saying, "Oh, my God,
I dragged my wife to the movie,
"and she actually really liked it a lot."
So, again, that was the mission,
to get our wives to think
that Star Trek was cool.
Speaking of wives, I just want to say
that Majel Barrett-Roddenberry,
who we were honoured
to have visit the set
when we were shooting,
she was so wonderful.
She showed up and was supportive
and funny and sweet,
and she literally said, you know,
"Gene would love this."
Like she was just gracious,
and as supportive
as Nimoy was to Zach,
she was to me and the production.
And we all stopped and applauded her,
and it was really wonderful.
And we were lucky to get her
to do the voice of the computer,
Starfleet computer again.
And she, of course, sadly passed away
before we finished production. But...
And a few weeks after that
we had a nice call
from Eugene Roddenberry, their son,
who had seen the movie
and who said that
he felt his father would have absolutely
recognised it as Star Trek,
-and that he just loved it.
-That's awesome.
It's great to hear things like that.
Barney Burman, who, again, did a lot
of the makeup for the aliens and stuff,
his father is a famous
Hollywood makeup artist.
And I used to write letters
to musicians and makeup artists
and directors and stuff when I was a kid.
And I actually found, during production,
a letter from his father back to me.
And I brought it to the set one day
-and I said, "Dude, look at this."
-Oh, my God.
And he literally almost started crying.
-Of course he did.
-It was the greatest.
-I was like, "Can you believe this?"
-You don't pull that on someone...
-Oh, my God.
-It was some ridiculous thing
I'd written to him,
and he was so sweet to write me back.
It's amazing. Later you'll see
when the ILM credits come up
and you see the number of people
who work just at ILM.
I mean, obviously,
we had a huge construction crew
and the crew of the whole film,
hundreds of people.
But when you look at the ILM list alone,
it's shocking.
And they're just, they are brilliant.
I'm so grateful for the work that they do.
-It's incredible.
-We're going up there on Thursday.
-I'm really excited.
-Good.
-See, Roger Guyett.
-I've never been there.
-You're gonna lose your mind.
-What are you doing on Thursday, J.J.?
-I'm supposed to go up to ILM. No.
-Nice.
Roger Guyett also shot
the second unit stuff,
which is usually right next door
to the main unit,
and he did so much amazing work.
It was just spectacular.
-We should make a sequel to this.
-I don't know, man.
We should do another one.
I think that'd be a lot of fun.
I had this impromptu meeting
with George Lucas before we shot,
and I said, you know...
-You just dropped a name.
-I know. Let me, I'm gonna pick that up.
And I was like, "What do I do?
How do I make this movie work?"
And he said, "Just put lightsabers in it."
Thank you.
-Is that what he said, really?
-Yeah.
-That's awesome.
-Digital artists.
So you might notice,
I think there's every name
in the world here. Look at this.
And each one of those people deserves,
like, a single card.
They're all amazing.
Going up there,
you'll see when you meet with them,
it's like walking past genius wizard
after genius wizard.
Like, they're just all amazing.
One guy does, like,
he'll do the, you know,
just the lens artefacts,
like the dirt on the lens,
and that's his thing.
-And someone else will do rotoscoping.
-Wow.
And they're all the best in the world
at what they... It's incredible.
The effects in this movie are incredible.
They really do put
everyone else to shame.
It's very painful not to work with them.
There are lot more names,
I think, coming.
Yeah, it's an amazing group. It really is.
Are you really still listening
to our commentary?
-What's going on?
-Okay, if you are,
we're gonna say something really,
really important at the end.
-Bryan?
-The secret word is...
Stefan