Crusher’s captaincy was another fulfillment of a season-long drive (“Descent, Part II”/253, “Thine Own Self”/268), while Moore noted that the writers were finally able to answer fan demands to really get her and Picard together (“Attached”/260)—only to turn that on its ear as well with their eventual divorce. Among the logical turns of Data’s life were his easy use of contractions and his position as the Lucasian chair of physics at Cambridge—an homage to not only Isaac Newton but current holder Stephen Hawking, two of his famous holodeck buddies (“Descent”/252). For the record, Critters of the Cinema had ten of its cats on-set as successors to Monster and Brandy’s “Spot” (“Descent, Part 2”/253, et al.): Bacall, Uma, Zeke, Bandit, Wendy, Shelley, and doubles Crystal, Sinbad, Sascha, and Justin filling in for Aspen, Caesar, Buffy, and Fido!
Though covering known territory, the “past” timeline provided almost as much originality. The only scene lost here, squeezed out in the later rewrite, would have had a conn officer named “Sutcliffe” upset at the perverseness of that era’s Picard and finally request a transfer—an homage, suggested by Piller, to the original “fifth” Beatle who likewise left his group on the eve of its greatness. Actor Christian Slater, a big Trek fan who’d cameoed in Star Trek VI, was up to play the part until it was penciled out; later tries at getting him in as the Romulan commander or other walk-ons didn’t pan out.
Many of the “past” choices were dictated by visual needs, Moore said “Tasha was something that would tie us into the past, and so’s O’Brien,” said Moore, “and Troi’s hair and go-go boots, and the ships on the wall in the obs lounge.” Of course, here O’Brien—with Colm Meaney stealing a break from DS9 filming—is given a name and backstory with the Rutledge (“The Wounded”/ 186) and model-ship-building (“Booby Trap”/154) long before they were ever heard on the series; though his uniform is the command-division cranberry he first wore in “Farpoint,” his pips show the revisionist rank of “chief” (“Realm of Fear”/228) and not ensign as they did then.
In the future, Professor Data and Captain Crusher discuss what Captain Picard has told them.
The past also recalls the early “babbling” Data—a fun recreation for the writers as well as Spiner—and the first season’s confusing lack of a chief engineer. A clip of “babyfaced” Riker from Season 1 (“The Arsenal of Freedom”/121) was inserted to provide a link to the period; a succeeding viewscreen moment between Picard and an uncomfortable Beverly was trimmed for time. There’s also the bit that Picard’s trademark “Tea—Earl Grey—hot” is not yet programmed, while the “future” includes the obvious smart comeback to the command by Professor Data’s housekeeper Jessel—whose name is a repeat Turn of the Screw homage by Braga (“Sub Rosa”/266). Also, the “past” Troi recounts that she and Riker cooled off “years ago,” although established dates (“Second Chances”/250) would make it only two years before this point.
Back in the past, Data and O’Brien meet for the first time.
Even Q’s demeanor changed throughout the rewrites, with Berman pushing to pull back the sight gags so the tension would not be undercut by the alien’s various guises as a croupier, the Grim Reaper with a scythe, and a game-show host flipping question numbers à la What’s My Line? Still, de Lancie makes the most of all his chemistry with Stewart in his eighth and final TNG outing. “I did not want to make it a ‘Q test,’” Piller said, wishing instead to echo the omnipotent being’s observance of humans solving a problem as in the pilot. But Q’s influence had to be injected when Stewart, as shooting commenced on the stage, pointed out the logic problem that the anomaly would not have occurred had Q not sent Picard in the time motion in the first place.
Visually, the production staff did all it could within reason to re-create the past Enterprise-D as well as postulate its future, such as returning the laid-back conn and ops chairs to the bridge; several details, such as set and carpet color, main viewscreen details, Q’s courtroom chair, and so on, were not altered—although the “future” viewer used details from past “alternate” looks (“Parallels”/263, for one). The observation-lounge ships are the originals, safely stored ever since production designer Richard James opted not to return them when the set was rebuilt. Still, with a pricetag of about $281,000 for thirty-one sets to ready or revamp for the time-switches—including four all-new sets—construction chief Al Smutko recalled that his crews worked their fourth weekend in a row after a busy season windup to get the show ready. Makeup wizard Michael Westmore regretted not being able to experiment more with aging and youthening the regular cast, but kept “the little things” of the cast’s prior makeup jobs while opting not to shave Denise Crosby’s hair as Yar.
A shuttle “07” named Galileo is the art department’s parting homage to the original series craft, built for the namesake 1966 episode—though of course the Type 6 shuttle used here was not around at the time of the TNG pilot. The bridge plaque seen hung in the “past” is another Mike Okuda touch, replacing the original’s production staff “admirals” with a design including only “authentic” Starfleet personnel mentioned in the series—including the Utopia Planetia technicians seen only weeks before (“Eye of the Beholder”/270).
The show was also a family affair for the visual effects team, with everyone divvying up the chores to have a hand in the last hurrah. With Phil Barberio handling some minatures and compositing, even Ron B. Moore took a moment from his ST: Generations duties to handle the transporters: “I can’t possibly work on the series seven years and not be involved with the last one.” Dan Curry created the “Very radiant” anomaly and the primordial Earth, matting in backlit lava and rocks against actual ocean footage enhanced with “Boraxo spray.” Artist Eric Chaubin, an Emmy winner for The Young Indiana Jones Chronicles and supplier of the Dyson Sphere interior (“Relics”/230), provided Data’s futuristic Cambridge environs, one of this season’s few matte paintings. Matte touch-ups also enhanced the “Picard” vineyards, shot this time near Temecula because the Lancaster area used previously (“Family”/178) was drably out of season.
The climax of the opticals featured Rick Sternbach’s future Klingon ship, built by Greg Jein after a less inexpensive redress of the attack cruiser (“Reunion”/181, et. al.) almost had to make do, in a two-plane battle sequence intended as a Hans Solo-like homage by David Stipes and storyboarded by Joe Bauer. Beverly’s medical vessel, the NCC-58928 Pasteur, was christened the Hope class after the World War II hopsital ship, a suggestion of Don Beck with the series’ previews-producing Beck-Ola. Bill George of ILM had already built the miniature in his spare time to TNG shooting specs for possible use, dubbing it Olympic class and basing it on an early original Enterprise concept by Roddenberry and Matt Jefferies, but the series’ policy forbid accepting unsolicited models—that is, until Peter Lauritson won approval when a ship was needed in a pinch!
Among other scattered trivia, the first draft originally featured Admiral Blackwell and the Romulan Sirol (“The Pegasus”/264) until final casting of familiar faces Kusatsu (“The Measure of a Man”/ 135, “Phantasms”/258) and Katsulas, the latter making his first showing as Tomalak since Season 4 (“Future Imperfect”/182) and bringing some of the bravado of his Babylon 5 ambassador to the part; he’d also appeared as the one-armed man in 1993’s film remake of The Fugitive. A scene cut for time featured actress Martha Hacket as Androna, who would have been the first-ever depicted Terellian despite her having only two arms (see notes, “Liaisons”/254); as it was, Braga still inserted mention of the Terellian Death Syndrome, perhaps the same as the Terellian Plague (“Genesis” 7271). Ensign Chilton was played by Alison Brooks, his girlfriend.
Also, Ogawa’s baby dies an unborn hero (“Genesis”/271), with extra B. DeMonbreun finally seen as her elusive husband Andrew Powell (“Lower Decks”/267); Braga’s USS Bozeman is back (“Cause and Effect”/218, ST: Generations), as is a mention of Dr. Selar (“The Schizoid Man”/131, “Remember Me”/179, “Tapestry”/ 241, “Genesis”/271, “Sub Rosa�
��/266), Admiral Satie (“The Drumhead”/195), the USS Yorktown (1968’s “Obsession”), acetychloline (from 1967’s “Immunity Syndrome”), a “fleetwide yellow alert” (“The Defector”/158), and Starbase 247 as Shanti’s home (“Redemption”/200). Rigel III, Geordi’s “future” home, is one of the few planets of that system not already mentioned as harboring a population.
“It’s not like it’s a perfect episode—it was done in quite a hurry—but I’m quite proud of it,” Piller said, “and proud that we’ve done something very much Star Trek, very much that deal with this strange universe, the universe of ideas.” “It’s the kind of show that only be done now, and by people who know it forward and backwards—and have done it for a long time,” Moore said. “It was a tall order but I think we pulled it off by the skin of our teeth,” Braga agreed. “And I got to blow up three Enterprises in this one!”
PRODUCTION STAFF CREDITS-SEASON 7
* * *
(In usual roll order; numbers in parentheses refer to studio’s episode numbers.)
EMMY NOMINEE: Best Dramatic Series
Casting: (*) Junie Lowery-Johnson, C.S.A.; ****Ron Surma
Music: John Debney (264); ***Jay Chattaway (253, 255-257, 259, 262, 266, 267, 270, 272, 275, 276); (*) Dennis McCarthy (254, 258, 260, 261, 263, 265, 268, 269, 271, 273, 274, 277-78) (EMMY NOMINEE, music/composition/dramatic underscore, series: “All Good Things …”/277-278).
Main Title Theme: (*) Jerry Goldsmith, (*) Alexander Courage
Director of Photography: ****** Jonathan West (all but 272, 273); Kris Krosskove (+/*******) (272, 273)
Production Designer: **Richard D. James (EMMY CO-NOMINEE, art direction: “Thine Own Self”/268)
Editor: ***J. P. Farrell (253); ****Steve Tucker (every third episode, 255-276); ******David Ramirez (every third episode, 254-278); Daryl Baskin (every third episode, 256-277); (latter two: EMMY CO-NOMINEE with supervising editor, single-camera editing, series: “All Good Things …”/277-278)
Unit Production Manager: ******Brad Yacobian (+/***
First Asst. Director: Jerry Fleck (all odd-numbered episodes, 253-277 except 275, plus 278); ******Adele G. Simmons (+/*) (all even-numbered episodes, 254-276); Richard Wells (275)
Second Asst. Director: ******Arlene Fukai
Costume Designer: ***Robert Blackman (EMMY CO-NOMINEE, outstanding costumes, series: “All Good Things …”/277-278)
Co-Costume Designer: ( ) Abram Waterhouse (272278) (EMMY CO-NOMINEE, outstanding costumes, series: “All Good Things …”/277-278)
Set Decorator: **Jim Mees (EMMY CO-NOMINEE, art direction: “Thine Own Self”/268)
Visual effects Producer: (******) Dan Curry (+/*) (EMMY CO-WINNER, with staff, visual effects: “All Good Things …”/277-278)
Visual Effects Supervisor: ******Ronald B. Moore (+/*) (all odd-numbered episodes, 253-269, plus 277-278); ******David Stipes (all even-numbered episodes, 254-278 except 276, plus 277) (EMMY CO-WINNER, with staff, visual effects: “All Good Things …”/277-278); Michael Backauskas (+/*******) (271, 273); Philip Barberio (+/******) (275); Joe Bauer (+/******) (276).
Post Production Supervisor: ******Wendy Knoller (+/***)
Supervising Editor: (******) j. p. Farrell (+/***) (EMMY CO-NOMINEE with editors: single-camera editing, series, “All Good Things …”/ 277-278)
Senior Illustrator/Technical Consultant: (***) Rick Sternbach (+/*)
Scenic Artist Supervisor/Technical Consultant: (***) Michael Okuda (+/*)
Makeup Designed and Supervised: (*) Michael Westmore (EMMY CO-NOMINEE, with crew, makeup: “Genesis”/271)
Art Director: ******Andy Neskoromny (+/****) (EMMY CO-NOMINEE, art direction: “Thine Own Self”/268)
Set Designer: ***Gary Speckman
Visual Effects Coordinator: ******Phil Barberio (253-263, then “series”); Michael Backauskas (all odd-numbered episodes, 253-269, plus 277-278) (EMMY CO-NOMINEE with staff, visual effects: “All Good Things …”/277-278); Joe Bauer (all even-number episodes, 254-274, plus 277-278); Edward L. Williams (+/******)(275, 277-278)
Visual Effects Series Coordinator: Philip Barberio (+/ *******) (264-278)
Visual Effects Associate: ******Edward L. Williams (253-274, 276); Frederick G. Alba (277-278)
Script Supervisor: (*) Cosmo Genovese
Special Effects: (*) Dick Brownfield
Property Master: (*) Alan Sims
Construction Coordinator: (*) Al Smutko
Scenic Artist: ******Jim Magdaleno (all odd-numbered episodes, 253-277, plus 278); Wendy Drapanas (all even-numbered episodes, 254-278, plus 277)
Hair Designer: ******joy Zapata (EMMY CO-NOMINEE, with crew, hairstyling: “Firstborn”/ 273)
Makeup Artists: ***June Abston-Haymor; Gil Mosko (EMMY CO-NOMINEE, with crew, makeup: “Genesis”/271)
Hairstylist. ******patti Miller; Laura Connolly (258-278) (both EMMY CO-NOMINEES with crew, hairstyling: “Firstborn”/273); Michael Moore (253-55); Lee Crawford (256-257)
Wardrobe Supervisor: ****Carol Kunz (+/**)
Sound Mixer: Alan Bernard, C.A.S. (EMMY CO-WINNER, with crew, sound mixing: “Genesis”/ 271)
Camera Operator: Kris Krosskove (+/******)
Chief Lighting Technician: ******R. D. Knox
1st Company Grip: ******Steve Gausche
Key Costumers: **Kimberley Thompson (all odd-numbered episodes, 253-277, except 257, plus 278); Deborah Hall (even-numbered episodes, 254-276); ******Dave Powell (all even-numbered episodes, 254-276); ******Matt Hoffman (all odd-numbered episodes, 253-273); Carol Kunz (+/****) (257); Maurice Palinski (275, 277-278)
Music Editor: *Gerry Sackman; E. Gedney Webb (277-278)
Supervising Sound Editor: ******Mace Matiosian (+/ *) (EMMY NOMINEE, with crew, sound editing: “Genesis”/271)
Sound Editors: ******Miguel Rivera; ******Masanobu Tomita; ******Guy Tsujimoto; ******Ruth Adelman (all EMMY CO-NOMINEES, with crew, sound editing: “Genesis”/271)
Re-Recording Mixer: Chris Haire, C.A.S., Doug Davey, Richard Morrison, C.A.S. (all, credited only 277-278) (EMMY CO-WINNERS, with crew, sound mixing: “Genesis”/271)
Post Production Sound: (*)Modern Sound
Production Coordinator: (*) Diane Overdiek
Post Production Coordinator: ******Dawn Velazquez
Assistant Editors: Lisa de Moraes, Michael Westmore, Jr. (both 277-278)
Visual Effects Assistant Editor: Arthur J. Codron (277-278)
Production Associate: ******Kim Fitzgerald (+/****); Kristine Fernandes (+/****); Dave Rossi, Cheryl Gluckstern, Zayra Cabot (all 277-278)
Pre-Production Associate: ******Lolita Fatjo (+/**)
Casting Executive: (*) Helen Mossier, C.S.A.
Stunt Coordinator: (***) Dennis Madalone (253, 254, 256-260, 262, 266-278)
Location Manager: ( )Lisa White (253, 256, 260, 265, 277-278)
Original Set Design: (*) Herman Zimmerman
Science Consultant: Andre Bormanis
Filmed with PANAVISION Lenses and Cameras: (**)
Monitors: (**) Sony Corp. of America (253, 256-257, 271, 272-278)
Special Visual Effects: (*) Industrial Light and Magic (ILM), a division of Lucasfilm Ltd.
Motion Control Photography: (*) Image “G” (253-276); Erik Nash (277-278) (EMMY CO-WINNER, with staff, visual effects: “All Good Things …”/277-278)
Video Optical Effects: Digital Magic
Special Video Compositing: (*) CIS Hollywood (253-276); Don Lee (277-278)
On-Line Editing: John Carroll (277-278)
Editing Facilities: (*) Unitel Video (253-276)
* * *
The number of * denotes a returning company or staffer’s initial season of credit in that position; ( ) denoted they are an original credited or co-credited person in that position; a ( + ) following indicates prior TNG work in another position
STAR TREK GENERATIONS
“Rumor Becomes Reality”
Between March 28 and April 15, 1994, the unimaginable happened: three versions
of the Star Trek universe converged. As Star Trek: Deep Space Nine, gained momentum in its sophomore season, Star Trek: The Next Generation ended its seven-year run on TV and launched its first wide-screen spin-off.
The series and its theatrical successor filmed practically side-by-side as the feature got a head start by shooting scenes that didn’t feature TNG regulars. These sections were numerous thanks to a plot that focused in part on Captain James T. Kirk.
Star Trek Generations benefited from the proximity and wisdom of many active creators well versed in Roddenberry’s world. Unfortunately, these talented people didn’t have much time to recharge their creative energy. Paramount’s November 18 release date left only six months between the last hurrah of the series and the movie’s debut.
Why the rush? “We were told to” was the simple answer of Rick Berman, executive producer of Star Treks across all formats. “Originally they wanted us to have it out in March. Then they said Christmas, and then Thanksgiving. It just kept creeping up on us.” But Berman didn’t argue. Considering the gulf between the television and film camps in Hollywood, he faced a new world where the stellar success of the TNG series did not automatically guarantee him a blank check.
“The television studio people knew me and how I worked, and trusted me after seven years. But the feature film people didn’t, and I had to develop that rapport with them,” he said. Apparently something clicked, since Berman was able to provide many of the series’ talents with their first feature credentials: director David Carson, post-production producer Peter Lauritson, costume designer Bob Blackman, composer Dennis McCarthy, and especially co-writers Brannon Braga and Ronald D. Moore.
The Star Trek: The Next Generation Companion: Revised Edition Page 56