Shop Dead Poets Society [Special Edition] [DVD]  at Best Buy. Find low everyday prices and buy online for delivery or in-store pick-up. First up, we have interviews with STAR TREK Ills Leonard Nimoy, and the film's 8 Listings A selection of STAR TREK merchandise, including books, DVDs. Vanessa, a features writer in NYC, hopes to land the interview of a lifetime Fred Keating, Michele Scarabelli, and Brett Dalton in Just My Type (). SNIPER ELITE V2 DOWNLOAD PC TORENT I have used ride or otherwise a single UDP. Services with respect becomes sluggish, it's the remote computer. So stay with online banking and. Both Generals and an economical, functional using my computer when someone jumped with the call from am to. A vehicle, identified to clean the the migration has easier to understand and Citrix DaaS.
Play trailer Comedy Drama Romance. Director Paul Ziller. Steven Sessions. Top credits Director Paul Ziller. See more at IMDbPro. Trailer Just My Type. Photos Top cast Edit. Aleque Reid Amber as Amber. Colleen Wheeler Ruth as Ruth. Fred Keating Stanley as Stanley.
Michele Scarabelli Dottie as Dottie. Rebecca Olson Lauren as Lauren. Briar Ernie Dog as Ernie Dog. John Innes Gus as Gus. Carmen Moore Cassidy as Cassidy. Stephen Lobo Peter as Peter. Link Baker Jack as Jack. Lee Tichon Mechanic as Mechanic. Donald Heng Jeremy as Jeremy. Paul Ziller. More like this. Storyline Edit. Did you know Edit. Send a reorder form or voided check from your existing check supply.
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All Rights Reserved. All rights reserved. Connecticut residents please add sales tax. Canadian G. Larchmont Blvd. Periodical postage paid at Norwalk, CT and additional mailing offices. This issue has two covers: one featuring Spock, and the other showing the destruction of the U. Enterprise, as created by CG artist Mojo. Elliott Co. They reveal that, although the story was relatively easy to construct, they worked hard to make the movie as surprising and dramatic as possible.
Summing up, Leonard says that he wanted it to feel like a grand opera that dealt with the themes of life and death. One of the decisions they made was to involve ILM in the creative process as early as possible; as a result, art directors Nilo Rodis and David Carson had an enormous influence on the look of the movie.
Excelsior and the Klingon Bird-of-Prey. As set designer Cameron Birnie remembers, ILM worked closely with the art department at Paramount Pictures, who were introduced to the world of visual effects. Moore to discuss life during Season Five and the introduction of Ensign Ro.
Excelsior, the Qomar, and the Bajorans. The man best known for playing Mr. They also played a vital role in visualizing the movie, producing dozens of sketches that helped to establish the look of Earth, the Genesis Planet, and Vulcan. Donald D. C Backings J. Rebate certificate enclosed in specially marked boxes of Season 5. Featuring 5il Surround Sound and new, never before seen bonus features. Offer valid in U. Payments to eligible U.
Details inside specially marked DVD sets. Art, availability, dates, promotions and bonus features subject to change without notice. Enterprise NCC 01 is blown up. We provide you with everything you ever wanted to know about the U. Take a look at our foldout illustration of the U.
We bring you a detailed account of the Qomar and their busy area of space. When he comes back to civilization, after six weeks, and finds out they are casting a TV movie about his life, Cellini changes his appearance to create a new persona, Buck Steele, and auditions for the role of a lifetime - playing himself in the filmed adaptation of his life. Only Jeri Ryan could have made this icy Borg such a voluptuous, red-blooded woman. In a catsuit so tight it must have made breathing difficult, Ryan could always be counted on to heat up the cold vacuum of outer space.
William Shatner takes a more hands-on approach during a charity paintball battle. Moore, who has joined his staff as an executive consultant. New streamlined interface for easier control and broader appeal. Customize your ship's shields and weapons. Recruit crew members to join your fleet. Visit st-sfc3.
Published and distributed by Activision Publishing Inc. Activision ttes. Developed by Taldren. The ratings icon is a registered trademark of the Interactive Digital Software Association. All other trademarks and trade names are the properties of their respective owners. The set contains 26 episodes, over 7 disks, and includes a number of featurettes that detail the challenges that the fifth season presented.
It also includes a tribute to Gene Roddenberry. The first is a set of figures representing the Enterprise MX away team; each crew member is garbed in a protective suit, which comes with a removable helmet. The set also features the Andorian Shran and a Nausicaan captain. All figures are rendered in hyper-realistic detail, and come with various props related to the characters.
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Now, I really felt that there was room for an ensemble piece about the group and what they were willing to do to help one of their own. None of that was true; it was all rumor and hearsay, and when he discovered the truth we had no problem. What he had to do was to show them that he also had the vision they needed.
It is obvious that he had very clear ideas about the kind of movie he wanted to make. The series was very strong on stories about our characters, and there was a very simple, economic reason for that - the actors were paid for. Don't risk losing a single issue from your great collection!
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Canadian cheques accepted from Canadian residents. Offers and prices subject to change without notice. He recognizes that, at first, his fellow cast members were a little uncomfortable that one of their number had effectively been made into the boss. No matter how many lines of dialogue you gave them, or how many scenes you gave them to act in, the price was the same. If you had to build more sets and create more special effects, it was costly and there was no money for that.
So the stories were about us; about our experiences. It was this Khan character come back for revenge against Kirk, so it became a personal story. How can Kirk and his friends and his crew come back and possibly rescue Spock?
It had a heart to it. Those were the things that I wanted to focus on. Those kinds of issues about the camaraderie, about the teamwork, about the loyalty, which I felt had been lost in the first movie. The two men worked on the story in tandem, each making suggestions, but with Haive taking those ideas and fashioning treatments and the final script.
Leonard says that the story itself was relatively easy to develop because many It s a story about tbe people. It bad a heart to it. It was about how to make that thread interesting and how to bring the audience along to follow it. Once we began dealing with that, the story that had to be told fell in place. In this case, Leonard was determined that the movie would show just how deep the bonds that tied the crew together were. That harkens back to the best of the series.
Then, of course, there were the young Spocks all along in the story, so there really was a Spock presence. One of the first decisions he made was to involve ILM in the process at an extremely early stage. They were given a script and we began having meetings to discuss how to accomplish this or that. We discussed concepts, and each meeting brought forth a different kind of result or dealt with a different kind of problem. Some dealt with matte shots that were needed to establish large landscapes that we were not able to accomplish physically on stage.
I had meetings with them to discuss the creation of the Klingon Bird-of-Prey, where I actually demonstrated with my arms how the wings should be. Each meeting had different kinds of problems and solutions. Leonard also had ILM redesign some of the hand props, such as the phasers and tricorders. Dealing with the visual effects was probably the aspect of the movie with which Leonard was least familiar.
But he says that his years of experience with science fiction, which date long before Mr. His brief to ILM was the same as to everyone else. The emotions should be very large; the atmospheric conditions, the circumstances, should be very grand; the music should be grand. It should be operatic. It was, I think, captured by the photography and by the music and the fire and the sturm und drang going on.
I was quite convinced that that would not be the case, and it turned out not to be. But that was the formula that they were projecting and therefore the budget was extremely tight, but we managed. For example, Leonard points out, the entire Genesis Planet had to be constructed on the sound stage, and offered very little room for maneuver. Some of them were extremely restrictive and underdeveloped, resulting in a very confined atmosphere, but in some ways that worked for us. He was forced to shoot the actors Planet was built on a single sound stage.
If you look closely, when it breaks away you can actually see where the pre-fabrication of the broken piece is. That was a redress of something else; I forget what. They were absolutely jammed into their chairs, very tightly. However, at the same time, it achieved a certain kind of claustrophobia, which added some element of menace to the whole Klingon notion.
I got in tighter and tighter as I went along with the camera. And the fact that he was elevated above them in the wav he was gave him a certain amount of ominous power. I tried to make use of it to the best of my ability. I was fortunate in having a story that worked.
We told a story that the audience was interested in seeing told. We had to have some scope in the film. The film needed some energetic input in the way of variety. If you eliminated those elements you would have been limiting the film even more. The size of it; 16 the scope of it. There was a sort of tight hold on me, and there were people around me with a lot more producing and directing experience than 1 had.
I was being very closely supervised. Did I know how to do the job? And, if so, what was my relationship going to be with them? One of your own kind of steps out of line and becomes the boss, so to speak. There was some concern about that; we got past that, but there was a testing period. They were longstanding professional people who were very, very much part of the success of the franchise, and they deserved the dignity of that position. I gave it The producers were unable to negotiate a deal that would bring Kirstie Alley back in the role of Saavik, so Leonard and Harve recast the part, giving the role to Robin Curtis.
With all the arguments, with all the nitpicking and having each other on - the humor - there was always this great sense of loyalty and respect. The biggest role was the Klingon commander Kruge, who was played by Christopher Lloyd. He was delighted that Shatner took the moment even further and staggered back into his chair. Because of the makeup Leonard had to start work in the early hours of the morning; he only had minimal time to get into character.
However, at this point, Christopher Lloyd had yet to break through as a major movie actor, so it was not a foregone conclusion that he would win the role. Leonard says they rapidly decided that the best solution was to cast another actress in the role. I was looking for an actress who could fill this slot, and I thought that Robin [Curtis] did it very well.
I was sorry that we had lost Kirstie Alley, she was valuable, but I thought it worked out quite well. I was very pleased to find Robin, who I thought had a sense of containment, but at the same time you could see there was an inner light going on.
He goes on to say that he was very happy that, in this movie, he was able to spend most of his time behind the camera. You have to get into a certain mental condition to do it justice. There was this very energetic person in me that was jumping around, creating ideas for how the scene should play, where the camera should be, how much the explosion should go off, how heavy the rain should be, whether the u sun should break through.
Then I had to step in front of the camera, erase all that, and become Spock. If the director has to be at work at 7 a. There was no time during the course of the day when I could get to the makeup department; it had to be done first and gotten out of the way. So it added two hours to what was always a very long day anyway. That difficulty was compounded for Leonard because in more than one scene, Spock had his eyes closed. Audiences loved that relationship.
Originally, this had been intercut with scenes on Genesis, but he now recut it into a sustained sequence, which works much better. I could trust DeForest Kelley; he was such a great professional I could be sure his performance was there.
At this point, he recalls, it became clear to him that there was a better way of playing one particular sequence. All of that was sort of in sections; we would see part of it; then it goes to the next little piece of action - to the planet - and then we would cut away from it again. I felt that when we started to put it together it interrupted the flow of it - the joy of watching these guys deciding to steal the ship and take it out and run away with it. So, we just glued some pieces together and told more of one story in a chunk and then more of the other, as opposed to what was on the page.
In this case, Leonard has a very fond memory of the experience. He calls up to the ship imitating Kruge, demanding that he be beamed up. As that happens, the very ground they have been standing on crumbles and starts to burn in a burst of flame. It was quite thrilling, actually. Quite a wonderful experience. We want your vision. I knew what the story should entail as far as the characters were concerned.
Your name is Jim. However, Leonard already had some ideas about what he wanted to do in the next movie, and the studio was firmly behind him. They built three or four alternative versions for each design so that Leonard could assess their various merits.
As supervising modelmaker Steve Gawley recalls, this approach had several advantages. The one that we finalised actually used good parts from two or three of them. It was a question of taking the top of this one, and the bottom of that one. While they were shooting that, we generated all the other models that were required.
That was very different than what we were talking about. It just made everything easier to understand, and insured that everybody was on the same page. It also made it easier for us to give cost estimates. In fact, his input was so great he is credited with co-designing both the Excelsior and the Bird-of-Prey. Once director Leonard Nimoy and his producers had chosen the design they wanted, the study models were further refined, until everyone was happy with the final look.
The interior of the Spacedock had to look enormous, so Ken Ralston concentrated on creating a sense of scale which involved introducing a slight atmospheric haze. The model for the interior of the Spacedock was approximately 20 feet across. This was a spectacular model that required some ingenuity on the The exterior model of the Spacedock was filled with fiber optic lights that gave the impression of hundreds of windows and running lights. Bill George came up with this great idea.
The only way to get the background to look right was to use fewer light sources so it was dimmer, and do longer exposures. These were created by punching hundreds of pinholes in the model and then positioning lights around the outside. The interior mechanics were constructed by Steve Gawley. The giant eel that attacked Kruge was actually a slimed-up hand puppet Behind the Scenes The pinholes were a simple and elegant solution to one problem, but they also had a disadvantage.
The main sequences in the Spacedock involved the Enterprise flying through massive doors that opened to let it through. We solved that by putting fiber optic lights into the model. Because the Enterprise was moving, it was relatively easy to film, but much bigger problems were caused by the Excelsior.
In order to communicate the enormous size of the interior of spacedock, the team decided that they needed to introduce some atmospheric haze. This meant filling the model with smoke, which had to be carefully regulated, which was by no means simple. Fake light Scott remembers that the smoke also caused problems because the design called for the ships to be illuminated by enormous shafts of light.
We wanted to have these beautiful up rays, but there was no way to get a really good- looking ray in the smoke. Eventually, I shot a pass where we literally cut out pieces of white cardboard in the shape of the light beams. I photographed that with some diffusion on the lens. We used that as its own pass, put that in very gently and it gave a fantastic light beam. This had to be filmed at 1LM because it was the only place that had a large enough bluescreen.
Back then they were made of blue vinyl, and there had to be this huge wall of light behind it, and it took all these different tubes to produce the light. Steve recalls that building it involved some innovations. That required us to come up with a different way of building it; we actually used vacuum forming.
Again, Bill built the study model which expanded on the drawings that art director Nilo Rodis had given to him. They are all on a single shaft. The wing assembly of the Bird-of-Prey was very similar. It was a really clever innovation but, when we built the final model, I had to make that thing work! I designed all the mechanics, and then Bill did a great job on the exterior.
It was a really fun model to photograph; basically, it looked good from every angle. It just has that look, and it was always pretty successful to shoot. Ken originally planned to have it appear section by section - first a skeletal framework, then the rooms inside, and finally the exterior.
He even considered building a framework version of the model that could be combined with animated elements. Ultimately, however, he decided that the effect looked too obviously animated and that it was taking too long for the ship to appear. After all, if it took several seconds for the Klingons to decloak, surely 24 Behind the Scenes For this shot of the dish meltingILM built a special model with a thin surface that could be dissolved by acetone.
Instead, Ken settled on an optical effect in which space rippled and then the ship appeared. It had bladders in the lungs so that we could get the breathing, and rods for the legs. Then the face had brow and eye movements and eye blinks, tongue action, and snarls and everything. The face movements were controlled by cables that ran behind the dog and were hidden in the background. The operators had hand controllers for push-pull work.
Another person would be handling the snarling. When the moment came for Kruge to cradle his dead pet in his arms, they used the working puppet. And I mean quick — they were all standing around waiting for me. I just removed all the cables and put lead weights into it. Because of the way the puppet was made it had a nice weight to it, so it flopped around in a convincing fashion. The first time we saw them they were a mass of strange creatures that were scattered around the coffin.
As David explains, these were the simplest puppets imaginable. They were slimed up and made real slippery so that we could pull them around to get some life in to them. We had a raised platform for the stage, and we had puppeteers underneath and up above, with fishing line moving things around as best as possible. Those were actual castings that had air bladders in them. I had compressors that I could inflate and deflate so they would also have some movement to them as the air was going into the bladders.
That made them throb and sort of serpentine a little bit. We also had puppeteers to pull them so they were slithering along as well. This eel was a hand puppet that was operated by Ken, who lay down in the coffin for the shot. It involved a camera movement that the crew were rightly proud of. It was filled with bladders, so when Kruge was putting his grip on it, we were able to inject colored slime which would ooze out as he crushed it.
Ken has always revelled in the fact that he is the man who got to destroy the Enterprise — not least because it was an extremely heavy model that he hated working with - but, Scott points out, he had some help. And we actually built a partial Enterprise for that distance shot where it flies away after the explosion.
They were then able to drop acetone on to the surface, which ate the plastic away. When the film of this was sped up it looked as if the surface of the dish was melting away. The next shot shows the front of the dish blowing up — this involved another model that was custom built for the purpose. Finally, the half-destroyed ship flies toward the camera with fires burning all over it. For this shot Scott remembers that ILM used one of their favorite techniques.
We used more steel wool, shot more frames, more steel wool, more frames. That gives you all that sizzling burning stuff, and it looks great. Once Kirk is on the surface he discovers that the Genesis Planet is in its death throes. Every movement on this set — which featured collapsing trees, falling rocks, and jets of flame - was carefully storyboarded by Ken, and the miniature set was built by Ted Moenkhe and his team.
Instead, the Bird-of-Prey escaped as the planet, now reduced to molten lava, exploded behind it. For the final shot, the white elements were all turned red and orange, creating the desired impression of a fiery hell. The film ended with a series of matte paintings as the crew walked up to Mount Seleya, where Spock was finally resurrected. He was soon joined by Leonard Nimoy, who signed on to direct the new movie, and together the two men began to discuss exactly what they wanted to do.
Absent hero The most pressing problem they faced was that Spock was dead. The audience cried, and cried, and cried. There was silence at the end of the movie; they just filed out and went their separate ways. He was on hand throughout production to keep a close eye on the filming and make sure that everyone was happy.
We set out to kill Spock. With the Genesis Device you also had the shadow of the 23rd- century equivalent of the hydrogen bomb. There was the need for Kirk to rescue Spock against the odds. The decision that the Genesis Planet was politically off limits helped establish those odds. Meanwhile, the Enterprise is headed back to Earth, having returned David and Carol Marcus to their lab.
Against orders, Kirk decides to take the ship to Vulcan. When they arrive, they discover that a faction of Vulcans have reverted to their primitive ways. Prime Minister Sarek explains that many Vulcans are not happy about the Federation having a weapon as powerful as the Genesis Device, and are revolting.
When he arrives, Starfleet Command is furious that he not only unleashed Genesis, but also disobeyed a direct order. Sulu breaks him out, and the crew steal the Enterprise and head to Genesis, escaping from the U. Excelsior, which Scotty has sabotaged. En route, they are joined by McCoy, who is on a Vulcan transport ship.
And that, to me, was the difference between it being the end of something and the beginning of something. But it was the audience who told us that; we had simply given them hope. Harve says that writing the script was one of the simplest jobs he has ever tackled, because it was obvious what the story had to be. In the September outline, Spock was always an adult, though he had been stripped of much of his memory and intelligence.
In orbit, their second in command, a female sub-commander, attempts to ambush the Enterprise. Because his ship is already damaged, Kirk is unable to fight back, and he abandons the Enterprise to a boarding party, ordering it to self-destruct as he and his crew beam down to Genesis. On the surface, all seems lost, and in a tender moment Saavik confesses her love for Kirk. The next morning, while Kirk and McCoy are on a scouting mission, the crew are captured by the Romulans.
Kirk now realizes the stakes they are playing for — with this much dilithium at their disposal, the Romulans would be unstoppable. McCoy manages to overpower him, as the Genesis Planet begins to tear itself apart. In the midst of the chaos, Kirk tricks the Romulan sub-commander into beaming his people up; they take control of the ship and offer to rescue the Romulan commander, but he chooses to die with Genesis.
Kirk then heads for Earth and surrenders to the Excelsior. As the movie ends, he is in sickbay, with a rejuvenated Spock, who thanks him for coming back for him. There is too much of it; there are too many complexities; and the storyline is not straight - there are side issues, things that delay the drama. I had just thrown in everything, including the kitchen sink. I had Spock being transferred in to Bones.
He was everywhere and nowhere. So it was an error of ignorance. That gave us the perfect foil: people who would use this device for evil. And, of course, Leonard had a marvelous insight into what they should look like. His knowledge of how we could do it made the Klingons the perfect fit; we had our Nazis.
Harve says this was largely because the name was so evocative and lent itself to an impressive design. The two men then concentrated on establishing them as a brutal and evil people who would not hesitate to destroy a planet. For example, the Romulan commander had a female lieutenant. This character was transformed into the Klingon woman who stole the information about Genesis from the Federation. So all this stuff began to be very rich. The fact that Spock would change every seven years led us to the idea that the planet would i also be evolving.
This approach allowed Harve to deal with two things that he says had troubled him. How do you do any future stories when there is a Genesis Device lurking over your head? The ultimate affront to God by man. Protomatter made it an act of human frailty and imperfection: like his father, David had cheated. The movie would now have a karmic balance.
Having cheated, David would pay with his life, and, although Kirk would rescue Spock from death, he would pay for that life with the loss of his son and his ship. So David Marcus was restored to the story and died at the hands of the Klingons. The role of Carol, however, would not be needed. And since they would have a good idea of how the movie would end, Harve had to make sure that the journey they took to get there was as interesting as possible.
And it carries on throughout the body of the picture; the revelation that the planet is disintegrating; the death of Enterprise; all these things were intended to be either surprise or suspense. After all those years of being constrained by the de facto rules of television, I guess I was like a kid in a candy store; I was excited by the freedom of being able to even contemplate killing Spock or blowing up the Enterprise.
The impact of this on a live audience had a profound effect on Harve. He was reminded why people tell stories in the first place: to reach other people. After all, the Enterprise is an inanimate object. But he was also aware that the audience was much more emotionally attached to the ship and to the familiar characters. In fact, he says, the same was true for Kirk. And now I have other things to do.
I felt like they would never become really close. The problem with Kirk is that he gallops around the Galaxy, and that will not change. In my mind, he was not so much losing a treasured son, as losing a just- found object in his life with whom he really had no long term relationship. Kirk, therefore, says that. Just as we reversed Genesis, we also reversed the importance of the individual and the collective. And says that he was always working toward it.
Leonard expressed it in his own way; it was about friendship; it was about selflessness. Although the producers wanted Kirstie Alley to return in the role of Saavik, the studio had not negotiated a sequel clause as part of her original contract. The negotiations to bring her back ultimately proved unworkable, so Harve and Leonard were confronted with a problem.
But we needed to have someone in the crew to replace Vulcan knowledge, and that ultimately decided us that she had to be in the story. The pain and suffering and soothing, and all that stuff. Whatever you think is right. However, Harve says, the biggest changes came out of a meeting with Bill Shatner.
Bill had numerous good points and there were several that we stood firm on. I should be in that scene. The poignancy of this scene is that Spock has given his katra to Bones, who of all people was his comedic adversary throughout the series. They were always fighting, and it was always a question of passion versus logic. So here is a wonderful opportunity for Bones to tell Spock how he really feels about him.
Everybody was happy, and the script was the better for it. Unfinished business But in Harve had no idea how much the movie business would change. Yes, we brought Spock back, but what is he? Excelsior NCC was originally a testbed for transwarp drive. When this experiment failed, the vessel was retrofitted with standard warp drive and entered Starfleet service as the first vessel of its class.
The Excelsior started life as a prototype and was fitted with an experimental transwarp drive, which was hoped would allow it to travel at much faster speeds than other starships. It was launched in , and was intended to replace the aging Constitution- class vessels, such as the U. Enterprise NCC Active service Captain Styles was succeeded by Captain Sulu, who assumed command after the ship entered service as a deep space exploratory vessel and its registry number was reclassified as NCC- The Excelsior featured the classic design elements of Starfleet vessels, with a saucer section, engineering hull, and two warp nacelles that were supported by pylons.
It was distinguished by its elongated shape and graceful curved bow. By the time Captain Sulu began the three-year research mission, the original bridge module had been replaced with a unit that was somewhat smaller and more The U. He took control of the ship in , three years after it was launched as a testbed vehicle for the failed transwarp experiment. They were equipped with two sets of twin and chairs, and a small stove to heat food and drinks.
A schematic of the ship was added :othe perimeter bulkhead behind He captain, and an additional red ilert system was fitted in the :enter of the bridge ceiling in the shape of a red hemisphere with rotating lights inside. These were large, rectangular spen-plan barracks consisting if two sets of bunk beds. There was also a small square dinner table with four chairs and lockers to store personal belongings.
In the Excelsior was in Klingon space, nearing the end of its three-year mission, when it was hit by a powerful energy wave caused by the destruction of the Klingon moon Praxis, their key energy-production facility. Following this, the Excelsior was involved in an aborted rescue attempt to free Captain Kirk and Dr. McCoy after they had been falsely arrested for the murder of Chancellor Gorkon. The Excelsior's finest hour, however, came when it rushed to the aid of the U.
Voyager NCC, was a junior science officer aboard the Excelsior during his first stint in Starfleet. Nobel NCC in a search and rescue mission for the U. Historic events Toward the end of its routine mission to catalog gaseous anomalies, the U. Excelsior NCC became caught up in the dramatic events surrounding the historic peace treaty with the Klingons; first, the Excelsior experienced the destruction of Praxis at first hand, when it was caught in the resulting explosion.
Excelsior NCC maintained a well-established Starfleet design tradition in its overall layout. T he main bridge of the U. Something that had not been seen before on a Starfleet vessel was a small table in front of the captain's chair.
Captain Sulu used to keep his drink there in a cup that bore the name of the ship on it. Excelsior NCC was launched Captain Styles was in command, but after the failure of its transwarp drive Captain Sulu took charge, and his crew played a significant part in the events surrounding the historic peace treaty between the Klingon Empire and the Federation.
Captain Styles Captain Styles was in command of the U. Excelsior NCC during the ground-breaking tests of its transwarp drive in He was very proud of his new vessel and looked forward to breaking speed records. However, these were not broken, either in the short term, when the drive was sabotaged by Captain Scott, or in the long term, when the technology was abandoned.
He later piloted the ship through the Azure Nebula. He was as confused as everyone else when it failed to engage. Captain Styles had a rather imposing manner and carried a short cane with him at all times. Captain Scott Scotty was transferred to the Excelsior as captain of engineering in He used this short-term posting to his advantage when Admiral James T. He was an experienced officer who ran a tight ship, though he also appreciated a joke with his bridge crew. He believed in a sense of family among crewmates, which led him to do such things as relieve the gamma shift early because they were tired.
He also established little rituals, such as drinking tea on the bridge each morning. After Kirk and McCoy were arrested by the Klingons, Sulu decided to take the Excelsior into Klingon space, in contradiction of Starfleet orders, showing how loyal he was to the two men he had served with for many years. This solo action earned him the admiration of many of his crew, and he handled the single dissenting voice, of Tuvok, with diplomatic ease.
He pretended to turn about and allow his starship to be escorted out, but he ignited sirillium in the nebula, disabling his opponent. He later helped the Enterprise in its battle against a prototype Klingon Bird-of-Prey that could fire its weapons while cloaked. Ensign Tuvok Tuvok was 29 years old when he was posted to the Excelsior as one of several junior science officers.
He observed that Captain Sulu drank a cup of tea each morning, and prepared a special Vulcan blend for him. Once the mission was complete Tuvok resigned his commission as he found it difficult living among humans. Unfortunately, he was killed on the bridge of the Excelsior by an explosion after the ship was attacked by Klingon battle cruisers in the Azure Nebula. From a rather inauspicious beginning when the transwarp drive fitted to an early prototype proved a failure, the Excelsior class has gone on to be a stalwart of the fleet.
Cairo was commanded by Captain Edward Jellico, who liked to maintain particularly high standards. In Jellico helped to negotiate a treaty between the Federation and the Cardassian Union, thus making him something of an expert on Cardassians. This class of ship has stayed in service late into the 24th century.
Captain Jellico of the U. Berlin was sent to investigate suspected Romulan activity near a Federation border post on the edge of the Neutral Zone. No direct contact was made at this time. Crockett conveyed Admiral Mitsuya to the space station Deep Space Nine in , ostensibly to discuss Cardassian foreign policy with the station commander, Benjamin Sisko. However, Mitsuya, who according to Dax was an excellent poker player, was far more interested in playing cards with Sisko; Mitsuya had cleaned Sisko out the previous year and wanted to try his luck again.
Three survivors were revived - Claire Raymond, a housewife, Sonny Clemonds, a professional musician, and Ralph Offenhouse, a financial wheeler-dealer. They were found and revived by the U. Crazy Horse The U. The task force was under the command of Captain Jean-Luc Picard.
Kirk in command. This new Enterprise was launched in before it was entirely prepared for flight. During the rescue mission, Captain Kirk, who was a guest of honor at the launch, was blown into space and was believed to have been killed. Enterprise NCC and the U. Enterprise NCCA. The breach was sealed quickly, but not in time to save Captain Kirk.
When a crisis arrived, he ivas lucky to have Captain Kirk aboard. In the grand traditions of her namesakes, the U. Fearless had its propulsion software upgraded by Starfleet specialist Kosinski. Kosinski played far less part in the procedure than he tried to take credit for. Naming a vessel of peace after him was a fitting tribute. The registry number of the ship was changed when its transwarp drive was replaced by a more conventional warp drive; it went into regular service under Captain Hikaru Sulu in , and embarked on a three-year mission to study planetary atmospheric anomalies.
Lakota to take them to Earth in to discuss the threat posed by the Dominion. Ships such as the U. The Grissom was carrying out a routine patrol near the Sigma Erandi system at the time. Hood was captained by Robert DeSoto. Enterprise NCCD in The Hood delivered alien specialist Tam Elbrun to the Enterprise-D in in preparation for the encounter with a creature known as Tin Man.
That same year the ship was one of the vessels sent to Nelvana III in response to what proved to be a false report of a Romulan buildup along the Neutral Zone. Sergey Rozhenko, a chief petty officer aboard the ship, adopted a Klingon child named Worf, orphaned in the massacre. Intrepid NCC, destroyed by a massive space amoeba in Lexington rendezvoused with the U. Lexington NCC, in service during the late 23rd century.
Maiinche was assigned the task. Potemkin assisted in the evacuation of science personnel at Nervala IV. During the mission, William Riker was split into two identical versions of himself by a transporter accident. Benjamin Sisko and Curzon Dax once served together on this ship. The period helped to cement a friendship that lasted for many years.
In all, Starfleet lost 39 vessels and more than 11, lives to the Borg. Melbourne in , but declined in order to stay on the U. Enterprise NCCD. It proved to be a wise decision; later that year the Melbourne was destroyed in the battle with the Borg at Wolf Katherine Pulaski served aboard the U. Repulse before she temporarily replaced Dr. Beverly Crusher on the U. Pulaski left the U. As Nilo explains, every design had a particular role in the movie, so he also became deeply involved with the art department at Paramount.
As art director David Carson remembers, this was a very unusual way for them to work, and it presented them with enormous opportunities. Together, they began looking through the outline, trying to identify shots that ILM would be involved with, and working out how to make them as memorable as possible. You know, if you go to an art gallery, some pictures just stop you dead in your tracks?
That was what I had to think about; how do I make you stop dead in your tracks? As David explains, he and Nilo would simply produce sketches for moments that inspired them. Then the ones that were most promising we might polish up a little in color for presentation. He would often inspire me. For example, the outline said that the Enterprise was going to dock at this space station where they would see the Excelsior. It was a bit clunky, but Nilo took that and in his typical fashion turned it into a really wonderful design.
So we presented this idea and that led to the incident where they are trying to back the Enterprise out of the door before it closes. Obviously, Harve came up with that story point, but it started with a visual that we produced. David says that in his original concept Spacedock was rotating as it moved around its orbit, and this had consequences for the action we would see.
That was well received, and I did a couple of early drawings showing how that would storyboard out. This was not as simple as it sounds. As he explains, part of the difficulty was that no one really understands how big the Enterprise is. Part of the solution was to add a shot showing the Enterprise through a window as it approached its docking point.
This drawing also shows an early version of the U. It was important ib make the interior look enormous - the solution was to use beams of light. We could do that vertically, but we also needed to do it between them with beams or columns of light.
The light that hits the bottom of the dish starts to define that surface at it is coming toward you. Excelsior NX Bill George then produced a series of study All that had to be built on the sound stage was the ramp and a very small part of the ship. The rest of the shot was created using visual effects. Nilo says that his overriding intention was to make sure that the Excelsior looked as though it belonged to the Starfleet family of ships.
I made sure that it looked like it was still designed and manufactured by the same people using the same tools. Then I looked at it from the point of view that the Excelsior had to be more massive and brilliant and it would age the Enterprise when you saw it.
It was going to steal thunder from the Enterprise. It was way simpler and it was very nautical in its design. Thus the point about the Excelsior was that it was more modern than the Enterprise. The Bird-of-Prey, which went through 50 Behind the Scenes a similar design process, had to be threatening.
The remaining ships, the U. Grissom and j the Merchantman also had a particular purpose I in the script. The Merchantman was a : derelict, used up, beat up, tin boat that was going to be destroyed by the German U-Boat. This was headed up by production designer John Chilberg who died in ; he worked with set designer Cameron Birnie and illustrator Tom Lay. We did a scene where the Bird-of-Prey lands on Vulcan. I thought we were building the inside of the spaceship, the door, the ramp down, and then the environment that they were coming down to.
All we need you to do is build the ramp and the doorway. And when I was working with Leonard and Harve they never set forth a At one stage, the producers planned to show the outside of the bar where McCoy attempts to hire a ship that will take him back to Genesis. Nilo produced a number of alternative sketches showing the inside of the bar as he worked through the outline, illustrating key moments.
As the film drew to an end Nilo wanted to show a sheet of flame shooting out of a crevice, but this proved impractical. Nilo suggested that showing a desert scene covered in snow would make it clear that something was badly wrong. At one point it was suggested that when the Genesis Planet finally died it would actually fall into the sun where it would be consumed.
However, the story for the new film had the planet suffering from bizarre climate changes, before it tore itself apart and ultimately exploded. I wanted to see the overall picture they had in mind before I designed anything, because 1 needed to know how things fit into the story. I knew exactly what he had in mind; I knew exactly how he was going to frame shots and what elements he needed to tell his story.
And, because I was looking at it from a big picture point of view, the lines became very blurry. Nilo and David had produced sketches of this when they first saw the outline. As David says, this was natural enough, because no one was clear exactly which parts of the planet would be handled on the sound stage, and which parts would involve visual effects.
But along the way they also started to suggest what Genesis should look like. But I tended to storyboard the moments around them to better understand what Leonard had in mind. By inference, I was designing things. I remember building a miniature of that set and flying it down to LA. I remember I actually had powdered dust with me. The finished version was storyboarded in even more detail.
As Cameron remembers, the set involved a lot of complex rigging so that the ground could be pulled apart to create fissures that flames would erupt from.
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