catch on to,
as opposed to sort of
cutting to a moment in there
-is what makes it great.
-I love the music here, by the way.
This music, I love the heroism
of the music here, you know.
-Yeah. About what's about to happen.
-Yeah.
-It's just like, he's a total hero.
-But here's the genius. Right.
-They're so funny here.
-Here.
-This. This shot. It's this shot.
-How great is Chris?
Look at Chris. He's amazing.
He's basically like, "Wow. I lost."
Yeah.
-And the fact that we get...
-How sweet is she? Look at that.
And we get her first name here.
That's the best.
Yeah.
-There it is. Nyota.
-I just love that they're in love.
And Nyota, actually,
lots of controversy about that.
Never actually made its way into canon.
Is that correct, Bob?
-It was like in novels.
-There were hints of flirtation
-in the original series.
-No, but her name.
-The name Nyota...
-I'm sorry.
...was never actually uttered
in any actual Trek movie.
I don't know that it was.
Burky, I still think
your idea was good here
of what they were gonna hear
over their headsets when...
-Yeah, that Scotty was going to say...
-"How'd I do?"
Why don't you just perform it live,
Bryan?
That's Zachary Quinto's brother, Joe.
I literally thought it was Zach
the first time I saw it.
-Wow. He looks exactly like him.
-Yeah.
By the way, the sound effects with
no music here is the best thing ever.
Yeah, this is once again
a lot of what Ben did,
Ben Burtt, along with Mark Stoeckinger,
but having
a tangible, you know, literally
the kind of old-fashioned, you know.
-This is a corridor fight in Star Wars.
-Yeah.
And hearing the pangs and the pings
of the impacts
-I thought was fun.
-Yeah. Totally.
And I love the phaser design.
I mean, the idea...
This voice?
-That's Wil Wheaton.
-Really?
-Yeah.
-Nice.
Wesley Crusher. I did not know that.
It's Wil Wheaton, but... Or modulated?
It's Wil Wheaton modulated,
and onscreen Joe Quinto.
This set, by the way,
I want to talk about the Narada set.
Every Narada scene was shot
on one sound stage.
And Scott Chambliss designed the set
to be modular,
so that all those pieces were movable
and, you know,
we could sort of deal with it
like it was a giant Lego set.
And so whether it was the Bridge
or, you know,
a cargo hold or whatever it is,
there's a little cut right there,
every day, we sort of would move
these big pieces around.
And it kept the feeling of the ship
being mysterious and, you know,
-amorphous, and...
-Where was the cut? What cut?
When the guy got shot.
It used to be a longer shot.
We just sped it up there
so he went down faster.
This is one of my favourite effect shots,
where it looks so tangible and real,
-and nothing is real.
-Yeah.
-You mean the smoke and...
-Yeah.
Everything.
Once again, we're at Northridge.
I love this.
Although there would be a shadow.
If you look the way the sun is going,
there would be a shadow
of that big pole.
-I was just thinking that.
-Shut up.
It's one of those little things.
Seeing them run through the bridges.
We spend too much time
in the editing room.
Seeing them run through the corridors
is amazing.
Given what the corridors actually were
and the sense of space that you get.
That was the corridor
where we met with Spielberg.
This was great 'cause this was all real.
What you see behind them is all real.
It's real, real, real.
And it becomes not real right there.
And that's all bluescreen
that they're running towards.
And it's just an amazing thing
to see what...
Here's another moment that I love,
just in terms of performance
for especially Chris when he just
basically, "How about that?"
-What I love is they are all really funny.
-Yeah.
-All the actors are genuinely funny.
-Everybody.
And so it allowed for a movie
that had this kind of
effects and schedule to also have levity.
Speaking of which, I do want to say,
I remember J.J.,
you and I