WEBVTT
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Hey, nerds. I'm Wil Wheaton
and this is "The Ready Room."
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Your official behind-the-scenes hub
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for all things Star Trek Universe.
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Today, we saw the second
episode of Star Trek: Discovery
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Season 3, which finally
reunited us with our beloved
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Discovery crew and as always,
we have so much to talk about.
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So consider this your requisite
spoiler warning for the day.
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If you haven't watched
Episode 2, "Far From Home,"
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then go take a hike through the
colony and meet us back here
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for a very special double interview.
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That is right, this week I am joined by
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Star Trek: Discovery's
resident Kelpien, Doug Jones,
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as well as the feistiest ensign
in Starfleet, Mary Wiseman
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to talk about Saru and
Tilly's latest away mission.
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Plus, right next to our
stockpile of dilithium,
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we're safeguarding a
brand new exclusive clip
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from next week's episode
of Star Trek: Discovery.
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But before I get to that, I
just have to say how much I love
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the Old West vibes of this
new episode. Wasn't that cool?
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How often do you get to see batwing doors
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and spurred boots in Star Trek?
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I'm way ahead of you,
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you're all saying, "A Fistful Of Datas."
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You're not wrong but I'm talking about
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not "A Fistful Of Datas."
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For more on this storyline,
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let's check out our latest
"Moments of Discovery" deep dive.
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Control room, engage.
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I love being absent from Episode 1
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'cause then that leaves
the audience going,
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"Where are they?"
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Well, Episode 2 here we land.
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And we're looking for
Burnham, where's Burnham?
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What's happening here? How do we fit?
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Episode 2 was an
incredible read when I read
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it for the first time. It
felt instantly like a Western.
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I got to be a Jimmy Stewart,
I got to walk through
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saloon doors, they actually went
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[imitating swinging doors sound]
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Dream of my life.
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I knew that I would use all
of the Old Western tropes
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while shooting it, and I
thought, well, you know, merging
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that with what we know Star
Trek to be would be a really
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interesting mix and it was all
laid out there on the page.
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Innocently, we go in
looking to have our little
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device repaired so we can get
our communications back up.
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But, of course, you meet
the bad guys who are like,
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"Hey, what do you want?"
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We got to meet guest star,
Jake Weber, who was amazing.
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And then the fight breaks out.
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[Grunting]
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[Glass breaks]
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We had a lot of fun, you know, adding dust
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into Star Trek, adding
leathers into Star Trek,
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adding certain types of
tensions and beats that you
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wouldn't normally see on a
Star Trek show and we added
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it all in there and you know, hopefully,
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came up with something pretty unique.
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[yelling and grunting]
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And thank heaven, Georgiou
comes in to save the day
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against my orders.
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This is not who we are.
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It is who I am.
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I love that little tête-à-tête
we have back and forth.
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I am the acting captain of the vessel
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that brought you here, stand down!
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We're kind of at each other all season.
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Which is kind of lovely.
But still, you know,
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kind of glad she was here.
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She always does that
when it's like, "Oh you,"
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and then I'm like, "All right, all right."
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Right now I am joined by two
of Star Trek: Discovery's best
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and brightest, the immensely
talented Doug Jones
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and Mary Wiseman. Mary, Doug,
I am so excited to be talking
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with you today. Let's dive right in.
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Let's go back to the
beginning of the episode
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we've just seen.
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Discovery crash lands on a planet.
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Now, the last time I saw a
starship crash land on a planet
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it was my starship and we did
not come out of it very well.
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And it was traumatic and upsetting to me
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to watch Discovery crash land.
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I am wondering, just because I'm speaking
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to fellow Star Trek
actors, on the shake scale,
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as the ship was coming down,
did you land with a 10?
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[chuckling]
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You know, right.
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Turmoil on the bridge is
probably my least favorite thing
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because I wanna be authentic
about it, but you just feel
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so silly in the moment, don't you?
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You really do.
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Especially when you're wearing a pair
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of hooves like Doug is.
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[chuckling]
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It must literally be terrifying for you.
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Yeah, but I think that crash
landing, I think all of us
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were even for the-- instead
of just like doing the usual
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countdown. Three, two, one,
left. Three, two, one, right.
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Instead of doing that kind of
thing, we did full on tumbling
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out of, you know, over
consoles, out of chairs.
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[yelling and grunting]
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That was probably the most
athletic crash landing,
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or a crash or turbulence I've done.
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For sure, yeah and I
did a lot of hair acting
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which I found to be my
friend in the shaking scene.
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The pony really, you know I can really
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sell it with the high ponytail.
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Because you brought it up,
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I love the evolution of Tilly's hair
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on Star Trek: Discovery.
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I love it so much!
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Was this something that
you talked about with the
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showrunners or was, did
they bring it to you?
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I'm just curious, like this
is not a deep acting question.
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This is a curious fan
question. Tell me the story
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of Tilly's amazing hair.
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[laughing]
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[Mary] I think that hair
does a lot of storytelling
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on our show.
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Like everyone evil has straightened hair.
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[chuckling]
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Pretty consistently.
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I really bristled under the very tight bun
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of the first season. I found
it was very unflattering.
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But I think the idea was
that Tilly at this point
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is like a really by-the-books individual
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and so it kind of makes
sense that she's all tucked
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in and kind of, I feel
like as she finds herself,
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she lets her hair be more
a part of her container.
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For me personally, I just, you know,
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I wanna let it all hang out,
I wanna do my hair acting,
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I want my big, huge cut of
hair out. So, selfishly,
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I think I kinda like pushed it that way.
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And with the help of our
Key Hairstylist, Ryan Reed,
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who is a lover of all
curls and did me right.
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You're very lucky, when
I was Wesley Crusher,
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an entire can of hairspray
was used every morning
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to transform me from a
20th century teenager
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into a 24th century action figure head.
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And it drove me absolutely crazy.
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I wanna talk a little bit,
Mary, about the similarities
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between Wesley and Tilly, I
told you this before you came
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into "The Ready Room" and we
started rolling, I wanna tell
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the world, Tilly's my favorite
character in the history
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of Star Trek. More than
Spock, more than Kirk,
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more than Wesley.
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I identify with her so much.
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She's anxious, like I am.
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She is in her own head, like I am.
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She has good ideas but doesn't quite know
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how to express them, just
like me. I identify with her
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so much. She is gonna be a
role model. She is a role model
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for people who have always felt
like, "I'm just too nervous,
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I shouldn't say anything, no
one's gonna listen to me."
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Are you aware of that? And if you
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are, how do you feel about it?
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This is how anxious I am right now,
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this is what my hands
are doing off camera.
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Wil, first, thank you
so much for saying that,
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that means so much to me coming from you.
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I can't even tell you.
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I have heard that a little
bit and it's a weird thing
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to interface with, I have--
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[chuckling]
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my own struggles with all the
things that you mentioned.
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And it's encouraging to me and I guess,
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it's bizarre, I mean, it's
a great gift that just
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being able to show up and deliver
yourself that you can make
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other people feel seen.
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Yeah.
Or, you know,
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represented in some
way, it seems so small,
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but to be able to give people
that is so, so encouraging.
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So, it's a big responsibility
but like everyone I've gotten
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to connect with since starting
the show, it's made my
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life that much bigger and
deeper and more meaningful.
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So, I'm so grateful for the
opportunity I was given.
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You know, the character
was written this way.
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It's not just me, they wanted
a character that would make
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fans feel seen and represent somebody
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who doesn't always get
to have the heroic turn.
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So I really give it up
to all the creators that
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were involved in writing Tilly
the way she's been written.
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'Cause it was really their
idea, they conceived it.
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And yet you do have so
many heroic turns, though
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throughout this show. Your
smarts have come in to save
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the day several times and Saru
has been very aware of this.
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The big difference between
Tilly and Wesley is they have
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these incredible ideas
and the people in charge
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actually listen to Tilly.
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[chuckling]
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I finally understand, like,
I thought I understood what
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it meant to be a Star Trek fan
'cause I loved The Original
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Series so much. I didn't
know what it meant to love
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Star Trek until I fell
in love with Discovery.
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Like it just lands--
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it makes me feel-- you should know this--
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your show makes me feel the
way I felt when I was a little
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boy watching The Original
Series, it just gives me that,
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it's that same sense of like,
of wonder and that same sense
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of family. And a huge reason for that
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are the relationships
between the characters.
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So let's talk about that for a second.
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We know that Burnham
and Saru are very close.
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We know that Tilly and Burnham
are close. But this season,
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oh, the relationship
between Saru and Tilly
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and how it is growing,
and how the respect,
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the mutual respect is starting to blossom.
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I just wanna hear you talk
about that relationship,
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about the discovery process on set,
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and about the-- just the
choices that you have made
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to bring this wonderful
relationship to life.
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Oh, I just, I absolutely--
Well, first of all,
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I love Mary Wiseman as a human
being, so when she's playing
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Tilly, I just, I'm just,
like you, Wil, I'm so in love
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with that character and she
also might be my favorite of all
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time. And I love that I
get to interact with her
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as a sort of a mentor, but
also sort of as father figure.
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We really, that family
issue comes up again.
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Saru is one who, you know, of
course we all roll our eyes
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at the appropriate time
when she says something
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or blurts something out
then we're like, "Oh, dear
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there she goes again."
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Yeah.
But through that,
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Saru sees the sense that she's
making, the reason that she's
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presenting, the balanced
science that she brings
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with, you know, all of her smarts.
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And so what I love is the
episode we just watched,
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in Episode 2, where we have
gone out of the ship, and I--
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she's the one I chose to take with me.
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Yeah.
And she's asking, "Why, why,
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why." And I'm like, "Well,
I needed an engineer."
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"We have lots of those,"
it's like you're the one
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who makes that good first impression.
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He loves that she blithers
on. But through it all,
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he knows that underneath there
is that person that others
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will relate to, others
will find comforting,
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others will trust.
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Well, first, I just wanna say
that like, Doug, even though
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he's covered head to toe
in prosthetics and again,
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is wearing hooves, he
is the kindest, warmest,
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most loving person on set
and he's always a balm
242
00:12:36.190 --> 00:12:39.100
on those early mornings
or those late nights.
243
00:12:39.100 --> 00:12:41.750
He always has a joke,
never has a complaint,
244
00:12:41.750 --> 00:12:44.643
always willing to hear your
complaints, of course, you know,
245
00:12:44.643 --> 00:12:48.130
he's just the most empathic
and most wonderful person
246
00:12:48.130 --> 00:12:50.140
to work with. So of course,
on a selfish level, I'm very
247
00:12:50.140 --> 00:12:52.400
happy I got to work with
him more on this season.
248
00:12:52.400 --> 00:12:56.220
I think in the show, it's
like, it's just a really lovely
249
00:12:56.220 --> 00:13:00.240
arc because as Doug mentioned,
he becomes a bit of a father
250
00:13:00.240 --> 00:13:02.970
figure to her. And I do
believe, in life, you seek out
251
00:13:02.970 --> 00:13:05.950
relationships that can
heal you. And I think Tilly
252
00:13:05.950 --> 00:13:09.580
is in great need of a parental
figure who will treat her
253
00:13:09.580 --> 00:13:14.170
with empathy and affirm
that her ideas and her mind
254
00:13:14.170 --> 00:13:16.640
and her way of seeing
the world have value.
255
00:13:16.640 --> 00:13:20.260
So, it's a huge growing moment
for her and I think the kind
256
00:13:20.260 --> 00:13:22.030
of growth that Tilly
goes through this season,
257
00:13:22.030 --> 00:13:26.450
wouldn't be possible without
this like really strong
258
00:13:26.450 --> 00:13:29.990
relationship that forms. And
one thing that's kind of fun,
259
00:13:29.990 --> 00:13:31.664
I don't think this is too spoiler-y...
260
00:13:31.664 --> 00:13:33.498
As the season goes on,
261
00:13:33.498 --> 00:13:36.010
I think Tilly becomes
fiercely protective of Saru
262
00:13:36.010 --> 00:13:37.830
in a way that's like, brings that
263
00:13:37.830 --> 00:13:40.580
exciting part of her.
Aw, that's wonderful.
264
00:13:40.580 --> 00:13:43.500
And I just think it's definitely
a relationship to watch
265
00:13:43.500 --> 00:13:47.230
because it's just really
lovely and really heartfelt
266
00:13:47.230 --> 00:13:50.113
and for me, it was one of
the joys of the season,
267
00:13:50.113 --> 00:13:51.987
getting to spend so much time with Doug
268
00:13:51.987 --> 00:13:54.796
and our characters getting
to grow in this way.
269
00:13:54.796 --> 00:13:56.600
And you know, can I also
add that protective thing
270
00:13:56.600 --> 00:13:59.610
is Mary Wiseman and Doug
Jones off camera as well.
271
00:13:59.610 --> 00:14:02.000
She's mentioned my hoof
boots, what, two, three times
272
00:14:02.000 --> 00:14:03.802
during this interview alone.
273
00:14:03.802 --> 00:14:04.820
Yeah.
That's because
274
00:14:04.820 --> 00:14:07.460
she worries about me
constantly, as like, you know...
275
00:14:07.460 --> 00:14:09.540
It's like, "Dad, we gotta get you
276
00:14:09.540 --> 00:14:11.800
to the lunch room, come
on now, walk with me."
277
00:14:11.800 --> 00:14:12.980
Yeah.
"Just take me arm"
278
00:14:12.980 --> 00:14:14.090
I love her.
279
00:14:14.090 --> 00:14:15.710
You know, it's interesting
that you've brought up the hoof
280
00:14:15.710 --> 00:14:17.910
boots a couple of times
because the hoof boots make me
281
00:14:17.910 --> 00:14:20.890
really uncomfortable. I worry
about your ankles every time
282
00:14:20.890 --> 00:14:24.980
I see them. And I was
actually thinking about you.
283
00:14:24.980 --> 00:14:29.080
You shot on location in
Iceland, which is remarkable.
284
00:14:29.080 --> 00:14:31.130
We never got to go to Iceland by the way.
285
00:14:31.130 --> 00:14:33.800
We never even got to go out of California.
286
00:14:33.800 --> 00:14:37.960
But I'm wondering, what in
the world was it like to go
287
00:14:37.960 --> 00:14:42.340
walking through that terrain
in your terrifying hoof boots?
288
00:14:42.340 --> 00:14:44.800
Well, good case in point, there you go.
289
00:14:44.800 --> 00:14:48.690
We started off on a beach, it
was a big, like a red, sandy
290
00:14:48.690 --> 00:14:51.110
beach or black, sandy
beach, I think it was.
291
00:14:51.110 --> 00:14:54.160
Yeah, black sand.
So sinking backward
292
00:14:54.160 --> 00:14:58.050
into that without a
flat floor, I'm screwed.
293
00:14:58.050 --> 00:15:01.960
And then from that we're
on top of a glacier.
294
00:15:01.960 --> 00:15:03.180
Yeah.
And we had to start
295
00:15:03.180 --> 00:15:06.200
a walking sequence at the
back edge, right behind us
296
00:15:06.200 --> 00:15:08.010
was a drop off and Mary--
297
00:15:08.010 --> 00:15:09.350
No.
I have never seen Mary
298
00:15:09.350 --> 00:15:12.870
so nervous for my sake, I was
just kinda like, "Eh, well,
299
00:15:12.870 --> 00:15:17.870
if I die, I die." And she
was like, "No, stop, oh."
300
00:15:18.570 --> 00:15:21.630
And I always kind of have
to take a corrective step
301
00:15:21.630 --> 00:15:24.900
before we start something
and every time I did that,
302
00:15:24.900 --> 00:15:27.810
oh, poor thing, jumped and wanted to dive
303
00:15:27.810 --> 00:15:29.970
and take the fall for me.
304
00:15:29.970 --> 00:15:32.530
Are your hoof boots built into
your costume in a way that
305
00:15:32.530 --> 00:15:36.184
they can't come off or are they
off when you're off camera?
306
00:15:36.184 --> 00:15:39.430
When my feet are off camera,
they have a second pair
307
00:15:39.430 --> 00:15:42.050
that is at the same height
but it's a flat block instead
308
00:15:42.050 --> 00:15:43.510
of a high heel block.
Yeah.
309
00:15:43.510 --> 00:15:45.693
So I have more control of my steps then.
310
00:15:46.650 --> 00:15:49.223
Are you wearing fierce platform shoes?
311
00:15:50.308 --> 00:15:51.770
Yes.
Yeah, fierce?
312
00:15:51.770 --> 00:15:56.353
Yes, yeah, oh yeah, I'm like
Lady Gaga on stage, yeah.
313
00:15:56.353 --> 00:15:58.797
As if I couldn't love Saru more.
314
00:15:58.797 --> 00:15:59.630
I know.
315
00:15:59.630 --> 00:16:01.080
[chuckling]
316
00:16:01.080 --> 00:16:02.840
Mary, you looked like you
were gonna add something
317
00:16:02.840 --> 00:16:06.220
about the hoof boots on
the edge of the glacier.
318
00:16:06.220 --> 00:16:08.400
It was terrifying, it was
completely terrifying.
319
00:16:08.400 --> 00:16:10.740
We were walking over giant
rocks, like, I felt like
320
00:16:10.740 --> 00:16:12.560
I was gonna fall down and twist an ankle.
321
00:16:12.560 --> 00:16:16.110
So, it was just like-- he's
so vulnerable. But I do think
322
00:16:16.110 --> 00:16:20.400
it's a testament to Doug's
athleticism. I mean, you know.
323
00:16:20.400 --> 00:16:23.508
He's such an incredible physical actor.
324
00:16:23.508 --> 00:16:24.574
Yeah.
And also just a
325
00:16:24.574 --> 00:16:27.420
physical specimen. That
nobody else on Earth
326
00:16:27.420 --> 00:16:29.640
could have done what
he did in that terrain.
327
00:16:29.640 --> 00:16:32.745
Also, Iceland was beautiful,
it was the best experience
328
00:16:32.745 --> 00:16:33.600
of my life.
Oh, gosh yes.
329
00:16:33.600 --> 00:16:36.290
And they have the best soup on the planet.
330
00:16:36.290 --> 00:16:41.290
So, this episode takes this beautiful turn
331
00:16:41.510 --> 00:16:45.600
and it becomes almost a classic Western.
332
00:16:45.600 --> 00:16:49.410
You have a full-on bar brawl
333
00:16:49.410 --> 00:16:52.310
at one point. And in that bar brawl,
334
00:16:52.310 --> 00:16:55.740
you are both present for a
Michelle Yeoh fight sequence
335
00:16:55.740 --> 00:16:58.770
for, I believe, the
first time in the series.
336
00:16:58.770 --> 00:17:01.980
I would love it if you
would talk about how amazing
337
00:17:01.980 --> 00:17:05.550
that was. Not just to
watch, but to be part of.
338
00:17:05.550 --> 00:17:07.700
I mean, incredible, she's legendary.
339
00:17:07.700 --> 00:17:10.470
She's like-- it's just like unreal
340
00:17:10.470 --> 00:17:12.550
and she's just so
expressive with her body.
341
00:17:12.550 --> 00:17:14.910
She's so powerful. It
was the coolest thing
342
00:17:14.910 --> 00:17:17.860
to get to witness. We
were like, I don't know,
343
00:17:17.860 --> 00:17:21.070
kids at a play or
something, just every take,
344
00:17:21.070 --> 00:17:23.840
watching her. She's just incredible.
345
00:17:23.840 --> 00:17:26.350
Right, and you know, and when
Michelle Yeoh was fighting
346
00:17:26.350 --> 00:17:28.180
you just kind of stand
back and watch the show.
347
00:17:28.180 --> 00:17:30.500
And thankfully they choreographed
it that way that where
348
00:17:30.500 --> 00:17:33.150
she-- Mary and I were kind of
over by the bar while Michelle
349
00:17:33.150 --> 00:17:34.610
did all this. I mean, I threw
350
00:17:34.610 --> 00:17:36.110
a couple things at somebody.
Yeah, I'm hiding.
351
00:17:36.110 --> 00:17:38.000
Yeah, I told you to get behind the bar.
352
00:17:38.000 --> 00:17:39.153
Yeah.
It was great.
353
00:17:39.153 --> 00:17:42.730
In that sequence, we find
out that there is a dilithium
354
00:17:42.730 --> 00:17:46.140
shortage in the future. And
then Tilly has this fantastic
355
00:17:46.140 --> 00:17:51.140
moment where she races into
her beautiful Tilly brain
356
00:17:51.640 --> 00:17:54.758
and goes, "We can trade
some of our dilithium."
357
00:17:54.758 --> 00:17:59.010
So, Mary, that seems
like the kind of decision
358
00:17:59.010 --> 00:18:02.735
a captain makes and it seems
like the sort of decision
359
00:18:02.735 --> 00:18:07.330
that could be part of Tilly
being on the path to eventually
360
00:18:07.330 --> 00:18:09.473
becoming a captain, do
you agree with that?
361
00:18:10.580 --> 00:18:14.390
Yeah, I think the deduction
involved in them having warp
362
00:18:14.390 --> 00:18:19.390
capable ships, but no
dilithium, I think she deduces
363
00:18:20.310 --> 00:18:22.980
in that moment of panic really quickly.
364
00:18:22.980 --> 00:18:25.720
Oh, they need dilithium.
365
00:18:25.720 --> 00:18:29.760
It speaks to how quick her
mind is and also how she's
366
00:18:29.760 --> 00:18:32.230
capable of working under
pressure, even though
367
00:18:32.230 --> 00:18:34.350
it doesn't come out in
the most elegant way.
368
00:18:34.350 --> 00:18:37.970
Of course, she has the
brain power and acumen
369
00:18:37.970 --> 00:18:41.480
to acknowledge the need and
actually get into some sort
370
00:18:41.480 --> 00:18:44.190
of negotiations. Which, I
do think that speaks to her
371
00:18:44.190 --> 00:18:46.734
leadership qualities,
for sure, and I think
372
00:18:46.734 --> 00:18:48.084
that's why Saru brings her.
373
00:18:49.270 --> 00:18:50.980
She's an out-of-the-box thinker.
374
00:18:50.980 --> 00:18:54.803
Is Saru seeing a future captain in Tilly?
375
00:18:54.803 --> 00:18:58.670
Oh, absolutely, I think
that's why he nominated her
376
00:18:58.670 --> 00:19:01.540
for the command training
program in the first place.
377
00:19:01.540 --> 00:19:06.380
She asked for it, but he
considered it and he took his time
378
00:19:06.380 --> 00:19:09.750
and carefully then added her
to that program, for sure.
379
00:19:09.750 --> 00:19:12.440
Because, and as the season
goes on, you'll see him
380
00:19:12.440 --> 00:19:13.920
giving her more responsibility that way.
381
00:19:13.920 --> 00:19:15.410
Sure.
'Cause he wants
382
00:19:15.410 --> 00:19:17.280
to groom her that way.
383
00:19:17.280 --> 00:19:19.150
So let's take that and
turn it a little bit inward
384
00:19:19.150 --> 00:19:22.310
on Saru. He's been this
great acting captain,
385
00:19:22.310 --> 00:19:24.970
and we've seen it every time,
going back to the beginning
386
00:19:24.970 --> 00:19:28.310
of the series. When Saru needs
to step up, Saru steps up.
387
00:19:28.310 --> 00:19:33.310
And he does-- he is such a
glorious example of Starfleet
388
00:19:33.650 --> 00:19:37.470
and the Starfleet ethos. Ho
he is really stepping up.
389
00:19:37.470 --> 00:19:40.113
He is really filling that chair.
390
00:19:41.350 --> 00:19:43.640
A difficult chair to
fill after Captain Pike
391
00:19:43.640 --> 00:19:45.830
got out of it. But he's
really filling that chair
392
00:19:45.830 --> 00:19:50.830
really well. Do you see him
continuing in this leadership
393
00:19:50.890 --> 00:19:55.890
role moving forward and maybe
becoming a full time captain?
394
00:19:56.590 --> 00:19:59.163
Right, well, there's the
question of the season.
395
00:20:00.110 --> 00:20:02.060
He certainly could.
Yeah.
396
00:20:02.060 --> 00:20:05.220
Certainly he wants to, but he
also wants that for Burnham.
397
00:20:05.220 --> 00:20:06.840
If we should find her.
398
00:20:06.840 --> 00:20:09.070
Yeah.
At the end of this episode,
399
00:20:09.070 --> 00:20:11.810
of course, we found her or she found us.
400
00:20:11.810 --> 00:20:13.430
Yeah, yeah.
So that question
401
00:20:13.430 --> 00:20:15.790
is gonna come down to, let's
go back to the end of Season 2
402
00:20:15.790 --> 00:20:20.070
where we share a very knowing
glance across the bridge,
403
00:20:20.070 --> 00:20:22.600
telling Captain Pike, let's
talk about the captain's chair
404
00:20:22.600 --> 00:20:24.990
later. Let's get through
this issue, you know.
405
00:20:24.990 --> 00:20:27.410
Let's get away from Control
and jump to the future.
406
00:20:27.410 --> 00:20:29.010
Then we'll talk about the captain's chair.
407
00:20:29.010 --> 00:20:29.918
And with a knowing
408
00:20:29.918 --> 00:20:32.090
glance to Burnham, that
means that it's probably
409
00:20:32.090 --> 00:20:34.670
gonna be between the two
of them. Both qualified.
410
00:20:34.670 --> 00:20:36.950
Both wanting it for each
other, because we both are very
411
00:20:36.950 --> 00:20:39.650
supportive and caring with each other now
412
00:20:39.650 --> 00:20:42.120
with that brother sister
relationship that we have.
413
00:20:42.120 --> 00:20:43.560
So--
Yeah.
414
00:20:43.560 --> 00:20:44.900
Where could it go?
415
00:20:44.900 --> 00:20:45.823
Where could it go?
416
00:20:47.040 --> 00:20:50.200
A theme emerges, I've seen--
I've watched a little bit
417
00:20:50.200 --> 00:20:53.890
ahead of where we are today
and a theme is emerging
418
00:20:53.890 --> 00:20:57.000
and the theme is the need for connection,
419
00:20:57.000 --> 00:20:59.093
the search for connection.
420
00:21:01.150 --> 00:21:04.230
We find ourselves, the
Discovery crew and the audience,
421
00:21:04.230 --> 00:21:08.430
we find ourselves just ripped
away from everything we know,
422
00:21:08.430 --> 00:21:13.430
and everyone we loved, and I
feel like that's real timely.
423
00:21:14.480 --> 00:21:18.870
I feel like that desire to
connect with the people we love
424
00:21:18.870 --> 00:21:23.850
is, it's just something we
can all really, really relate
425
00:21:23.850 --> 00:21:24.950
to right now.
426
00:21:24.950 --> 00:21:27.725
Obviously, no one could
have predicted when you
427
00:21:27.725 --> 00:21:31.230
were in production that we
would be where we are now,
428
00:21:31.230 --> 00:21:34.730
but here we are. Science
fiction does its best work
429
00:21:34.730 --> 00:21:38.003
when it reflects what we are
living through at this moment.
430
00:21:38.890 --> 00:21:42.603
And I would love it if you
would share a little bit
431
00:21:44.240 --> 00:21:47.790
about that experience of
looking for connection,
432
00:21:47.790 --> 00:21:50.770
for those characters, trying
to find those connections.
433
00:21:50.770 --> 00:21:54.830
And Michael's re-emergence
clearly, you know, is a great
434
00:21:54.830 --> 00:21:58.580
example of that. But
Mary, do you have thoughts
435
00:21:58.580 --> 00:22:02.190
in that part of the color spectrum?
436
00:22:02.190 --> 00:22:04.820
Yeah, I mean, it's eerily timely, I agree.
437
00:22:04.820 --> 00:22:07.990
And it's not like, what's
nice about it is it's not like
438
00:22:07.990 --> 00:22:12.950
a one to one thing that,
like it's not coronavirus,
439
00:22:12.950 --> 00:22:17.740
it's not a pandemic. But this
feeling of disconnection,
440
00:22:17.740 --> 00:22:21.620
like you said, feels so
familiar at that time.
441
00:22:21.620 --> 00:22:25.490
And that aching yearning and
feeling isolated and alienated
442
00:22:25.490 --> 00:22:28.040
and then kind of being
left alone with yourself
443
00:22:28.040 --> 00:22:32.620
in a real way, it just
feels incredibly relevant.
444
00:22:32.620 --> 00:22:35.510
And even getting to watch a
little bit now, it's like,
445
00:22:35.510 --> 00:22:38.183
nobody could have guessed.
So, I think it is a really,
446
00:22:39.897 --> 00:22:44.430
satisfying parallel and I think the things
447
00:22:44.430 --> 00:22:47.380
that come up are, as the season goes on,
448
00:22:47.380 --> 00:22:48.388
are also reminiscent
449
00:22:48.388 --> 00:22:51.570
of things that happen in quarantine.
450
00:22:51.570 --> 00:22:54.660
Questions of leadership,
being alone with yourself
451
00:22:54.660 --> 00:22:57.620
in a meaningful way and kind
of having to like clean house
452
00:22:57.620 --> 00:23:00.760
in that way. Who am I really
and what do I really want
453
00:23:00.760 --> 00:23:03.950
beyond a story I told for
myself, like of what my life
454
00:23:03.950 --> 00:23:08.360
would be, I think are
recurrent themes. So, I think
455
00:23:08.360 --> 00:23:12.520
it'll be a good balm for
people to watch at this time
456
00:23:12.520 --> 00:23:15.543
because there will be so
much that speaks to our
457
00:23:15.543 --> 00:23:19.160
experience as people in a pandemic.
458
00:23:19.160 --> 00:23:21.620
Right, unbeknownst to us
as we were filming it.
459
00:23:21.620 --> 00:23:23.500
That's for sure.
Absolutely.
460
00:23:23.500 --> 00:23:27.120
I think that theme of change and what we
461
00:23:27.120 --> 00:23:31.455
do with it, disconnection and
finding ways to reconnect,
462
00:23:31.455 --> 00:23:35.320
or connect with what we have
around us, and appreciating
463
00:23:35.320 --> 00:23:37.960
what we have in our bubble
that we may not have noticed
464
00:23:37.960 --> 00:23:40.653
before. All those themes are very present.
465
00:23:42.630 --> 00:23:45.500
Let's wrap up with Frakes.
466
00:23:45.500 --> 00:23:47.870
Just 'cause I love him so much.
467
00:23:47.870 --> 00:23:49.910
He directed next week's episode
468
00:23:50.760 --> 00:23:54.320
and just because I know him
469
00:23:54.320 --> 00:23:57.870
and you know him, I wondered
if you had any non-spoiler-y
470
00:23:57.870 --> 00:24:01.840
anecdotes from working with him that you
471
00:24:01.840 --> 00:24:06.840
want to share with fandom at large.
472
00:24:06.850 --> 00:24:09.740
I think Mary has a story
that she's not quite sure
473
00:24:09.740 --> 00:24:11.740
if she can tell, it's a great story.
474
00:24:11.740 --> 00:24:15.170
Too many stories, I'm
having selection paralysis
475
00:24:15.170 --> 00:24:16.003
all of a sudden.
476
00:24:16.003 --> 00:24:17.608
[laughing]
477
00:24:17.608 --> 00:24:19.870
One fun thing he does is
he always quotes this thing
478
00:24:19.870 --> 00:24:22.800
Patrick Stewart used to say on set.
479
00:24:22.800 --> 00:24:25.530
And I don't even know
what it is but it's like,
480
00:24:25.530 --> 00:24:29.107
"You there, fa-dee-da, body
talks, but first, clink clink."
481
00:24:29.107 --> 00:24:31.910
Or something like, some really weird
482
00:24:31.910 --> 00:24:34.680
northern English saying
and he would always
483
00:24:34.680 --> 00:24:37.080
say it, apropos of nothing.
484
00:24:37.080 --> 00:24:39.213
The other thing is that he sings.
485
00:24:40.580 --> 00:24:42.280
Constantly.
Super irrelevant
486
00:24:42.280 --> 00:24:44.590
musical theater songs constantly
487
00:24:44.590 --> 00:24:47.010
that nobody else knows the words to.
488
00:24:47.010 --> 00:24:52.010
And so we have a little duet
that we do where I pretend
489
00:24:52.250 --> 00:24:56.050
to know what the hell he's
talking about and that's fun.
490
00:24:56.050 --> 00:24:57.080
Yeah.
I love that.
491
00:24:57.080 --> 00:24:59.713
He sang on our set, too.
492
00:24:59.713 --> 00:25:01.570
Oh, I love that.
493
00:25:01.570 --> 00:25:04.460
Obscure musical numbers
from shows that I should
494
00:25:04.460 --> 00:25:07.463
be old enough to have seen
and didn't. No, I know.
495
00:25:10.260 --> 00:25:14.300
Also, we love having him
because as a Star Trek actor
496
00:25:14.300 --> 00:25:17.660
himself, now directing, he
has such a, we have such
497
00:25:17.660 --> 00:25:20.730
a connection with him that,
you know, another director
498
00:25:20.730 --> 00:25:24.210
may not be able to have with
us. And so he'll constantly
499
00:25:24.210 --> 00:25:26.760
remind us, "You know, I was once an actor
500
00:25:26.760 --> 00:25:28.360
and pound for pound, one of the best
501
00:25:28.360 --> 00:25:30.236
American actors you'll ever find."
502
00:25:30.236 --> 00:25:32.890
[laughing]
503
00:25:32.890 --> 00:25:36.540
Oh, just thank all the gods, old and new,
504
00:25:36.540 --> 00:25:38.700
for Jonathan Frakes.
505
00:25:38.700 --> 00:25:42.019
So true, give it up, he's the best.
506
00:25:42.019 --> 00:25:44.740
I have taken up so much of your time.
507
00:25:44.740 --> 00:25:48.560
I'm so grateful that you chose
to share some of it with me.
508
00:25:48.560 --> 00:25:51.940
As I said, I'm just a huge
fan and it's such an honor
509
00:25:51.940 --> 00:25:55.940
and a privilege to
share Star Trek with you
510
00:25:55.940 --> 00:26:00.130
and to be able to talk
with you about this big
511
00:26:00.130 --> 00:26:01.680
weird thing that we're part of.
512
00:26:01.680 --> 00:26:03.196
Thanks to both of you
513
00:26:03.196 --> 00:26:06.613
and I wish you just the best year.
514
00:26:07.820 --> 00:26:11.403
Well, thank you so much
for having us, Wil.
515
00:26:27.000 --> 00:26:29.450
Doug and Mary and I talked a
little bit about that amazing
516
00:26:29.450 --> 00:26:33.020
bar fight in today's episode
of Discovery, but, as you know,
517
00:26:33.020 --> 00:26:36.100
we here in "The Ready
Room" can not get enough
518
00:26:36.100 --> 00:26:38.530
behind the scenes content.
I mean, you might say
519
00:26:38.530 --> 00:26:41.870
it's our own dilithium
crystal. Which is why we have
520
00:26:41.870 --> 00:26:44.930
Disco's own Stunt
Coordinator, Chris McGuire,
521
00:26:44.930 --> 00:26:47.300
to talk about some of the
action-packed sequences
522
00:26:47.300 --> 00:26:49.234
we've seen so far. Check it out.
523
00:26:51.254 --> 00:26:53.504
[grunting]
524
00:26:56.880 --> 00:26:58.735
I don't know where I am.
525
00:26:58.735 --> 00:27:01.010
I have nowhere to go back to.
526
00:27:01.010 --> 00:27:04.010
So please, please help me.
527
00:27:04.010 --> 00:27:06.460
Burnham and Book make a pact
528
00:27:06.460 --> 00:27:09.293
to help each other out temporarily.
529
00:27:09.293 --> 00:27:12.492
And the plan is they go their
separate ways afterwards
530
00:27:12.492 --> 00:27:14.540
He's not a fan of Michael Burnham
531
00:27:14.540 --> 00:27:16.833
when they first meet. I mean, they fight.
532
00:27:17.973 --> 00:27:20.120
It's a big old friggin' fight sequence.
533
00:27:20.120 --> 00:27:22.203
Which was amazing to shoot, by the way.
534
00:27:24.270 --> 00:27:28.090
Chris McGuire is our Stunt
Coordinator, stunt captain
535
00:27:28.090 --> 00:27:31.490
and what I love about Chris
is how he collaborates
536
00:27:31.490 --> 00:27:33.740
and his enthusiasm and his excitement.
537
00:27:33.740 --> 00:27:35.610
Chris, like myself, is always driven
538
00:27:35.610 --> 00:27:37.123
by the narrative of the story.
539
00:27:37.960 --> 00:27:39.930
He always wants to
incorporate character elements
540
00:27:39.930 --> 00:27:42.017
within the fight sequences,
so that they're real
541
00:27:42.017 --> 00:27:44.370
and feel organic for us as actors.
542
00:27:44.370 --> 00:27:47.770
My favorite part is to
sort of work with the cast
543
00:27:47.770 --> 00:27:51.160
and figure out what they
would and wouldn't do.
544
00:27:51.160 --> 00:27:54.550
I know each and every one of
these characters and the cast
545
00:27:54.550 --> 00:27:57.010
who play them. You know, when
they show up to our first sort
546
00:27:57.010 --> 00:28:00.260
of rehearsal, they'll tell me
what it is that they wanna try
547
00:28:00.260 --> 00:28:03.340
to accomplish in the scene
and then we make it happen.
548
00:28:03.340 --> 00:28:06.890
We give them the tools so
that they can do it safely
549
00:28:06.890 --> 00:28:10.570
and so that they can totally
express themselves as actors.
550
00:28:10.570 --> 00:28:13.540
Iceland was incredible, it
was the first time I was able
551
00:28:13.540 --> 00:28:17.270
to choreograph a chase sequence
that took place on an alien
552
00:28:17.270 --> 00:28:20.520
planet where I didn't
have to try to visualize
553
00:28:20.520 --> 00:28:22.670
what we were seeing. Because
ordinarily, we're looking
554
00:28:22.670 --> 00:28:25.740
into green screen or the cast
are looking into green screen.
555
00:28:25.740 --> 00:28:27.550
The vista was there.
556
00:28:27.550 --> 00:28:29.270
The rock formations were there.
557
00:28:29.270 --> 00:28:33.300
The glacier-molded
landscapes were all there.
558
00:28:33.300 --> 00:28:38.300
So, Tunde and I, with my
iPhone, would run the sequence
559
00:28:38.970 --> 00:28:40.667
and he would be the actors and he'd say,
560
00:28:40.667 --> 00:28:42.820
"This is what I wanna see."
561
00:28:42.820 --> 00:28:45.600
So then we just used the
terrain and you know,
562
00:28:45.600 --> 00:28:47.700
these outcropping of rock and whatnot
563
00:28:47.700 --> 00:28:50.063
and just built the action right there.
564
00:28:50.063 --> 00:28:51.420
It was pretty incredible.
565
00:28:51.420 --> 00:28:53.130
You're about to be really mad!
566
00:28:55.870 --> 00:28:59.130
I love how Chris was very supportive
567
00:28:59.130 --> 00:29:01.750
and just gave us the room to create.
568
00:29:01.750 --> 00:29:03.833
You know, he's a wonderful,
569
00:29:03.833 --> 00:29:05.091
wonderful guy to collaborate with.
570
00:29:05.091 --> 00:29:07.727
And our stunt doubles as
well, I have to shout out
571
00:29:07.727 --> 00:29:09.827
our stunt doubles 'cause they are amazing.
572
00:29:14.540 --> 00:29:17.610
My stunt double, Bauston Camilleri,
573
00:29:17.610 --> 00:29:19.280
has saved my life many a time.
574
00:29:19.280 --> 00:29:22.070
So, between him and our
Stunt Coordinator, Chris,
575
00:29:22.070 --> 00:29:24.750
they are just, they're aces
576
00:29:24.750 --> 00:29:27.140
at getting these things choreographed out
577
00:29:27.140 --> 00:29:31.580
so they look real and staging
them so that we're safe,
578
00:29:31.580 --> 00:29:33.193
always safe, safety first.
579
00:29:34.070 --> 00:29:37.350
From the moment I read the
script, I immediately think
580
00:29:37.350 --> 00:29:39.460
about which departments
are going to be impacted
581
00:29:39.460 --> 00:29:43.570
by stunts. From the art
department, reinforcing walls
582
00:29:43.570 --> 00:29:46.140
for our stunt performers to slam into.
583
00:29:46.140 --> 00:29:48.370
Stunt foam on the floors, the walls,
584
00:29:48.370 --> 00:29:49.650
and sometimes the ceiling.
585
00:29:49.650 --> 00:29:51.160
To the costume department.
586
00:29:51.160 --> 00:29:53.670
You know, Gersha and her
team build these super cool
587
00:29:53.670 --> 00:29:56.920
elaborate costumes, and so
we try to build the action
588
00:29:56.920 --> 00:29:58.320
to accommodate that as well.
589
00:29:59.950 --> 00:30:02.510
We had to build the fight
sequence that involved
590
00:30:02.510 --> 00:30:05.710
having Georgiou completely unarmed,
591
00:30:05.710 --> 00:30:08.360
surrounded by several heavily armed
592
00:30:08.360 --> 00:30:10.150
regulators with their weapons up.
593
00:30:10.150 --> 00:30:13.570
The challenge is to
choreograph it in a way
594
00:30:13.570 --> 00:30:14.620
that it's believable.
595
00:30:15.600 --> 00:30:17.790
That the audience isn't
saying, "Well, he could have
596
00:30:17.790 --> 00:30:20.310
shot her right here."
And I think we did that.
597
00:30:20.310 --> 00:30:22.580
I'm kind of off to the side
watching Michelle really
598
00:30:22.580 --> 00:30:26.010
do most of the kicking and her kicks go,
599
00:30:26.010 --> 00:30:27.963
they go everywhere. I mean she's, oh,
600
00:30:28.940 --> 00:30:31.310
she has no joints. I
think they're just like
601
00:30:31.310 --> 00:30:32.450
elastic in there.
602
00:30:32.450 --> 00:30:34.680
When we choreograph and do walkthroughs,
603
00:30:34.680 --> 00:30:36.990
she literally walks it.
604
00:30:36.990 --> 00:30:39.133
You don't see Michelle explode into action
605
00:30:39.133 --> 00:30:40.560
'til the camera rolls.
606
00:30:40.560 --> 00:30:43.270
[Director] Three, two, one, action.
607
00:30:43.270 --> 00:30:44.490
[grunting]
608
00:30:44.490 --> 00:30:47.260
I remember that day specifically because
609
00:30:47.260 --> 00:30:50.830
we did a ton of prep, a ton
of work to build the fight,
610
00:30:50.830 --> 00:30:54.090
rehearsed it and then rolled the camera.
611
00:30:54.090 --> 00:30:57.240
We shot the first master
and it was unbelievable.
612
00:30:57.240 --> 00:30:58.341
I believed it.
613
00:30:58.341 --> 00:31:00.783
[grunting]
614
00:31:32.700 --> 00:31:36.350
In the world of Star Trek:
Discovery, the future is now.
615
00:31:36.350 --> 00:31:38.810
So in that spirit, we wanted
to give you just a glimpse
616
00:31:38.810 --> 00:31:41.560
of your future, seven days
hence, when you'll be watching
617
00:31:41.560 --> 00:31:45.950
Season 3, Episode 3, "People Of Earth."
618
00:31:45.950 --> 00:31:47.266
Let's go ahead and roll that clip.
619
00:31:51.200 --> 00:31:54.051
[Michael] Personal log,
Commander Michael Burnham.
620
00:31:54.051 --> 00:31:57.120
Stardate 865211.3.
621
00:31:57.120 --> 00:32:00.040
Automatic transmission
to U.S.S. Discovery,
622
00:32:00.040 --> 00:32:02.540
wherever or whenever it might be.
623
00:32:02.540 --> 00:32:04.130
I'm sending this message
because you need to know
624
00:32:04.130 --> 00:32:05.980
what I've learned here.
625
00:32:05.980 --> 00:32:08.830
I hope that by some miracle
you will receive it some day.
626
00:32:10.020 --> 00:32:13.360
700 years after we left,
dilithium supplies dried up.
627
00:32:13.360 --> 00:32:15.960
The Federation trialed
alternative warp drive designs
628
00:32:15.960 --> 00:32:17.920
but none proved reliable.
629
00:32:17.920 --> 00:32:19.363
Then came the Burn.
630
00:32:20.250 --> 00:32:23.800
No one knows how or why it
happened but in an instant,
631
00:32:23.800 --> 00:32:25.960
all dilithium went inert.
632
00:32:25.960 --> 00:32:28.383
Any ship with an active
warp core detonated.
633
00:32:30.930 --> 00:32:33.400
The Federation, as we know
it, disappeared overnight.
634
00:32:33.400 --> 00:32:36.493
It's now just a shadow of its former self.
635
00:32:37.650 --> 00:32:40.010
We didn't give everything for
this version of the future
636
00:32:40.010 --> 00:32:42.273
and I'll be damned if I let it stand.
637
00:32:43.300 --> 00:32:45.220
I've become a courier.
638
00:32:45.220 --> 00:32:47.610
I transport goods in
exchange for dilithium
639
00:32:47.610 --> 00:32:50.290
to keep exploring sector by sector.
640
00:32:50.290 --> 00:32:54.260
Searching for clues as
to what caused the burn.
641
00:32:54.260 --> 00:32:55.610
Answers that might help to bring
642
00:32:55.610 --> 00:32:57.343
the Federation together again.
643
00:32:59.130 --> 00:33:02.730
Wherever I go, I look for you, my friends.
644
00:33:02.730 --> 00:33:05.710
I listen for any sign of your arrival
645
00:33:05.710 --> 00:33:08.253
but communication
remains severely limited.
646
00:33:09.100 --> 00:33:12.300
Even if I did find you, I
know it would be different,
647
00:33:12.300 --> 00:33:15.500
because I am different.
648
00:33:15.500 --> 00:33:17.730
But I will always love you.
649
00:33:17.730 --> 00:33:20.590
I've had to accept I
may never see you again.
650
00:33:20.590 --> 00:33:23.333
You can love someone
and still let them go.
651
00:33:27.440 --> 00:33:29.910
Thank you all so much for joining me
652
00:33:29.910 --> 00:33:32.780
here in "The Ready Room" today
to talk about Episode 2 of
653
00:33:32.780 --> 00:33:34.970
Star Trek: Discovery Season 3.
654
00:33:34.970 --> 00:33:38.280
I will be back in a week
to talk with my very
655
00:33:38.280 --> 00:33:41.550
dear friend, Jonathan Frakes,
who directed Episode 3.
656
00:33:41.550 --> 00:33:44.360
Along with writers, Bo Yeon
Kim and Erika Lippoldt.
657
00:33:44.360 --> 00:33:49.230
As well as, the series maestro
and composer, Jeff Russo.
658
00:33:49.230 --> 00:33:51.321
Until then, I'm Wil Wheaton.
659
00:33:51.321 --> 00:33:53.454
Live long and prosper.