security—the script to Generations had been leaked online, and stronger measures were taken to prevent a similar occurrence. The moment marks a turning point in the film as Picard changes his mind, symbolized by his putting down his phaser. With the Borg threat neutralized, Cochrane completes his warp flight. To give the Cube greater depth and texture, Rosenberg shot the vessel with harsher light. 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. [48] The designers created a larger and less-spartan ready room, retaining elements from the television series; Zimmerman added a set of golden three-dimensional Enterprise models to a glass case in the corner. Riker's and Picard's roles were swapped, and the planetside story was shortened and told differently. [44], The miniature Enterprise was again used for the spacewalk sequence. "They were fearsome. Painter Kim Smith spent several days on a tiny area of the model to add enough surface detail for the close-up, but even then the focus was barely adequate. "[24], Michael Horton appears as a bloodied and stoic Starfleet Security Officer; his character would be given the name Lt. Daniels in the next Star Trek film. Wählen Sie aus erstklassigen Inhalten zum Thema Star Trek First Contact in … "Right on the spot, we said maybe we can do both, the Borg and time travel," Moore recalled. This is definitely the best Next Generation film to date, and one of the strongest movies in the entire series. Stardate: 50893.5 Original Airdate: Dec 13, 1996. So the Borg were not only in pain, but they were kind of ostracised. For the live-action spacewalk scenes, visual-effects supervisor Ronald B. Moore spent two weeks of bluescreen photography at the deflector set. [105], Critics reacted favorably to the Borg, describing them as akin to creatures from Hellraiser. The smaller Borg sphere was a 12-inch (30 cm) model that was shot separately from the Cube and digitally added in post-production. Picard has Cochrane's assistant Lily Sloane sent back to Enterprise for medical attention. The film was presented in its original 2.35:1 anamorphic aspect ratio, with a surround sound Dolby Digital 5.1 audio mix. Star Trek Online Starships USS CHIMERA Federation Destroyer Model Eaglemoss. [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. [16], With the idea of Star Trek's genesis in mind, the central story became Cochrane's warp drive test and humanity's first contact. Use the HTML below. "Starfleet would probably throw everything it could at the Borg, including ships we've never seen before", he reasoned. It is action packed, filled with decent visual effects, clearly plotted, and supplies a threatening villain. [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. Star Trek: First Contact probably has the widest appeal of all of the episodes, in much the same way as Star Trek IV: The Voyage Home did in 1986. Eaves made sure to emphasize the mechanical aspect of the ship, to suggest it was a highly experimental and untested technology. In the mirror, he is surprised by a Borg Assimilation Unit emerging from his face. "[38][53] Frakes noted that the Queen ended up being alluring in a disturbing way, despite her evil behavior and appearance. [93] The Borg Queen received special attention for her combination of horror and seduction; Ebert wrote that while the Queen "looks like no notion of sexy I have ever heard of", he was inspired "to keep an open mind". Star Trek: First Contact. Realizing the Borg have used time travel to change the past, Enterprise follows the sphere through the vortex. It was a shooting and editing nightmare. The second draft, titled Star Trek: Resurrection, was judged complete enough that the production team used it to plan expenses. Since the two-engine ship format had been seen many times, the artists decided to step away from the traditional ship layout, creating a more artistic than functional design. [69], GNP released the First Contact soundtrack on December 2, 1996. 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. 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. The central villain in this chapter is the Borg Queen, played by the chilly yet seductive Alice Krige. ILM instead cut the windows using a laser. Moore was afraid that it risked becoming campy and over-the-top,[21] while Stewart refused to wear tights. [71], Frakes believes that the main themes of First Contact—and Star Trek as a whole—are loyalty, friendship, honesty, and mutual respect. 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. [58] The shoot used a ten-piece orchestra, 15 stuntmen, and 120 extras to fill the seats. The bridge was designed to be comfortable-looking, with warm colors. [99], The film's acting met with mixed reception. [3], Enterprise arrives hundreds of years in its past on April 4, 2063, the day before humanity's first encounter with alien life after Zefram Cochrane's historic warp drive flight some time after the Earth had been decimated by the nuclear holocaust of World War III; the crew realizes the Borg are trying to prevent first contact. [43], The Enterprise interior sets were mostly new designs. Insbesondere der Testsieger ragt aus allen bewerteten Star trek first contact where to watch enorm heraus und konnte fast vorbehaltlos gewinnen. Braga and Moore wanted to feature the Borg in the plot, while producer Rick Berman wanted a story involving time travel. Star Trek: First Contact was released on November 22, 1996, and was the highest-grossing film on its opening weekend. On the eve of retirement, Kirk and McCoy are charged with assassinating the Klingon High Chancellor and imprisoned. 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. Acest film a avut premiera pe data de Nov. 22, 1996.Genurile acestui film online sunt: Acțiune, Aventură, Science Fiction, Thriller. "And we were using a very gooey caramel coloring, maybe using a little bit of it, but by the time we got to the end of the movie we had the stuff dripping down the side of [the Borg's] faces—it looked like they were leaking oil! Set in the 24th century, the series follows the adventures of the Starfleet crew of the Federation starship Enterprise-D. The effort of writers Brannon Braga and Ronald D. Moore was chosen and developed into Star Trek Generations. [23] Goldberg only learned about the decision through the newspapers. [97] While Renzetti considered the lack of old characters from the previous seven movies a welcome change,[93] Maslin said that without the original stars, "The series now lacks [...] much of its earlier determination. Captain Kirk and his crew must deal with Mr. Spock's long-lost half-brother who hijacks the Enterprise for an obsessive search for God at the center of the galaxy. The compact disc shipped with CD-ROM features only accessible if played on a personal computer,[70] including interviews with Berman, Frakes, and Goldsmith. Although Picard offers himself to the Borg in exchange for Data's freedom and willingly become Locutus again, Data refuses to leave. In the twenty-fourth century, the crew of the U.S.S. Enterprise arrives in time to assist the crew of USS Defiant and its captain, the Klingon Worf. I thought, great; they made this, and they've scared themselves! In the first script with this setting, the Borg attack Cochrane's lab, leaving the scientist comatose; Picard assumes Cochrane's place to continue the warp test and restore history. [21] Paramount wanted Braga and Moore, who had written the Generations script and a number of Next Generation episodes,[12] to pen the screenplay. Inhaltsangabe: Der Tag, vor dem sich die Föderation jahrelang fürchtete, ist gekommen. 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. I would rank it beside “Star Trek IV: The Voyage Home” (1986), the one where the fate of Earth depended on the song of the humpback whale. Which was terribly interesting for me, but I did feel heartbroken for my minions. Unser Team begrüßt Sie auf unserem Testportal. [69] The album contained 51 minutes of music, with 35 minutes of Jerry Goldsmith's score, 10 minutes of additional music by Joel Goldsmith, "Ooby Dooby" and "Magic Carpet Ride". Star Trek: First Contact - Jonathan Frakes Live Q&A Watch-Along. Discover more music, concerts, videos, and … [12] Most of the effects sequences were planned using low-resolution computer-generated animatics. It was followed by Star Trek: Insurrection in 1998. The game, Star Trek: Borg, functioned as an interactive movie with scenes filmed at the same time as First Contact's production. The film's script required the creation of new starship designs, including a new USS Enterprise. It eventually made $92 million in the United States and Canada with an additional $54 million in other territories, combining a worldwide total of $146 million. [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. It is the eighth film in the Star Trek film series, as well as the second to star the cast of Star Trek: The Next Generation. Learning the fleet is losing the battle, the Enterprise crew disobeys orders and heads for Earth, where a single Borg Cube ship holds its own against a group of Starfleet vessels. [56] Principal photography finished on July 2, 1996,[59] two days over schedule but still under budget. [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. 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. [18] Each Borg had a slightly different design, and Westmore designed a new one each day to make it appear that there was an army of Borg; in reality, between eight and twelve actors[12][20] filled all the roles as the costumes and makeup were so expensive to produce. Set almost 100 years after Captain Kirk's five-year mission, a new generation of Starfleet officers set off in the U.S.S. The result is one of the most satisfying films in the series.Part of the appeal of Star Trek: First Contact, is that the central enemy is the Borg Collective, which has surpassed all other villainous races in the Star Trek universe in popularity. [95] The New York Times' Janet Maslin said that the "film's convoluted plot will boggle all but hard-core devotees" of the series,[96] while Variety's Joe Leydon wrote that the film did not require intimate knowledge of the series and that fans and non-fans alike would enjoy the film. :) Weitere Informationen und Quellen zum Tag des Ersten Kontakts am 5. [20] The set for the ship's outer hull and deflector dish were built on gimbals at Paramount's largest sound stage,[51] surrounded by bluescreen and rigged with wires for the zero gravity sequences. Enterprise NCC-1701-E has been ordered to patrol the Romulan Neutral Zone by the Federation to avoid interference with their battle against the insidious Borg. In the end, it is Lily (the 21st-century woman) who shows Picard (the 24th-century man) that his quest for revenge is the primitive behavior that humans had evolved to not use. Want to share IMDb's rating on your own site? Braga and Moore, meanwhile, wanted to use the Borg. Principal photography began with weeks of location shooting in Arizona and California, before production moved to new sets for the ship-based scenes. They were unstoppable. The two escape the Borg-infested area of the ship by creating a diversion in the holodeck. Because of budget constraints, the full ship was realized as a computer-generated design. GNP Crescendo president Neil Norman explained that the decision to include the tracks was controversial, but said that "Frakes did the most amazing job of integrating those songs into the story that we had to use them". Berman decided to develop two screenplays simultaneously, and prioritize the most promising one for the first film. The eighth score in the franchise, and this movie would bring a much needed breath of fresh air into the series. 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. [42], In previous films, Starfleet's range of capital ships had been predominantly represented by the Constitution-class Enterprise and just five other ship classes: the Miranda class from Star Trek II: The Wrath of Khan (represented by the USS Reliant), the Excelsior and the Oberth class Grissom from Star Trek III: The Search for Spock, and the Galaxy and Nebula classes from The Next Generation. For the 1991 TV episode, see, "ST-FC" redirects here. This is evident in the film when Picard chooses to rescue Data rather than evacuate the ship with the rest of the crew. [100] Lloyd Rose of The Washington Post felt that while Woodard and Cromwell managed to "take care of themselves", Frakes' direction of other actors was not inspired;[101] Steve Persall of the St. Petersburg Times opined that only Cromwell received a choice role in the film, "so he steals the show by default". 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. Picard's orders are for his ship, USS Enterprise, to patrol the Neutral Zone in case of Romulan aggression; Starfleet is worried that Picard is too emotionally involved with the Borg to join the fight. New flatscreen computer monitors were used for displays, using less space and giving the bridge a cleaner look. [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. As the sphere disappears, Enterprise discovers Earth has been altered – it is now populated entirely by Borg. Alex Jaeger was appointed visual effects art director to the film and assigned the task of creating four new starships. Playmates Toys produced six and nine-inch action figures in addition to ship models and a phaser. He won the cameo after suggesting to producers that the Enterprise should have the same technology as Voyager. [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. Wikis. "[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. 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). [35] Stewart met a potential candidate and concluded that "they didn't know Star Trek". To give the scene a black-and-white feel, Leonetti made sure to use light without any coloration. Auch wenn dieser Star trek first contact soundtrack end credits zweifelsfrei leicht überdurschnittlich viel kostet, findet sich dieser Preis in jeder Hinsicht in Punkten Qualität und Langlebigkeit wider. To give greater dimension to the rocket and lend the missile a futuristic appearance, Leonetti chose to offset the missile's metallic surface with complementary colors. Members of the crew who are assimilated into the Collective are subsequently viewed as "polluted by technology" and less than human. 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]. [49] Some set designs took inspiration from the Alien film series, Star Wars and 2001: A Space Odyssey. [16][12], Since so many new sets had to be created, the production commenced filming with location photography. Sloane confronts the captain and makes him realize he is acting irrationally because of his own past with becoming Locutus of the Borg. Berman's suggestion was the Renaissance; the Borg would attempt to prevent the dawn of modern European civilization. [18] Robert Picardo appears as the Enterprise's Emergency Medical Hologram; Picardo played the holographic Doctor in Voyager. We were on a circle, which has no geography to it. To give the corridor walls more shape, Leonetti lit them from underneath. [21] "Our goals at that point were to create a story that was wonderful and a script that was [...] producible within the budget confines of a Star Trek film", said Berman. [44] Knoll and Jaeger had decided that the ships had to obey certain Star Trek ship precedents, with a saucer-like primary hull and elongated warp nacelles in pairs. “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. [47] Krige recalled the first day she had her makeup applied: "I saw everyone cringing. [30] Another draft included John de Lancie's omnipotent character Q. [82] It closed with a US & Canadian gross of $92,027,888 and an international gross of $54 million for a total of $146 million worldwide. 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. In addition to composing new music, Goldsmith used music from his previous Star Trek scores, including his theme from The Motion Picture. [47] Among the new additions was a larger holographic viewscreen that would operate only when activated, leaving a plain wall when disabled. BORG QUEEN (OC): Locutus. Braga and Moore focused the new arc on Cochrane himself, making the ideal future of Star Trek come from a flawed man. [62], Frakes considered the entrance of the Borg Queen—when her head, shoulders, and steel spine are lowered by cables and attached to her body—as the "signature visual effect in the film". [60], The majority of First Contact's effects were handled by Industrial Light & Magic under the supervision of John Knoll. With the help of long presumed dead Captain Kirk, Captain Picard must stop a deranged scientist willing to murder on a planetary scale in order to enter a space matrix. "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. [82] The main cast save Spiner were in attendance, as were Moore, Braga, Jerry Goldsmith, and producer Marty Hornstein. Picard and a team attempt to reach engineering to disable the Borg with a corrosive gas, but are forced back; the android Data is captured in the melee. A frightened Sloane corners Picard with a weapon, but he gains her trust. [21] Neal McDonough plays Lt. Hawk, the Enterprise helmsman who aids in the defense of the ship until he is assimilated and killed. Apr 27, 2020-57. Ebert wrote that while previous films had often looked "clunky" in the effects department, First Contact benefited from the latest in effects technology. ILM supervisor John Knoll insisted that First Contact's space battle prove the breadth of Starfleet's ship configurations. "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." At the last moment the torpedoes miss, and the Queen realizes Data betrayed her. [8] It was decided to stay with someone who understood the "gestalt of Star Trek", and Frakes was given the job. Blazer346. 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]. [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). Hull patterns were carved out of wood, then cast and assembled over an aluminum armature. [40], Leonetti devised multiple lighting methods for the Enterprise interiors for ship standard operations, "Red alert" status, and emergency power. 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. PICARD: I am Locutus of Borg. Directed by Jonathan Frakes. In the television series, much of the Borg's faces had been covered by helmets, but for First Contact the makeup artist removed the head coverings and designed assimilated versions of familiar Star Trek aliens such as Klingons, Bolians, Romulans, Bajorans, and Cardassians. [38] Frakes reported to work every day at 6:30 am. [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. Enterprise NCC-1701-E has been ordered to patrol the Romulan Neutral Zone by the Federation to avoid interference with their battle against the insidious Borg. With Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton. Completing the Admiral's sentence, Picard realizes who destroyed the colony — the Borg. [3] The next day the crew watches from a distance as an alien Vulcan ship, attracted by the Phoenix warp test, lands on Earth. Was this review helpful to you? [110] It was launched with five other test titles in the select markets of Richmond and San Francisco. [57], After the completion of the Phoenix shots, the crew moved to two weeks of nighttime shooting in the Angeles National Forest. OPENING CREDITS [Picard's quarters] (Picard is having a dream about his memories from end of "Best of Both Worlds, Part I.") Following the Borg sphere, Picard and his crew realize that they have taken over the Enterprise in order to carry out their mission. The warp ship Phoenix was conceived as fitting inside an old nuclear missile, meaning that the ship's nacelles had to fold into a space of less than 10 feet (3 m). [109], A First Contact "Special Collector's Edition" two-disc set was released in 2005 at the same time as three other Next Generation films and Star Trek: Enterprise's fourth season, marking the first time that every film and episode of the franchise was available on home video up to that point. "[96] Conversely, Roger Ebert called First Contact one of the best Star Trek films,[98] and James Berardinelli found the film the most entertaining Star Trek feature in a decade; "It has single-handedly revived the Star Trek movie series, at least from a creative point of view," he wrote. With the flagship now supporting them, Picard takes control of the fleet and directs the surviving ships to concentrate their firepower on a seemingly unimportant point on the Borg ship. 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