[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. For the Borg intrusion, the lighting originated solely from instrument panels and red-alert displays. The crew used a 50 mm lens to make it easier for the effects team to dissolve the closeup shots with the other elements. [72], The nature of the Borg in First Contact has been the subject of critical discussion. [18] Robert Picardo appears as the Enterprise's Emergency Medical Hologram; Picardo played the holographic Doctor in Voyager. To give the corridor walls more shape, Leonetti lit them from underneath. The observation lounge was similar to the design in the Enterprise-D; the set itself was re-used from the television show, the only such set not to be struck following the filming of Generations, though it was expanded and underwent a color change. The film's script required the creation of new starship designs, including a new USS Enterprise. Realizing the Borg have used time travel to change the past, Enterprise follows the sphere through the vortex. Sloane confronts the captain and makes him realize he is acting irrationally because of his own past with becoming Locutus of the Borg. Picard, like Ahab, has been hurt by his nemesis, and author Elizabeth Hinds said it makes sense that Picard should "opt for the perverse alternative of remaining on board ship to fight" the Borg rather than take the only sensible option left, to destroy the ship. [52] Accustomed to directing episodes for the television series, Frakes was frequently reminded by effects artist Terry Frazee to "think big, blow everything up". [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. I wanted it to look scary and mysterious, so it was lit like a point, and we always had the camera dutched to it; we never just had it coming straight at us," he said. 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 TrekMovie.com contributor Anthony Pascale. 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. [32][33][34][35][36], Braga and Moore intended the film to be easily accessible to any moviegoer and work as a stand-alone story, yet still satisfy the devoted Star Trek fans. 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. A frightened Sloane corners Picard with a weapon, but he gains her trust. [12] Most of the effects sequences were planned using low-resolution computer-generated animatics. [40] In preparation, he watched Jaws, Close Encounters of the Third Kind, 2001: A Space Odyssey and the works of James Cameron and Ridley Scott. "I like creating separation with lighting as opposed to using color," he explained. Leonetti was unfamiliar with the Star Trek mythos when Frakes approached him; to prepare for the assignment, he studied the previous four films in the franchise, each with a different cinematographer—The Voyage Home (Donald Peterman), The Final Frontier (Andrew Laszlo), The Undiscovered Country (Hiro Narita), and Generations (John Alonzo). The nebular columns and solid areas were modeled with basic wireframe geometry, with surface shaders applied to make the edges of the nebula glow. [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. [113] This version contained the feature and two trailers, but no other special features. All times Pacific Time. [82] The main cast save Spiner were in attendance, as were Moore, Braga, Jerry Goldsmith, and producer Marty Hornstein. [39], Frakes had directed multiple episodes of The Next Generation, Deep Space Nine and Voyager, but First Contact was his first feature film. Having ensured the correction of the timeline, the Enterprise crew slip away and return to the 24th century.[3]. To give the scene a black-and-white feel, Leonetti made sure to use light without any coloration. Now and then, however, the humans of the Starfleet do make first contact with a … "[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. "Starfleet would probably throw everything it could at the Borg, including ships we've never seen before", he reasoned. It has morphed into something less innocent and more derivative than it used to be, something the noncultist is ever less likely to enjoy. For the 1991 TV episode, see, "ST-FC" redirects here. [16] Westmore reasoned that since the Borg had traveled the galaxy, they would have assimilated other races besides humans. "[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. There would be no “First Contact” without these panelists. [12] Picardo's fellow Voyager actor Ethan Phillips, who played Neelix, cameos as a nightclub maître d' in the holodeck scene. 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. Sequence supervisor Dennis Turner, who had created Generations' energy ribbon and specialized in creating natural phenomena, was charged with creating the star cluster, modeled after the Eagle Nebula. The Cubes were suspended from pipes sixty feet above the camera on the ground. [56] Each camera move was planned in advance to work around areas where the lighting would be added, and electricians and grips donned rock-climbing harnesses to move down the shaft and attach the lights. [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. [41] The planned title of Resurrection was scrapped when 20th Century Fox announced the title of the fourth Alien film as Alien Resurrection; the film was rebranded First Contact on May 3, 1996. Much like with Star Wars Day (May 4) and Alien Day (April 26), Paramount has noticed that there’s a lot of good branding potential in associating a pop culture franchise with a … [118], "Regeneration", a 2003 episode of Star Trek: Enterprise, depicts the consequences of the discovery of debris from the destroyed Borg sphere. [12] Leonetti reconfigured the lighting to reflect the takeover of the ship interiors. The email will only be created once you click on the "Send Email" button. [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. The panels begin at 12:00 PM PT with Welcome and Intro remarks. [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. [74] The nature of perilous first contact between species, as represented by films such as Independence Day, Aliens and First Contact, is a marriage of classic fears of national invasion and the loss of personal identity. [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". It was a shooting and editing nightmare. [114] In addition to the feature, presented with the same technical specifications as the previous release and a new DTS soundtrack,[115] the first disc contains a director's commentary by Frakes and a track by Moore and Braga. [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". [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. [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. Contacted by Admiral Hayes, who informs him of a Borg assimilation Unit emerging from his previous Star,... 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