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The second draft, titled Star Trek: Leonetti preferred shooting with long lenses to provide a more claustrophobic feel, film rencontre prince william et kate, but made sure the length did not flatten the image. The actress missed working on the television show, and was acutely aware that expectations and stakes for First Contact were high: Paramount wanted ships that would look different from a distance, so the director devised multiple hull profiles. Hull patterns were carved out of wood, then cast and assembled over an aluminum armature. The production had to design a space suit that looked practical rather than exaggerated.



Plot[ edit ] It is the 24th century. Captain Jean Luc Picard awakens from a nightmare in which he relived his assimilation by the cybernetic Borg six years earlier. He is contacted by Admiral Hayes, who informs him of a new Borg threat against Earth.

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. Picard takes control of the fleet and directs the surviving ships to concentrate their firepower on a seemingly unimportant point on the Borg ship. The Enterprise pursues the sphere into a temporal vortex.

As the sphere disappears, the Enterprise discovers Earth has been altered—it is now populated entirely by Borg. Realizing the Borg have used time travel to change the past, the Enterprise follows the sphere through the vortex. The Captain returns to the ship and leaves Commander William T.

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. The two escape the Borg-infested area of the ship by creating a diversion in the holodeck. Hawk, travel outside the ship in space suits to stop the Borg from calling reinforcements by using the deflector dish.

As the Borg continue to assimilate more decks, Worf suggests destroying the ship, but Picard angrily calls him a coward. Sloane confronts the captain and makes him realize he is acting irrationally. He deactivates the self-destruct and fires torpedoes at the Phoenix. At the last moment the torpedoes miss, and the Queen realizes Data betrayed her. With the Borg threat neutralized, Cochrane completes his warp flight.

Cochrane and Sloane greet the aliens. Having ensured the correction of the timeline, the Enterprise crew slip away and return to the 24th century. The Original Series appear; [6] instead, the main cast of Star Trek: The Next Generation fill the main roles.

Stewart was one of the few cast members who had an important role in developing the script, offering suggestions and comments. Stewart noted that Picard was more physically active in the film compared with his usual depiction. Frakes said he did not have much difficulty directing and acting at the same time, having done so on the television series.

La Forge is a blind character, and for the television series and previous film had worn a special visor to see. Moore finally agreed, giving the character ocular implants that were never explained in the film, beyond showing they were artificial. McFadden considered Star Trek women finally on par with the men: The actress missed working on the television show, and was acutely aware that expectations and stakes for First Contact were high: The Defiant is badly damaged in the battle with the Borg but is left salvageable.

McDonough was cavalier about his role as an expendable " redshirt ", saying that since one of the characters in the deflector dish battle had to die, "that would be me". When Frakes first moved to Los Angeles , Woodard was one of the first people he met.

Through this relationship, Frakes was able to cast Woodard in the film; he considered it a coup to land an Academy Award-nominated actress. Casting for the part took time, as the actress needed to be sexy, dangerous and mysterious.

Frakes cast Krige after finding that she had all of the mentioned qualities, and being impressed by her performance in Ghost Story ; [12] the director considers her the sexiest Star Trek villain of all time.

Krige would later reprise her role as the Borg Queen in the Star Trek: Voyager series finale " Endgame ". Phillips recalled that the producers wanted the fans to be left guessing whether he was the person who played Neelix or not, as he did not appear in the credits; "It was just kind of a goofy thing to do.

Deep Space Nine captain Benjamin Sisko. Moore , who had written the Generations script and a number of Next Generation episodes, [18] to pen the screenplay. Braga and Moore, meanwhile, wanted to use the Borg. Perfect foils for a feature story. The first story draft, titled Star Trek: Renaissance, had the crew of the Enterprise track the Borg to their hive in a castle dungeon.

Moore was afraid that it risked becoming campy and over-the-top, [24] while Stewart refused to wear tights. Drawing on clues from previous Star Trek episodes, Cochrane was placed in midst century Montana, where humans recover from a devastating world war. Braga and Moore focused the new arc on Cochrane himself, making the ideal future of Star Trek come from a flawed man.

The idea of Borg fighting among period costumes coalesced into a "Dixon Hill" holographic novel sequence on the holodeck. The second draft, titled Star Trek: Resurrection, was judged complete enough that the production team used it to plan expenses.

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. He suggested adding an individual Borg villain with whom the characters could interact, which led to the creation of the Borg Queen. Frakes had not been the first choice for director; Ridley Scott and John McTiernan reportedly turned down the project. 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.

Some script pages were distributed on red paper to foil attempted photocopies or faxes; "We had real trouble reading them," Frakes noted. Future Generations and Star Trek: Eaves produced 30 to 40 sketches before he found a final design he liked and began making minor changes.

Hull patterns were carved out of wood, then cast and assembled over an aluminum armature. ILM instead cut the windows using a laser. Paramount wanted ships that would look different from a distance, so the director devised multiple hull profiles. Each design was modeled as a three-dimensional digital wire-frame model for use in the film.

Eaves made sure to emphasize the mechanical aspect of the ship, to suggest it was a highly experimental and untested technology. Only two major Vulcan ships had been previously seen in Star Trek, including a courier vessel from The Motion Picture. 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. The ship incorporated elements of a starfish and a crab.

Because of budget constraints, the full ship was realized as a computer-generated design. Only a boomerang-shaped landing foot was fabricated for the actors to interact with. The bridge was designed to be comfortable-looking, with warm colors. New flatscreen computer monitors were used for displays, using less space and giving the bridge a cleaner look.

The new monitors also allowed for video playback that could simulate interaction with the actors. 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.

Engineering was simulated with a large, three-story set, corridors, a lobby, and the largest warp core in the franchise to date.

The production had to design a space suit that looked practical rather than exaggerated. 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. Since Blackman was also handling the costumes for the television series, non-Starfleet design clothes were delegated to Deborah Everton , [17] a newcomer to Star Trek who was responsible for more than costumes during production.

The bulky suits were made sleeker and outfitted with fiber optic lights. So the Borg were not only in pain, but they were kind of ostracised. Everyone just uncomfortable in their presence. Which was terribly interesting for me, but I did feel heartbroken for my minions.

Each drone received an electronic eyepiece. 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. The cameraman also spent several days at the sets of Voyager and Deep Space Nine to observe filming. He reasoned that since the ship was being taken over by a foreign entity, it required more dramatic lighting and framing.

Leonetti preferred shooting with long lenses to provide a more claustrophobic feel, but made sure the length did not flatten the image. 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. Since so many new sets had to be created, the production commenced filming with location photography.

Zimmerman created a village of fourteen huts to stand in for Montana; the cast enjoyed the scenes as a chance to escape their uniforms and wear "normal" clothes. To give the scene a black-and-white feel, Leonetti made sure to use light without any coloration. The set lasted less than a day in its pristine condition before it was "Borgified". Filming then proceeded to the bridge. The set was lined with window paneling backed by red lights, which would blink intermittently during red-alert status.

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. For the Borg intrusion, the lighting originated solely from instrument panels and red-alert displays.

The fill light on these scenes was reduced so that the cast would pass through dark spots on the bridge and interiors out of the limited range of these sources. Small and watt lights were used to throw localized shafts of light onto the sets.

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.

To give the corridor walls more shape, Leonetti lit them from underneath. 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. But the minute you get in close, you defeat the whole purpose of being on the outside of the ship, so you can see the cells and the stars and Earth looming in the background.



Star Trek: First Contact is a American science fiction film directed by Jonathan Frakes in his directorial debut, and based on the franchise of the same name created by Gene reviewmelnm.cf is the eighth film in the Star Trek film series, as well as the second to star the cast of the series Star Trek: The Next reviewmelnm.cf the film, the crew of . Synopsis et details: Sur le campus de St. Andrews, la plus ancienne universite d'Ecosse, le prince William rencontre la ravissante etudiante Kate reviewmelnm.cfot, les deux jeunes gens tombent amoureux. Il faudra alors que Kate .

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