By GustavoLeao / 07:45, 3 July 2009 / Star Trek: Nemesis

• Beam story to friend
• Join our newsletter
• Syndicate news

CONTINUING BREAKDOWN OF SCENES

1:52:47  2:05:00  Picard meets Kirk at mountain cabin, attempts to convince Kirk to return to Veridian III to stop Soran; Kirk and Picards horse ride; Kirk realizes that nothing is real; Sounds like fun; leaving the Nexus (1.0, 2.0, 3.0)

The major encounter of the film, in which Jean-Luc Picard meets James T. Kirk, occurs in a more subdued manner than was expected by many people. The original assembly of footage for this sequence in the 1.0 work print runs 12:13 in length and benefits from the usual nips and tucks throughout the scene. The first 36 seconds of the scene, in which Picard finds himself in the mountains and approaches Kirks cabin, are removed from the film after the 1.0 work print. The voiceover of Guinan used in the 2.0 work print is used to replace the introduction of the scene, yet it would be revised for the final film from the ambiguous From your point of view, he just got here to the clearer From his point of view, he just got here, too. This line was revised for the 3.0 when it presented a dilemma in story context, since Picard would have already known that Kirk had been in the Nexus for 80 years. The line revision was a good editing call by Rick Berman and David Carson.

Nineteen seconds of footage in which Kirk and Picard finally speak to each other are revised with different angles and the master shot in the 2.0 and 3.0 versions of the film. Once Picard informs Kirk that he is also captain of the Enterprise, a seven-second clip of acknowledgement between the two captains is removed for time considerations. Also, an interesting change in the script to the film occurs. Originally Kirks long-deceased Doberman was to have been named Jake; Kirk instead refers to him as Butler, in memory of William Shatners own Doberman named Butler who had also passed away some time before. Another six seconds of footage, in which Kirk looks at the horseshoe he had given to Antonia years before and comments, I gave her this, is also deleted from the film after the 1.0 work print. The master take of the scene in which Picard retrieves the dill weed from the kitchen cabinet and Kirk reaches for the dining tray is used in the 2.0 work print; the edit as seen in the 1.0 work print is utilized in the final cut of the film.

 
The horse-riding sequence also contains subtle differences and additions as well in the 1.0 work print. In both the 1.0 and 2.0 work prints Kirk mentions that his uncle?s barn is in Iowa; however, in the final version he mentions that it is located in Idaho. The first appearance of music in the 1.0 work print occurs as Kirk rides through the countryside. An unidentified selection of music underscores Kirks horse ride. In the 2.0 work print the alternate version of Sign Off (used to temporarily underscore the main title credits) is reprised here. Ten seconds of additional footage spotlighting Kirks horse ride are also removed after the 1.0 work print.

The final series of differences from the 1.0 work print to the 2.0 work print and final release occur in the final segment of the scene, Kirk and Picards conversation. Once Kirk realizes he is caught in a Nexus fantasy, he comments, Its kind of like orbital skydiving  exciting the first few minutes, but in the end, what have you done You haven?t made a difference. This line of dialog would be re-looped, and an alternate version of the scene in which Kirk circles his horse around Picard is used in the 2.0 work print and final release. Kirks line would be revised to, Maybe its not about that empty house. Maybe it?s about that empty chair on the bridge of the Enterprise. Ever since I left Starfleet, I havent made a difference. The original version of Picard asking Kirk to return with him to Veridian III is seen in the 1.0 work print, as Picard remarks, You don?t have to be on the bridge of a starship. Patrick Stewart speaks his next line, Come back with me! with overbearing authority to the point of overacting. This original take in the 1.0 work print would be replaced with the version as seen in the 2.0 and 3.0.

Another four seconds of footage are removed from the film after the 1.0 work print, including Kirks musing about Spock considering this an irrational idea, which he says, And hes right. Throughout this entire sequence temporary music underscores the scene in the 2.0 work print. The cues Dining on Ashes and the beginning part of Sign Off from Cliff Eidelmans Star Trek VI score underscores the scene to give Dennis McCarthy a basis for a quiet, reflective cue to be used in the final version. The final seven seconds of the scene are removed from the film after the 1.0 work print, and a visual effect of a flash, as Kirk and Picard leave the Nexus, is included in the final film.

2:05:00  2:05:58  replay of earlier scenes: crash of Enterprise saucer, Soran firing upon Picard in the rock formation, fades to black (2.0, 3.0)

The replay of scenes was used in the 2.0 work print and the final film, though edits were made to bring the exposition down for the sake of running time. In the 2.0 work print the sequence runs 58 seconds; this would be edited to 35 seconds for the final film.

This sets up the original ending of the film: Kirk and Picard coming together to stop Soran, resulting in Kirks death. This is the second of two major scenes to be re-shot for the film prior to its November 1994 release, the other being Picards Nexus dream. Here I will refer to the sequence as originally filmed and intended.

 
2:05:58  2:15:05  Soran encounters and fights Kirk on scaffolding; Picard attempts to disable missile but only succeeds in cloaking the missile; Kirk knocks Soran unconscious and de-cloaks the missile; The 24th century isnt so tough; Soran shoots Kirk in the back with a phaser; missile launch goes awry, sends missile away into the mountains; the Nexus floats by without Soran; Picard shoots and kills Soran; Kirk dies in Picards arms (1.0, 2.0)

This sequence as originally envisioned has many controversial aspects alone, but lets analyze the scene first:

Portions of the fight between Kirk and Soran among the scaffolding survive from the 1.0 and 2.0 work prints into the final film; only 12 seconds of the scene is used in the final version. In the original take the emphasis is on Soran beating back Kirk. Later, Kirks ascension up the mountain is reminiscent of his mountain climb atop El Capitan in Star Trek V. Soran checking his pocket watch is also reminiscent of another classic science fiction film  Nicholas Meyers Time After Time, in which H.G. Wells (also portayed by Malcolm McDowell) repeatedly peruses his pocket watch in that film as well. Also, Sorans appearance in all black attire, with his white crew-cut hairstyle, is echoed in a number of McDowells later performances, among them Tank Girl and the 1990?s revival of Fantasy Island.

In the 1.0 work print, during the scenes where the missile is cloaked, Picard is absent from the scenes unto the point where he informs Kirk of Sorans control pad. It almost seems as if Picard was cloaked atop the missile instead! An alternate close-up of the clip where Kirk says, The 24th century isn?t so tough, was used in one of the 30-second television trailers for the film.

The most controversial aspect comes in Soran shooting Kirk in the back. When test preview audiences viewed the 2.0 work print in August 1994, many people agreed that they did not like the way in which a one-time villain killed Kirk in a cowardly manner by shooting him in the back. At that point the film garnered a 66 percent approval rating by the test audiences mainly on the basis of that scene alone. Another controversial aspect comes in the manner Soran is killed by Picard. This is a rare character misstep for Patrick Stewart as Picard to seemingly shoot an unarmed man down in cold blood. After seven seasons on The Next Generation it was morally out of line for Picard to have resorted to such an action. Had Picard and Soran dueled with weapons or in hand-to-hand combat, and it resulted in Sorans death, that would have been one thing, because both characters would have been on a level playing field. Here, in the 1.0 and 2.0 work prints, Picard has the unfair advantage.

The first few seconds of the scene, as Picard climbs up the mountain, is seen only in the 1.0 work print and replaced with a repeated shot from earlier in the film. The completed visual effects appear in the 2.0 work print, from the computer screen monitor to the cloaking and de-cloaking of the missile, to phaser effects, to the missile launch and explosion in the distant mountains. Part of the temporary musical cue uses a portion of music from John Williams score to JFK.

The scene would be edited to a running length of 6:30 in the 2.0 work print. Additional moments to the end of the scene would be added to the scene in the 2.0, in which Picard and Kirk share one last conversation together.

Picard: I'll try to find a way to contact the Enterprise. Youre going to be all right.

Kirk: Did we do it?

Picard: Oh, yes. Thank you.

Kirk: Least I could do for a captain of the Enterprise.

In the 1.0 work print no conversation is seen at all. Kirks death in the 1.0 work print is flat, while the second version shows a slightly more ambiguous version of Kirks moment of death. Based on the content of the scene it becomes clear that this sequence was clearly not the ending many fans would accept.

2:15:05  2:16:18  Picard buries Kirk atop the mountain and quietly pays his last respects; arrival of shuttlecraft to pick up Picard (1.0, 2.0, 3.0)
 

An added shot of Picard arising and standing at Kirks grave is included in the 2.0 work print and final film, as is the visual effect of the shuttlecraft over the skies. The temporary musical cue used here works better than the final version as scored by Dennis McCarthy. The scene ends with Picards narration of a Captains Log entry on stardate 48650.1. This voiceover would be used as a bridge between the end of this scene and the scenes of the saucer crash site. Here I will refer to the placement of scenes as would logically occur.

2:16:18  2:16:59  Picard arrives at shuttle landing site and is greeted by Geordi and Worf; Was there some problem with the Klingons? (1.0)

The ending scenes to Generations were originally designed to give each of the Next Generation cast members one more moment on screen. The scenes with Geordi, Worf, and Beverly would be edited from the final film.

2:16:59  2:17:06  shuttle in flight over saucer crash site; rescuing survivors (2.0, 3.0)

Visual effects sequence completed for the 2.0 and 3.0 versions of the film. The Captains Log entry is revised from the 2.0 work print to the final version. In the 2.0 work print Picard states that the starship Farragut has arrived to rescue the Enterprise survivors. This would be re-dubbed, Three Starfleet vessels have arrived in orbit and begun to beam up the Enterprise survivors. Our casualties were light

2:17:06  2:17:38  Beverly oversees evacuation of wounded in Sickbay, comments on evacuating 232 patients in under two days (1.0)

This short sequence would be deleted from the film after the 1.0 work print.

2:17:38  2:20:58  clearing the cargo bay; Deanna and Data find Spot; Picard and Riker find the Picard family album; transporting from the ruins of the bridge; fade to black (1.0, 2.0, 3.0)

This last series of scenes with the cast would be used completely in all versions of the film. The final portion of Picards Captains Log narration is included in the 2.0 and 3.0 over the beginning of the scene in the cargo bay, as Picard states, but unfortunately, the Enterprise herself cannot be salvaged. Visual effects of the transporter beam are incorporated into the scene in the 2.0 and 3.0 versions of the film. Once Picard and Riker transport from the bridge, the scene fades to black in the 2.0 work print; these last few seconds are removed from the final cut of the film. In the 1.0 work print the second usage of temporary music occurs with borrowed end credits music from Star Trek V. In the 2.0 work print the main title music from Star Trek V is again used, though in edited form.

2:20:58  2:25:29  Starfleet vessels leave Veridian III and head into space; fade to black; end credits and music (3.0)

The visual effects for the final scene of Star Trek: Generations, along with the full cast and production crew credits, would be completed for the final assembly of the film.

Once the film was completed and shown to test preview audiences, Rick Berman ordered a re-shoot of two key sequences, Picards Nexus dream and the original ending. In mid-September 1994, director David Carson reunited with William Shatner, Patrick Stewart, Malcolm McDowell, and 150 members of the production crew to re-shoot the climactic ending at the Valley of Fire in Nevada. Shortly afterwards, re-shoots occurred on Picards Nexus dream. The film was then completed and finalized for release, first to a sneak preview screening on November 17, 1994, with a full theatrical release the following day, November 18, 1994.

To account for the two major sequences which were re-shot for Star Trek: Generations, I have chosen to comment on their content separately.

2:25:29  2:29:07  Picards Nexus dream: Christmas celebration with his family; surprised by his children; Picard?s wife asks him for a cup of Earl Grey tea; seeing Rene; Picard looks at glowing ornaments and realizes, This can?t be real. (2.0, 3.0)

A few elements are carried over from the 2.0 work print into the final version specifically, one shot of Picard pulling back the curtains to look outside, and two visual effects of the glowing Christmas ornaments completed from the 2.0 work print. Aside from these elements, everything else in the first half of the sequence is new and filmed for the final version only. Here I have referred to the first half of the sequence as seen in the final film.

This revised version of the sequence carries more emotional resonance than the original version, as the element of surprise is present, from the moment of the swirling lights and of Picard blindfolded, to the surprise of his children wishing him a merry Christmas. The most important emotional element of the revised scene comes in the presence of Rene, Picard?s nephew. This element carries stronger thematic subtext from earlier moments in the film, as the audience has seen in the grief Picard has borne in dealing with Rene and Robert?s deaths. No such mention of Rene in the Nexus is ever mentioned in the 1.0 and 2.0 work prints. For Picards character growth in the film, Renes presence in his Nexus dream not only allows Picard to see through the dream to the reality, but also allows him to say goodbye in his own way to his now-deceased nephew.

Once Picard says to himself, This isnt right. This cant be real, the sequence then returns to footage used in the 1.0 and 2.0 work prints and continues forward as originally seen.

Which of the two versions works better? For story considerations, the sequence in the final film is the better of the two, as it carries more emotional resonance and growth for Picards character.

2:29:07  2:37:42  revised ending: Soran encounters Kirk and Picard on the bridgeway, escapes from Kirk and Picard; Kirk and Soran fight on the rocks and on the catwalk; Kirk knocks Soran off the catwalk, and Soran grabs a rope to prevent from falling; Soran uses his control pad to cloak the missile; Kirk and Picard race to seize the control pad, but Soran fires upon Kirk and blasts the walkway apart; the Nexus begins to approach; Picard saves Kirk from falling; Kirk jumps to the other side of the walkway, grabs the remote, and de-cloaks the missile; the walkway breaks apart, and Kirk falls to his death; Picard activates the locking clamps on the missile; the missile explodes and kills Soran; Picard finds Kirks body and watches him die (2.0, 3.0)

The essence of this sequence was completely revised for the final film, when it became obvious to Rick Berman that preview audiences were unsatisfied in the manner Kirk died. The original ending presents Kirk as a martyr; the revised ending shows Kirk dying a more heroic death.

The sequence begins with a third alternate angle of Soran approaching the catwalk from a different direction. Judging from the sunlight and the skyline, it is probable that this first clip opening the sequence may have been filmed either in the original filming or early in the September 1994 shooting schedule. Twelve seconds of footage from the original ending in which Kirk and Soran fight on the catwalk are borrowed and used in the new ending, but the emphasis here shifts toward Soran escaping from Kirk and falling. Visual effects of the Nexus ribbons approach and computer effects of the missiles control monitor are completed for the final film. The musical score for this scene is different from the cue as heard on the GNP Crescendo soundtrack.

As Picard finds the wreckage of the walkway and Kirks body pinned underneath, we see the sad reality in Picards face that Kirk is dying. The final conversation between Picard and Kirk is similar to what is heard in the 2.0 work print:

Kirk: Did we do it Did we make a difference?

Picard: Oh yes, we made a difference. Thank you.

Kirk: Least I could do for a captain of the Enterprise. It was fun. (Kirk smiles at Picard.) Oh, my.

The scene then shifts to the ending as seen in the 1.0 and 2.0 work prints of Picard burying Kirk atop the mountain.

Does the revised ending work? Thematically, yes, since the manner in which Kirk dies is more befitting his character  heroic and selfless. When the revised film was screened to preview audiences prior to its release, audiences gave Generations a higher approval rating the second time around because of the revised ending. Many fans, however, were and to this day are upset over the fact that Kirk died at the end of Generations. William Shatner, along with Judith and Garfield Reeves-Stevens, would resurrect Kirk in a series of post-Gerations novels, thereby bringing Kirk back to action for more adventures in the 24th century.

CONCLUSION

Throughout three varying assemblies of the film, it becomes clear as to what worked and what didnt work throughout the production of STAR TREK:GENERATIONS. As with any film, portions of the original concepts initially conceived and filmed would never make it to the final released version, while other portions would undergo significant revisions to better satisfy the audience demands. For Hollywood studios, this translates into higher approval percentages for the audiences they are attempting to satisfy. In the case of GENERATIONS, story concerns won out over artistic concerns, and the end product plays better than the initial concept.

STAR TREK: GENERATIONS premiered in theaters November 17, 1994 with a special sneak preview screening, followed by its theatrical premiere the following night, November 18, 1994. The film would earn $23.1 million in its opening weekend and eventually gross $74 million domestically, thereby breaking even with its $35 million budget. The success of Generations would pave the way for the even more successful STAR TREK: FIRST CONTACT in 1996, and the marginally successful STAR TREK: INSURRECTION in 1998. But the box office bomb of STAR TREK NEMESIS in 2002 put an end to Picard and his crew voyages on the big screen, leaving the door open to J.J. Abrams and his cast and crew to create a reboot of the original Star Trek series in a new STAR TREK timeline.