What does NCC stand for, Bob?
I have no idea.
-What?
-That's unbelievable.
-I've never stumped him before.
-Wow, on the spot, failed.
By the way, this shot here,
watch this shot here.
So, there you are, see,
in the Budweiser plant.
And then here he is there.
And how did you do it, J.J.?
-Literally, my favourite thing.
-Where's the cut?
We were on the set, and we just had
a guy holding up a greenscreen,
and Zachary walked in,
the door closed, the guy walked away.
Door opened,
and they just put that thing in later.
But it was one of my favourite
things to do.
This sequence also, which is, you know,
knowing it was the introduction
of the Bridge,
I just tried to do as many, sort of,
wide shots of the place.
This shot, when he sits down,
you see the light in his eyes.
That's an homage to the original show,
'cause they had that strip of light
on Kirk's eye all the time.
And now we start to meet
all the characters, you know.
I think the choreography of...
Also one of my favourite shots
right there, with the music swell.
-It just kills me.
-Come on. Giacchino's score here
-is awesome.
-Oh, my God. The choreography
of camera movement on the Bridge
in every scene is amazing to me
because there's a lot of time spent
on that Bridge,
and every time you're there,
it's interesting
and kind of compelling,
and it just moves.
Yeah, I did try, in the early sequences,
to keep the camera moving
as much as possible,
knowing that any second now,
there was about to be no movement,
and it needed to feel
much more static, so...
This is great, 'cause the last thing
you're expecting here is a gag,
and the way to introduce Sulu as...
I love John's performance here.
This brings up, I think,
one of the challenges that we all had
in introducing characters
and finding ways to pop them
into the story in the most organic way.
I mean, it's funny,
early on in the process,
we all made a list of things
we wanted to see in Trek
and character traits
we knew we had to employ.
And in breaking the story,
all of us coming together
and figuring out
where we were gonna drop in Sulu,
and how we were gonna meet Uhura.
And, you know, those are...
If you go one molecule wrong
on the introduction, you're screwed.
Roger suggested doing the, you know,
zoom dolly move there,
and I was like, "Really?"
Then we did it,
and I was like, "That's cool."
-I love that Kirk...
-That was his... Go ahead.
I was just gonna say...
-This is Roger Guyett.
-Numerous places
we could talk about this, but
we could talk about our sound design,
where we had
an incredible sound designer,
a guy named Mark Stoeckinger,
who I think you first worked with
on Mission: Impossible III.
-Right. Yeah.
-Correct?
And a lot of these sounds,
the warp, I think, came from him,
and a lot of that came from him.
And then as we were doing the final mix,
we wanted to keep
the iconic sounds alive
and figure out how we could kind of
do the 2009 version of those sounds
created 40 years ago.
And we all...
Best gag in the movie, by the way.
Sorry for interrupting.
Best gag in the movie.
We found out we could get Ben Burtt,
who had done all the original sound
on Star Wars
and all the movies we grew up on.
And he was available. And he came
down, and the first thing he did
was hang up his original
Benjamin Burtt Star Trek certificate,
which he had when he was a kid,
and hunkered down,
and for a month, really helped
find the sound design for this film.
Well, one of the first sounds
in the movie, that kind of sonar ping,
none of those things
were in the film originally.
And he really brought back
the original sounds of the doors and,
you know, the communicator
and the sounds of the Enterprise.
I just want to say real quick
about Anton Yelchin.
You know, he's Russian born, but U.S.
raised, and he's an amazing actor.
Here's Barney Burman's hands, again.
I was asked by