WEBVTT
1
00:00:04.629 --> 00:00:07.966
Hey, nerds! I'm Wil Wheaton
and this is "The Ready Room."
2
00:00:07.966 --> 00:00:09.801
Your official behind-the-scenes hub
3
00:00:09.801 --> 00:00:12.470
for all things Star Trek Universe.
4
00:00:12.470 --> 00:00:14.055
Today, we're looking at
everything that went down
5
00:00:14.055 --> 00:00:15.432
in the penultimate installment
6
00:00:15.432 --> 00:00:17.726
of Star Trek: Discovery, Season 3.
7
00:00:17.726 --> 00:00:20.687
And wow, so much stuff happened
8
00:00:20.687 --> 00:00:23.106
that I don't even know where to start.
9
00:00:23.106 --> 00:00:25.608
What I will tell you is
this, from this moment on,
10
00:00:25.608 --> 00:00:27.861
we will be getting deep into spoilers.
11
00:00:27.861 --> 00:00:30.613
So if you haven't watched
Season 3, Episode 12,
12
00:00:30.613 --> 00:00:33.700
"There Is A Tide...," then
you should definitely watch
13
00:00:33.700 --> 00:00:36.327
that first, then come back and watch us.
14
00:00:36.327 --> 00:00:38.455
We'll be here for you, I promise.
15
00:00:38.455 --> 00:00:40.206
When you come back, my very
good friend, and director
16
00:00:40.206 --> 00:00:43.293
of "There Is A Tide...,"
Jonathan Frakes is here
17
00:00:43.293 --> 00:00:45.420
to tell us everything
you could ever wanna know
18
00:00:45.420 --> 00:00:46.504
about this episode.
19
00:00:46.504 --> 00:00:49.299
Then a little later, we
have an exclusive sneak peek
20
00:00:49.299 --> 00:00:52.927
at the Season 3 finale
of Star Trek: Discovery.
21
00:00:52.927 --> 00:00:55.638
But before we dive into
this latest episode,
22
00:00:55.638 --> 00:00:57.599
I have to say this had one
23
00:00:57.599 --> 00:01:02.395
of the most intense negotiation
scenes I've seen in a while.
24
00:01:02.395 --> 00:01:03.855
I am, of course, talking about
25
00:01:03.855 --> 00:01:05.315
the Federation's Admiral Vance
26
00:01:05.315 --> 00:01:07.817
versus Osyraa of the Emerald Chain.
27
00:01:07.817 --> 00:01:09.569
A standoff for the ages.
28
00:01:09.569 --> 00:01:11.446
For more on this scene,
we go to our latest
29
00:01:11.446 --> 00:01:13.656
"Moments of Discovery" video.
30
00:01:13.656 --> 00:01:15.784
Control room, engage.
31
00:01:17.577 --> 00:01:19.120
It doesn't quite taste like
the real thing, does it?
32
00:01:19.120 --> 00:01:20.705
I've never eaten a real apple.
33
00:01:20.705 --> 00:01:22.082
Apples are a thing of beauty.
34
00:01:22.082 --> 00:01:25.043
You wanna talk about
oppression, you should start
35
00:01:25.043 --> 00:01:26.169
in your own mess hall.
36
00:01:26.169 --> 00:01:29.005
It's made of our [bleep] you know.
37
00:01:32.092 --> 00:01:35.637
When Osyraa starts the negotiation process
38
00:01:35.637 --> 00:01:39.599
with Admiral Vance,
she is genuinely hoping
39
00:01:39.599 --> 00:01:42.727
that they can collaborate
to form a very unique
40
00:01:42.727 --> 00:01:46.815
and special relationship that
would benefit both sides.
41
00:01:46.815 --> 00:01:49.150
Welcome to Federation
headquarters, shall we?
42
00:01:50.610 --> 00:01:51.444
Lead the way.
43
00:01:51.444 --> 00:01:53.363
She's pretty transparent at the beginning
44
00:01:53.363 --> 00:01:54.739
of the negotiation.
45
00:01:54.739 --> 00:01:57.492
I want peace, I want the Emerald Chain
46
00:01:57.492 --> 00:01:59.661
to unite with the Federation.
47
00:01:59.661 --> 00:02:03.039
She offers him help, for help in exchange.
48
00:02:03.039 --> 00:02:05.625
You have a spore drive
that you cannot replicate.
49
00:02:05.625 --> 00:02:08.378
I have the most well-funded
scientific institutions
50
00:02:08.378 --> 00:02:09.838
in the known galaxy.
51
00:02:10.797 --> 00:02:12.549
There is a deal to be made here.
52
00:02:12.549 --> 00:02:15.593
And I believe that she's
probably a little bit tired
53
00:02:15.593 --> 00:02:17.971
of holding this all up
on her own shoulders
54
00:02:17.971 --> 00:02:20.098
and genuinely needs the
help of Admiral Vance
55
00:02:20.098 --> 00:02:21.015
and the Federation.
56
00:02:21.015 --> 00:02:23.351
For this armistice to be worth anything,
57
00:02:23.351 --> 00:02:25.270
then the person representing the Chain
58
00:02:26.437 --> 00:02:28.022
has to be proven credible.
59
00:02:28.022 --> 00:02:29.691
The turning point comes, of course,
60
00:02:29.691 --> 00:02:34.279
when Admiral Vance insists
that she stand trial
61
00:02:34.279 --> 00:02:35.947
for her crimes.
62
00:02:35.947 --> 00:02:37.240
And the only way that that can happen
63
00:02:37.240 --> 00:02:40.368
is if he or she functions
completely independently
64
00:02:40.368 --> 00:02:42.453
of you, and tries you for your crimes.
65
00:02:44.164 --> 00:02:45.206
Excuse me?
66
00:02:45.206 --> 00:02:47.208
And that is just not acceptable.
67
00:02:47.208 --> 00:02:50.336
Osyraa, isn't able to go before court
68
00:02:50.336 --> 00:02:53.131
and be judged for the things
that she's done in the past,
69
00:02:53.131 --> 00:02:54.549
because it's a loss of control.
70
00:02:54.549 --> 00:02:58.052
We all had to make hard
choices because of the Burn.
71
00:02:58.052 --> 00:03:00.305
Spare me your judgment.
72
00:03:00.305 --> 00:03:03.057
I think that she fears that
there would be no one else
73
00:03:03.057 --> 00:03:06.144
that would actually be able
to stand up and continue
74
00:03:06.144 --> 00:03:09.522
the progress, she's worked
so hard to get her people
75
00:03:09.522 --> 00:03:12.609
where they are and so
she's just not willing
76
00:03:12.609 --> 00:03:17.280
to sacrifice herself for the
greater good, which is a shame.
77
00:03:17.280 --> 00:03:20.283
There has to be some sort
of judicial responsibility
78
00:03:20.283 --> 00:03:23.328
in both societies, otherwise
no one really trusts the truce.
79
00:03:23.328 --> 00:03:25.163
You kind of need those
checks and balances.
80
00:03:25.163 --> 00:03:26.539
You're making a mistake.
81
00:03:26.539 --> 00:03:28.124
That's not part of her vision.
82
00:03:28.124 --> 00:03:31.377
Her vision is she is able
to save the Emerald Chain,
83
00:03:31.377 --> 00:03:33.338
add more dilithium to her stores,
84
00:03:33.338 --> 00:03:34.589
not be in constant fight,
85
00:03:34.589 --> 00:03:37.926
but still be in control of
her half of the equation.
86
00:03:37.926 --> 00:03:39.802
The more we learn about her,
87
00:03:39.802 --> 00:03:42.222
I think the more fully
realized she becomes,
88
00:03:42.222 --> 00:03:45.892
and what you find is, she's
in the same boat as Vance.
89
00:03:45.892 --> 00:03:49.020
The galaxy is a much better
place with you in it, Osyraa.
90
00:03:49.020 --> 00:03:50.521
She wants to take care of her people.
91
00:03:50.521 --> 00:03:52.106
She has a different way
of going about things
92
00:03:52.106 --> 00:03:53.942
and she doesn't have
the same moral compass.
93
00:03:53.942 --> 00:03:56.110
And from her perspective,
your moral compass
94
00:03:56.110 --> 00:03:58.321
doesn't have to be the right way.
95
00:03:58.321 --> 00:04:01.032
When you look at that scene
between Vance and Osyraa,
96
00:04:01.032 --> 00:04:03.993
what Jonathan, myself, and
Michelle talked a lot about
97
00:04:03.993 --> 00:04:05.286
was having a chess match.
98
00:04:05.286 --> 00:04:08.039
We loved the idea of
a well-rounded villain
99
00:04:08.039 --> 00:04:10.833
who had a strong point of
view on this new future
100
00:04:10.833 --> 00:04:12.919
and a strong point of
view of how to survive
101
00:04:12.919 --> 00:04:15.129
and was at odds with the Federation.
102
00:04:15.129 --> 00:04:18.675
And we really wanted to give
that to Osyraa this year.
103
00:04:23.972 --> 00:04:25.974
You saw my next guest a few weeks back
104
00:04:25.974 --> 00:04:27.558
when we chatted about Season 3,
105
00:04:27.558 --> 00:04:30.103
Episode 3 of Star Trek: Discovery.
106
00:04:30.103 --> 00:04:32.355
Now he is back to give us all the details
107
00:04:32.355 --> 00:04:34.190
on the episode we just watched.
108
00:04:34.190 --> 00:04:36.526
Everyone, please welcome
back to "The Ready Room,"
109
00:04:36.526 --> 00:04:39.821
everyone's favorite
director, Jonathan Frakes.
110
00:04:39.821 --> 00:04:40.989
Hi, Johnny!
111
00:04:40.989 --> 00:04:43.074
Hi, Wil! How are you, WW?
112
00:04:43.074 --> 00:04:44.409
I'm great, I'm so happy
113
00:04:44.409 --> 00:04:46.744
that you're here today,
it's so good to see you.
114
00:04:46.744 --> 00:04:49.580
It's always a treat for
me, you're such an adult.
115
00:04:50.623 --> 00:04:53.293
It's so weird that I'm such an adult.
116
00:04:53.293 --> 00:04:56.796
Well, you're old now. Like I
was when I was on the show.
117
00:04:56.796 --> 00:04:59.549
I'm the same age that
Patrick was when we started,
118
00:04:59.549 --> 00:05:01.926
and that is the weirdest
thing in the world to me,
119
00:05:01.926 --> 00:05:03.928
'cause I still feel like I'm 14.
120
00:05:03.928 --> 00:05:05.179
And he's 80.
121
00:05:05.179 --> 00:05:06.431
Let's start out by talking about
122
00:05:06.431 --> 00:05:08.641
the Big Bad this season, Osyraa.
123
00:05:09.767 --> 00:05:11.644
She's--
Fabulous.
124
00:05:11.644 --> 00:05:13.646
She's amazing.
125
00:05:13.646 --> 00:05:18.401
She's not your typical evil
villain in science fiction.
126
00:05:19.610 --> 00:05:22.613
In fact, what she
proposes in this episode,
127
00:05:22.613 --> 00:05:25.074
is to unite the Emerald Chain and--
128
00:05:25.074 --> 00:05:27.493
With the Federation.
With the federation.
129
00:05:28.453 --> 00:05:30.872
I noticed the exchange
between her and Admiral Vance
130
00:05:30.872 --> 00:05:34.959
is intense, but dude that's a
two hander where nobody moves
131
00:05:34.959 --> 00:05:38.254
and you managed to turn that
into this incredibly tense,
132
00:05:38.254 --> 00:05:39.964
incredibly dynamic scene.
133
00:05:39.964 --> 00:05:42.175
Talk about bringing that scene to life.
134
00:05:42.175 --> 00:05:44.010
Get lots of coverage.
135
00:05:44.010 --> 00:05:45.678
Yeah, okay.
136
00:05:45.678 --> 00:05:50.678
No, and also, Oded, Oded
Fehr, Janet Kidder, and I
137
00:05:51.601 --> 00:05:54.103
actually found time to rehearse the scene.
138
00:05:54.103 --> 00:05:54.937
Oh!
139
00:05:54.937 --> 00:05:57.273
And the movements were so minimal,
140
00:05:57.273 --> 00:06:00.777
that they had meaning, right?
Yeah, absolutely.
141
00:06:00.777 --> 00:06:03.279
And Crescenzo Notarile,
my Cinematographer,
142
00:06:03.279 --> 00:06:07.825
who actually did all three of
my episodes, who's a genius.
143
00:06:07.825 --> 00:06:08.659
Yes.
144
00:06:08.659 --> 00:06:10.536
Found ways to keep, we moved it.
145
00:06:10.536 --> 00:06:12.830
But it's the writing,
it's always the writing.
146
00:06:12.830 --> 00:06:16.292
You said with enthusiasm,
that you got to rehearse
147
00:06:16.292 --> 00:06:18.544
the scene, and a lot of
people watching would think,
148
00:06:18.544 --> 00:06:19.879
well of course you get
to rehearse the scene,
149
00:06:19.879 --> 00:06:20.713
that's what you do.
150
00:06:20.713 --> 00:06:22.840
But I remember when we
were doing Star Trek,
151
00:06:22.840 --> 00:06:25.218
there's just so much work to do in a day,
152
00:06:25.218 --> 00:06:29.639
that there's rarely time to
do a proper actors rehearsal,
153
00:06:29.639 --> 00:06:30.932
to really walk through things.
154
00:06:30.932 --> 00:06:32.725
Generally, I'm saying this
for the audience at home,
155
00:06:32.725 --> 00:06:35.478
generally what you see is what we did
156
00:06:35.478 --> 00:06:37.271
on our first or second go through.
157
00:06:37.271 --> 00:06:39.565
We never really get that
chance to walk around
158
00:06:39.565 --> 00:06:40.400
and rehearse the scene.
159
00:06:40.400 --> 00:06:44.529
So it is an incredible luxury
to get to rehearse that scene.
160
00:06:44.529 --> 00:06:46.656
Do, do you, how much time
did you get to spend on that?
161
00:06:46.656 --> 00:06:48.199
We didn't really have
the luxury of rehearsal.
162
00:06:48.199 --> 00:06:51.786
What we did was because I had done,
163
00:06:51.786 --> 00:06:54.831
what I call DGA theater
during prep, where I take
164
00:06:54.831 --> 00:06:57.667
my First AD and the
Cinematographer and maybe a PA,
165
00:06:57.667 --> 00:06:59.085
and we go down on the set and I say,
166
00:06:59.085 --> 00:07:02.130
"Here's where I think everyone
will be when we do this."
167
00:07:02.130 --> 00:07:04.549
So, the staging, especially it's pretty,
168
00:07:04.549 --> 00:07:06.050
that was pretty straight ahead.
169
00:07:06.050 --> 00:07:10.680
But I was able to bring
170
00:07:10.680 --> 00:07:13.015
Jason and Oded in for rehearsal,
171
00:07:13.015 --> 00:07:18.015
show it to Crescenzo, and
then the three of us rehearsed
172
00:07:18.813 --> 00:07:21.732
the moments off camera, in the chairs.
173
00:07:21.732 --> 00:07:24.610
We didn't have time on
the set with, you know,
174
00:07:24.610 --> 00:07:27.738
or in the schedule to
rehearse, let's not go crazy.
175
00:07:27.738 --> 00:07:29.282
Like when you're in a movie,
when you actually have
176
00:07:29.282 --> 00:07:31.784
a week to rehearse or two
weeks to rehearse a movie.
177
00:07:31.784 --> 00:07:33.578
But we had, we found
time to work together,
178
00:07:33.578 --> 00:07:36.831
and the two of them were so
pumped about these scenes,
179
00:07:36.831 --> 00:07:39.208
because they were at
the end of the schedule,
180
00:07:39.208 --> 00:07:41.794
and we were all, it's
the climax of, I mean,
181
00:07:41.794 --> 00:07:43.254
it's an incredible story.
182
00:07:43.254 --> 00:07:45.256
Yeah, it's very unexpected.
183
00:07:45.256 --> 00:07:49.385
I did not see this coming at all,
184
00:07:49.385 --> 00:07:51.971
and I wanted to talk with
you about how you worked
185
00:07:51.971 --> 00:07:56.971
with Janet to approach bringing
out the very subtle nuances
186
00:07:57.310 --> 00:08:01.355
of Osyraa, who is really stoic,
187
00:08:03.191 --> 00:08:05.234
and never, just in the writing,
188
00:08:05.234 --> 00:08:08.571
never lets the audience
know what's going on.
189
00:08:08.571 --> 00:08:12.533
So she sees the value
in this peaceful future,
190
00:08:12.533 --> 00:08:17.038
but then she ultimately isn't
willing to sacrifice herself
191
00:08:17.914 --> 00:08:18.748
for the greater good.
192
00:08:18.748 --> 00:08:20.041
That was the line in the sand.
193
00:08:20.041 --> 00:08:22.376
That's Kenneth Lin who wrote
it, who's a wonderful--
194
00:08:22.376 --> 00:08:25.129
He's a playwright first and
he's a wonderful writer.
195
00:08:25.129 --> 00:08:29.217
But the subtle, the
nuance, the word you used,
196
00:08:29.217 --> 00:08:31.677
is exactly what allowed those three scenes
197
00:08:31.677 --> 00:08:33.429
to build to where they are.
198
00:08:33.429 --> 00:08:36.307
There was even a little,
thank God, a little levity.
199
00:08:36.307 --> 00:08:38.684
That wonderful beat with the apples.
200
00:08:38.684 --> 00:08:40.811
"Oh yeah, that we make that from [bleep],"
201
00:08:40.811 --> 00:08:42.563
as she took the piece of apple out.
202
00:08:42.563 --> 00:08:45.608
Just great, simple
thing that you remember,
203
00:08:45.608 --> 00:08:48.027
and I was watching the--
we were watching, too,
204
00:08:48.027 --> 00:08:50.029
in preparation of this with you.
205
00:08:50.029 --> 00:08:53.658
And I just did, I remember
finding those moments with them
206
00:08:53.658 --> 00:08:57.662
and encouraging 'cause when a
scene is that simply staged,
207
00:08:58.996 --> 00:09:00.706
every movement has a meaning.
208
00:09:01.749 --> 00:09:02.542
Yes.
209
00:09:02.542 --> 00:09:07.004
And the third character,
Eli, Janet's approach to Eli
210
00:09:07.004 --> 00:09:11.676
and removal from Eli, and
checking with Eli for truth.
211
00:09:11.676 --> 00:09:15.346
That character was an
interesting addition.
212
00:09:15.346 --> 00:09:17.139
And you'd never expect that her character
213
00:09:17.139 --> 00:09:18.683
to be telling the truth that much.
214
00:09:18.683 --> 00:09:23.187
Never, I didn't think and I
didn't see any of that coming.
215
00:09:23.187 --> 00:09:26.274
And in fact, when she says, you know,
216
00:09:26.274 --> 00:09:27.775
"Hey I wanna be your pal."
217
00:09:27.775 --> 00:09:29.652
I was like, come on.
218
00:09:29.652 --> 00:09:33.197
And then when she turns to--
Then she refers to Oded,
219
00:09:33.197 --> 00:09:34.031
Admiral Vance says,
220
00:09:34.031 --> 00:09:36.867
"I want some of what the
Emerald Chain is offering,
221
00:09:36.867 --> 00:09:38.536
you guys have a lot of [bleep] together,
222
00:09:38.536 --> 00:09:40.079
you've got a lot to offer us."
223
00:09:40.079 --> 00:09:42.164
You got the wonderful
Kenneth Mitchell back
224
00:09:42.164 --> 00:09:43.332
for this episode.
225
00:09:43.332 --> 00:09:44.834
Now, for those who don't know,
226
00:09:44.834 --> 00:09:46.252
he has played so many characters,
227
00:09:46.252 --> 00:09:48.087
I'm going to read them off a card.
228
00:09:48.087 --> 00:09:50.923
He's played Kol, Kol-Sha, Tenavik,
229
00:09:50.923 --> 00:09:54.552
and now this Emerald
Chain scientist, Aurellio.
230
00:09:54.552 --> 00:09:56.178
Talk a little bit about working with him
231
00:09:56.178 --> 00:09:59.348
and the unique belief system
that his character has
232
00:09:59.348 --> 00:10:00.766
in relation to Osyraa.
233
00:10:00.766 --> 00:10:02.476
What about Kenneth Mitchell, the man?
234
00:10:02.476 --> 00:10:03.644
Yeah, tell us about him.
235
00:10:03.644 --> 00:10:05.271
Tell us about working with him.
236
00:10:05.271 --> 00:10:07.732
Kenneth Mitchell, who everybody loves,
237
00:10:07.732 --> 00:10:10.151
who is sick with ALS,
238
00:10:12.153 --> 00:10:16.699
was offered by Alex and Michelle Paradise,
239
00:10:16.699 --> 00:10:19.285
a chance to come back
and play a character,
240
00:10:19.285 --> 00:10:24.248
other than his, from his, Klingon oeuvre.
241
00:10:24.707 --> 00:10:25.541
Yes.
242
00:10:25.541 --> 00:10:29.587
And because his medical situation requires
243
00:10:29.587 --> 00:10:31.464
that he be in a wheelchair
if we're gonna work
244
00:10:31.464 --> 00:10:35.718
for a long day, they
designed the chair for him.
245
00:10:35.718 --> 00:10:38.679
Then they decided the
chair would levitate.
246
00:10:38.679 --> 00:10:39.847
It was just spectacular.
247
00:10:39.847 --> 00:10:44.602
And then because of, I
don't know if they talked
248
00:10:44.602 --> 00:10:47.605
about it privately or because
he has such incredible--
249
00:10:49.023 --> 00:10:53.235
such a deep soulful
relationship with his situation,
250
00:10:54.820 --> 00:10:57.239
he played the scene in which he says,
251
00:10:57.239 --> 00:10:59.492
"I wasn't supposed to live."
252
00:10:59.492 --> 00:11:00.326
Right.
253
00:11:01.535 --> 00:11:02.787
And he's talking about his family,
254
00:11:02.787 --> 00:11:07.208
he has kids, the depth and the entendre,
255
00:11:07.208 --> 00:11:09.835
the art imitating life
of Kenneth being there
256
00:11:09.835 --> 00:11:11.337
with us was great.
257
00:11:11.337 --> 00:11:13.255
And he's totally different
than the other characters
258
00:11:13.255 --> 00:11:14.298
he's played in the show.
259
00:11:14.298 --> 00:11:19.298
I love that his inclusion in this episode
260
00:11:19.345 --> 00:11:24.345
and his inclusion in this way,
is such an important piece
261
00:11:24.684 --> 00:11:28.229
of representation and it
is such an important part
262
00:11:28.229 --> 00:11:30.398
of what makes Star Trek so special.
263
00:11:32.191 --> 00:11:34.443
That's exactly what I was trying to say.
264
00:11:34.443 --> 00:11:36.987
I'm just curious, in the
blocking of that scene,
265
00:11:38.572 --> 00:11:42.451
he's, you know he's not
super mobile like he would be
266
00:11:42.451 --> 00:11:47.451
if he were walking around,
yet there's so much passion
267
00:11:47.498 --> 00:11:51.419
and so much intensity happening in him.
268
00:11:51.419 --> 00:11:53.421
And the moment when
you see the scales fall
269
00:11:53.421 --> 00:11:57.758
from his eyes is, it's heartbreaking.
270
00:11:57.758 --> 00:11:59.260
I know, it's spectacular.
271
00:11:59.260 --> 00:12:02.513
And also he had a Jerry
stick to run the wheelchair.
272
00:12:02.513 --> 00:12:05.725
We decided that he would ignore Stamets,
273
00:12:05.725 --> 00:12:08.102
when Stamets is pleading about his partner
274
00:12:08.102 --> 00:12:12.189
and pleading about
Adira and pleading and--
275
00:12:12.189 --> 00:12:14.150
and Aurellio is ignoring him,
276
00:12:14.150 --> 00:12:16.193
as he drives away from him
277
00:12:16.193 --> 00:12:19.321
and answers, he answers the questions
278
00:12:19.321 --> 00:12:22.366
with a completely unrelated answer.
279
00:12:22.366 --> 00:12:25.745
And it's so cold blooded it's-- oh.
280
00:12:25.745 --> 00:12:29.206
Discovery does those moments really well.
281
00:12:29.206 --> 00:12:30.040
Yeah.
282
00:12:30.040 --> 00:12:31.459
Of all the Star Trek series, Discovery
283
00:12:31.459 --> 00:12:33.627
does those break-your-heart moments,
284
00:12:33.627 --> 00:12:35.838
I think, better than
any of the other shows
285
00:12:35.838 --> 00:12:37.798
that I can remember watching.
286
00:12:37.798 --> 00:12:40.259
It's a very emo centric...
287
00:12:41.260 --> 00:12:42.511
It really is.
288
00:12:42.511 --> 00:12:44.013
Let's talk about the bridge crew.
289
00:12:44.013 --> 00:12:47.308
Let's talk about the bridge
crew who I absolutely adore.
290
00:12:47.308 --> 00:12:49.226
I was telling Ann--
291
00:12:49.226 --> 00:12:51.312
They were so great together.
292
00:12:51.312 --> 00:12:52.480
They're always great together.
293
00:12:52.480 --> 00:12:55.941
I had them at the tree in
one of the other episodes.
294
00:12:55.941 --> 00:12:57.067
It's so incredible.
295
00:12:57.067 --> 00:12:59.820
Together. But that scene
with the pop, pop, pop,
296
00:12:59.820 --> 00:13:02.698
where they're sending the
Morse code around the room.
297
00:13:02.698 --> 00:13:04.950
Yeah, so how much fun was that?
298
00:13:04.950 --> 00:13:08.454
That just seems like this was
a day of let's play together.
299
00:13:08.454 --> 00:13:10.206
Did it work like that on set?
300
00:13:10.206 --> 00:13:12.291
Exactly, because we, what we decided to do
301
00:13:12.291 --> 00:13:14.460
was build the little
jail cell at the far end
302
00:13:14.460 --> 00:13:16.253
of the ready room instead of
using the whole ready room.
303
00:13:16.253 --> 00:13:18.047
So they were crammed
together and they all found
304
00:13:18.047 --> 00:13:20.007
a place to sit, I said, let's play around.
305
00:13:20.007 --> 00:13:23.260
So nobody was, not everybody
was on the same level,
306
00:13:23.260 --> 00:13:26.555
you know. And Tilly was
great in that scene.
307
00:13:26.555 --> 00:13:28.933
Tilly sacrifices, "No, no,
you don't need anybody,
308
00:13:28.933 --> 00:13:31.769
I'm the captain, take
everybody out of here."
309
00:13:33.479 --> 00:13:34.563
They were a blast.
310
00:13:34.563 --> 00:13:37.650
I'm such a massive fan of that character.
311
00:13:37.650 --> 00:13:39.235
I got to completely
Captain Tilly?
312
00:13:39.235 --> 00:13:41.278
just lose my mind at Mary and tell her
313
00:13:41.278 --> 00:13:45.074
how much I love Tilly and
how much I identify with her,
314
00:13:45.074 --> 00:13:48.994
just her awkwardness. I was so moved,
315
00:13:48.994 --> 00:13:53.833
as someone who is weird
and played a character
316
00:13:53.833 --> 00:13:56.001
who wasn't really listened to,
317
00:13:56.001 --> 00:14:01.001
when Saru chooses her, 'cause
Saru knows she can do this.
318
00:14:01.048 --> 00:14:04.051
She's got this, she will blow up this ship
319
00:14:04.051 --> 00:14:06.011
before she lets us Osyraa take it.
320
00:14:06.011 --> 00:14:06.846
Yes.
321
00:14:06.846 --> 00:14:08.681
It's such an incredible
character moment for her
322
00:14:08.681 --> 00:14:12.852
and it says to me, "This
woman is going to be
323
00:14:12.852 --> 00:14:15.354
a fearsome captain someday."
324
00:14:15.354 --> 00:14:18.941
Well we saw a glimmer of it
when she was Captain "Killy,"
325
00:14:18.941 --> 00:14:20.568
when she was in the Mirror Universe.
326
00:14:20.568 --> 00:14:21.610
Yes.
327
00:14:21.610 --> 00:14:24.905
That fabulous costume
and that fabulous hairdo.
328
00:14:24.905 --> 00:14:27.741
She's a very gifted actor, Mary.
329
00:14:27.741 --> 00:14:29.577
We didn't play in the Mirror
Universe in this episode,
330
00:14:29.577 --> 00:14:32.454
but how much do you love the
Mirror Universe on Discovery?
331
00:14:32.454 --> 00:14:34.081
I'm just crazy about it.
332
00:14:34.081 --> 00:14:35.165
It's spectacular.
333
00:14:35.165 --> 00:14:38.294
And I'm so glad it's a part of the world.
334
00:14:38.294 --> 00:14:40.462
And we never got to do it on Next Gen.
335
00:14:40.462 --> 00:14:42.715
The closest we got was
"Yesterday's Enterprise."
336
00:14:42.715 --> 00:14:44.091
Yeah, which I never understood.
337
00:14:44.091 --> 00:14:45.593
We should do an entire
"Ready Room" on that.
338
00:14:45.593 --> 00:14:48.512
I never understood and still
don't understand that episode.
339
00:14:48.512 --> 00:14:49.722
People have explained it to me,
340
00:14:49.722 --> 00:14:50.556
Okay.
341
00:14:50.556 --> 00:14:52.683
Seriously, people have
explained it to me off the cuff,
342
00:14:52.683 --> 00:14:54.393
I still don't get it.
343
00:14:54.393 --> 00:14:57.187
I'm gonna break it down
for you with charts and red
344
00:14:57.187 --> 00:14:59.315
and red twine on the wall.
Exactly.
345
00:14:59.315 --> 00:15:00.649
Denise Crosby knows it.
346
00:15:01.775 --> 00:15:05.863
I noticed parallels between First Contact,
347
00:15:05.863 --> 00:15:09.783
which you directed, and this
episode. With both cases,
348
00:15:09.783 --> 00:15:12.786
our hero ship is taken over
by a hostile force, right?
349
00:15:12.786 --> 00:15:14.413
First Contact has the Borg,
350
00:15:14.413 --> 00:15:16.332
the Emerald Chain takes over Disco.
351
00:15:16.332 --> 00:15:19.460
Meanwhile, First Contact
went all the way back
352
00:15:19.460 --> 00:15:22.504
to the moment humanity first
discovered warp travel.
353
00:15:22.504 --> 00:15:26.508
Now in Discovery, you have leapt
ahead to the farthest point
354
00:15:26.508 --> 00:15:29.511
in canon, that we've ever gone.
355
00:15:29.511 --> 00:15:31.931
And there's this incredibly
high stakes battle
356
00:15:31.931 --> 00:15:35.726
for the future of the
Federation, for the future
357
00:15:35.726 --> 00:15:37.937
of all the Federation's member nations,
358
00:15:37.937 --> 00:15:40.356
for the future of the galaxy.
359
00:15:40.356 --> 00:15:43.359
I wonder if you would talk
about that and if you made any
360
00:15:43.359 --> 00:15:47.112
of those connections between
the film and this episode
361
00:15:47.112 --> 00:15:49.073
or if I'm just projecting,
cause I'm a fan.
362
00:15:49.073 --> 00:15:50.950
You're projecting because you're a fan,
363
00:15:50.950 --> 00:15:55.950
but there was a certain look to the--
364
00:15:58.248 --> 00:15:59.375
what were they called?
365
00:15:59.375 --> 00:16:00.626
The Emerald Chain....
366
00:16:00.626 --> 00:16:01.460
Regulators.
367
00:16:01.460 --> 00:16:02.920
Regulators, she says.
368
00:16:02.920 --> 00:16:04.171
Which is a great name.
369
00:16:05.089 --> 00:16:07.007
And that was like, they
needed a bigger boat.
370
00:16:07.007 --> 00:16:08.008
That was like Jaws.
371
00:16:08.008 --> 00:16:09.969
Yeah, yes.
372
00:16:09.969 --> 00:16:11.220
Right?
373
00:16:11.220 --> 00:16:14.098
And the vibe on this ship and the movement
374
00:16:14.098 --> 00:16:15.683
of the camera and the black uniform,
375
00:16:15.683 --> 00:16:18.686
they felt like the Borg, it
felt like we were with the Borg,
376
00:16:18.686 --> 00:16:22.898
on not the Enterprise, but on
another Federation starship.
377
00:16:22.898 --> 00:16:26.777
So the feeling that you just
described was absolutely
378
00:16:26.777 --> 00:16:27.987
in the show.
379
00:16:27.987 --> 00:16:31.031
I hadn't made the connection
to be sort of the beginning
380
00:16:31.031 --> 00:16:34.284
of warp and now whatever 903 years later,
381
00:16:34.284 --> 00:16:36.453
and I'm not sure I have
anything intelligent to say,
382
00:16:36.453 --> 00:16:37.538
in that regard.
383
00:16:37.538 --> 00:16:38.539
[laughs]
384
00:16:38.539 --> 00:16:41.083
Well, much like Riker comes in at the end
385
00:16:41.083 --> 00:16:44.128
of things to button things
up in a really delightful
386
00:16:44.128 --> 00:16:45.921
and joyful way.
387
00:16:45.921 --> 00:16:49.717
P.S. for everyone who
hasn't seen Lower Decks,
388
00:16:49.717 --> 00:16:51.343
there's a little Riker in Lower Decks
389
00:16:51.343 --> 00:16:52.678
and it's amazing.
390
00:16:52.678 --> 00:16:54.763
[laughs]
391
00:16:54.763 --> 00:16:58.851
Let's talk about what is
my absolute favorite moment
392
00:16:58.851 --> 00:17:02.312
in an episode filled with
incredible iconic moments,
393
00:17:02.312 --> 00:17:07.312
Burnham and Stamets.
Right before she puts him
394
00:17:08.027 --> 00:17:10.362
in the bubble and sends him out.
395
00:17:11.655 --> 00:17:16.655
Anthony makes a choice
that is so powerful,
396
00:17:16.869 --> 00:17:20.748
and you feel like he's never
gonna see anyone he loves
397
00:17:20.748 --> 00:17:22.041
ever again.
398
00:17:22.041 --> 00:17:25.085
And I completely believe it.
399
00:17:25.085 --> 00:17:26.128
Yeah.
400
00:17:26.128 --> 00:17:28.547
Did you enjoy as a
director putting the actors
401
00:17:28.547 --> 00:17:31.050
through these very tense moments?
402
00:17:31.050 --> 00:17:33.802
I enjoyed being present for them.
403
00:17:34.762 --> 00:17:38.307
And I feel that both Michael Burnham--
404
00:17:38.307 --> 00:17:42.186
Michael, Sonequa and Anthony trust me.
405
00:17:42.186 --> 00:17:43.020
Yeah.
406
00:17:43.020 --> 00:17:45.814
And therefore are willing
to, you know how dangerous
407
00:17:45.814 --> 00:17:48.192
it is to go and you're afraid
you're gonna be too big.
408
00:17:48.192 --> 00:17:49.026
Yeah.
409
00:17:49.902 --> 00:17:54.902
And I encourage them, as
we all do as directors,
410
00:17:55.324 --> 00:17:57.451
it's gonna be easier
for me to pull you back,
411
00:17:57.451 --> 00:17:59.244
than it is for me to try to get you there.
412
00:17:59.244 --> 00:18:00.079
Sure.
413
00:18:00.079 --> 00:18:03.582
So to both of their
credits, they were willing
414
00:18:03.582 --> 00:18:08.295
to try huge, massive choices
from which we did reduce it.
415
00:18:08.295 --> 00:18:10.297
And when you do that, when you come down
416
00:18:10.297 --> 00:18:13.675
and you've made really
over the top choices,
417
00:18:13.675 --> 00:18:15.427
the choice that you end
up with on the screen,
418
00:18:15.427 --> 00:18:17.930
that's appropriate to the
size of the frame, et cetera,
419
00:18:17.930 --> 00:18:20.808
still has a little of the
residual of the madness
420
00:18:20.808 --> 00:18:23.018
of the original, of the take before.
421
00:18:23.018 --> 00:18:24.770
You know what I mean?
Yes, yes I do.
422
00:18:24.770 --> 00:18:27.147
Percolating behind their eyes and it,
423
00:18:28.023 --> 00:18:33.023
it informs a take that has,
that is more subdued physically,
424
00:18:33.278 --> 00:18:35.823
but has-- you know, they've gone,
425
00:18:35.823 --> 00:18:37.699
their minds are still
spinning with the old one.
426
00:18:37.699 --> 00:18:41.954
And it's those two
actors in particular are,
427
00:18:41.954 --> 00:18:43.747
well they're like-- it's
like playing a, you know,
428
00:18:43.747 --> 00:18:45.666
it's like with Sir Patrick. It's like
429
00:18:45.666 --> 00:18:48.460
you're playing a fantastic Stradivarius
430
00:18:48.460 --> 00:18:51.046
and you just beep, beep,
I've said it before,
431
00:18:51.046 --> 00:18:53.132
but that's-- it's Sonequa.
432
00:18:54.424 --> 00:18:56.426
And this was Anthony's tour de force,
433
00:18:56.426 --> 00:18:58.262
was this both the scene in Engineering
434
00:18:58.262 --> 00:19:00.556
and the scene before
he's ejected out of the
435
00:19:00.556 --> 00:19:03.767
ship where he is completely raw
436
00:19:03.767 --> 00:19:06.061
and passionate about
his family and his love
437
00:19:06.061 --> 00:19:07.938
and his career and what he's given,
438
00:19:07.938 --> 00:19:11.483
and he accuses her and he reminds her
439
00:19:11.483 --> 00:19:15.154
that they came back for
her and she is tortured
440
00:19:15.154 --> 00:19:16.196
by the decisions she has to make.
441
00:19:16.196 --> 00:19:18.240
And it's, it's pretty spectacular.
442
00:19:18.240 --> 00:19:20.951
I had an acting teacher who I credit with
443
00:19:20.951 --> 00:19:24.204
a lot of my ability to understand acting
444
00:19:24.204 --> 00:19:26.165
at an intellectual level
445
00:19:26.165 --> 00:19:29.710
and who I credit with getting my hang-ups
446
00:19:29.710 --> 00:19:32.171
out of my way. To let the
emotion connect to the words.
447
00:19:32.171 --> 00:19:35.215
And she would always say,
"Now it lives in you.
448
00:19:35.215 --> 00:19:38.302
Now it is alive in you, go."
449
00:19:38.302 --> 00:19:41.096
And it was always different when that--
450
00:19:41.096 --> 00:19:43.807
It felt like it lives in Anthony
451
00:19:43.807 --> 00:19:47.269
and it lives in Sonequa,
so intensely in that scene.
452
00:19:47.269 --> 00:19:51.023
Yeah. And also, when there are scenes
453
00:19:51.023 --> 00:19:52.858
that are that well-written.
454
00:19:52.858 --> 00:19:55.736
And, you know, the first
time through the script
455
00:19:55.736 --> 00:19:57.446
you go, "Oh my God, this
is gonna be a blast,
456
00:19:57.446 --> 00:19:59.156
I hope we have time to get this right."
457
00:19:59.156 --> 00:20:00.282
Yeah.
458
00:20:00.282 --> 00:20:05.282
That whole-- both the sort of trilogy of
459
00:20:05.954 --> 00:20:10.918
Oded and Janet scenes and the
Michael and Stamets scenes,
460
00:20:10.918 --> 00:20:11.877
were that.
461
00:20:11.877 --> 00:20:14.338
Those are five heavy scenes.
462
00:20:14.338 --> 00:20:15.255
Yeah.
463
00:20:15.255 --> 00:20:19.468
That we luckily did have time to shoot.
464
00:20:19.468 --> 00:20:22.262
And that's a credit to my First.
465
00:20:24.223 --> 00:20:27.851
God bless the First. Like, thank you,
466
00:20:27.851 --> 00:20:30.854
thank you to all you good First
ADs out there in the world.
467
00:20:30.854 --> 00:20:32.481
I love you so much.
468
00:20:35.567 --> 00:20:37.069
It's an incredibly important job.
469
00:20:37.069 --> 00:20:38.946
That's another "Ready Room."
470
00:20:38.946 --> 00:20:40.489
Yeah, for sure.
471
00:20:40.489 --> 00:20:42.699
Robert Altman, whose
son I was a friend of,
472
00:20:42.699 --> 00:20:45.077
once said to me-- I didn't
know him or work with him--
473
00:20:45.077 --> 00:20:48.455
but he said, "It's very important
for a director to really,
474
00:20:48.455 --> 00:20:51.124
really understand what a First AD does."
475
00:20:51.124 --> 00:20:52.668
Yeah, I would agree with that.
476
00:20:52.668 --> 00:20:57.589
This episode ends on a very intense
477
00:20:57.589 --> 00:20:59.258
and adorable cliffhanger.
478
00:20:59.258 --> 00:21:02.261
When the DOT-23 show up to help the crew.
479
00:21:02.261 --> 00:21:03.762
They've been showing up
throughout this season,
480
00:21:03.762 --> 00:21:05.806
they've been doing little
things all season long
481
00:21:05.806 --> 00:21:09.476
and we have gotten these delightful hints
482
00:21:09.476 --> 00:21:14.476
that Discovery itself, the ship
itself cares about the crew.
483
00:21:14.856 --> 00:21:19.856
Are we to presume the appearance
of the DOT-23 is to confirm
484
00:21:20.612 --> 00:21:24.950
that Discovery now has a
bit of a consciousness?
485
00:21:24.950 --> 00:21:26.910
Is it sentient as a ship?
486
00:21:26.910 --> 00:21:30.330
Does the ship care about
the crew? Is the ship--
487
00:21:30.330 --> 00:21:32.165
I feel like since the
Sphere data was uploaded
488
00:21:32.165 --> 00:21:35.168
into the ship, the ship
is starting to change
489
00:21:35.168 --> 00:21:37.546
in the way that it-- the
way that the computer talks
490
00:21:37.546 --> 00:21:40.882
to the crew is different, and
the expectations the crew has
491
00:21:40.882 --> 00:21:42.009
of the computer is different.
492
00:21:42.009 --> 00:21:45.721
But now here we see,
personified it would appear,
493
00:21:45.721 --> 00:21:48.015
that Sphere data crawling up and saying,
494
00:21:48.015 --> 00:21:50.183
"By the way, I'm still here."
495
00:21:50.183 --> 00:21:52.394
"I'm still here and I'm here to help."
496
00:21:52.394 --> 00:21:53.478
Yes.
497
00:21:53.478 --> 00:21:55.981
"I'm gonna help you guys through this."
498
00:21:55.981 --> 00:22:00.527
And the tee-up in Act
One where Osyraa says,
499
00:22:00.527 --> 00:22:04.239
"How much, how much, you
know, Ram is that eating up?"
500
00:22:04.239 --> 00:22:05.073
Yeah.
501
00:22:05.073 --> 00:22:07.034
And Kanak says, "It's not much."
502
00:22:07.034 --> 00:22:08.577
She said, "Well, forget about it."
503
00:22:08.577 --> 00:22:10.579
Clearly, you know, that was a mistake.
504
00:22:12.247 --> 00:22:16.793
I feel like alienating and making an enemy
505
00:22:16.793 --> 00:22:21.131
of a 100,000 year old
intelligence filled with all
506
00:22:21.131 --> 00:22:23.133
of the knowledge of its
quadrant and the galaxy,
507
00:22:23.133 --> 00:22:26.261
is maybe not the best idea.
But I mean, I don't know.
508
00:22:26.261 --> 00:22:28.555
I'm not Orion, maybe it's
part of their culture.
509
00:22:28.555 --> 00:22:31.683
They're-- Yes, they
disrespect Buster Keaton.
510
00:22:31.683 --> 00:22:33.685
[laughs]
511
00:22:33.685 --> 00:22:36.730
By the way, never thought
I would see Buster Keaton
512
00:22:36.730 --> 00:22:38.440
in Star Trek.
513
00:22:38.440 --> 00:22:42.319
Absolutely love, love that
Buster Keaton is in Star Trek.
514
00:22:42.319 --> 00:22:44.279
I think that's, I'm not
sure who, but Kenneth,
515
00:22:44.279 --> 00:22:47.491
that's Kenneth's script. I
think it's delightful that
516
00:22:48.492 --> 00:22:51.828
that show and most of the
Star Treks are unafraid
517
00:22:51.828 --> 00:22:54.331
to literally try anything.
518
00:22:54.331 --> 00:22:56.583
At the beginning of our interview,
519
00:22:56.583 --> 00:23:00.212
I referred to you accurately
as our favorite director.
520
00:23:00.212 --> 00:23:02.214
That's true across every series.
521
00:23:02.214 --> 00:23:04.257
It's true of every cast
you interface with.
522
00:23:04.257 --> 00:23:06.426
I'm sure you know, this,
I'm just saying it out loud
523
00:23:06.426 --> 00:23:08.762
so that people in the
world who don't know it
524
00:23:08.762 --> 00:23:10.555
now have that information in their heads.
525
00:23:10.555 --> 00:23:14.351
You have directed all
three seasons of Discovery.
526
00:23:14.351 --> 00:23:16.937
You've gotten to come in and
each season is its own story
527
00:23:16.937 --> 00:23:20.023
and it has its own tone
and has its own series
528
00:23:20.023 --> 00:23:21.650
of challenges.
529
00:23:21.650 --> 00:23:23.235
I wonder if you would talk a little bit
530
00:23:23.235 --> 00:23:25.779
about how this season specifically,
531
00:23:25.779 --> 00:23:29.032
differed from the past two
seasons you've worked on.
532
00:23:29.032 --> 00:23:32.494
If there were any unique
challenges present this year
533
00:23:32.494 --> 00:23:34.079
that you haven't experienced before?
534
00:23:34.079 --> 00:23:36.039
Or are you like in it, you got it?
535
00:23:36.039 --> 00:23:39.000
I was fortunate this year
to have three episodes
536
00:23:39.000 --> 00:23:44.000
to do, so I was sort of
always in the Discovery mode.
537
00:23:44.089 --> 00:23:46.174
I was either prepping or
shooting, or getting ready
538
00:23:46.174 --> 00:23:47.008
to pack up.
539
00:23:47.008 --> 00:23:49.553
So I was in the rhythm of the show.
540
00:23:49.553 --> 00:23:54.182
I also have a... you know,
by virtue of having done--
541
00:23:54.182 --> 00:23:56.810
been with the cast, you get a shorthand
542
00:23:56.810 --> 00:23:59.020
with the cast and the crew.
543
00:23:59.020 --> 00:24:01.982
And that's so valuable,
that's so valuable.
544
00:24:01.982 --> 00:24:03.859
You remember on our show
there were directors
545
00:24:03.859 --> 00:24:06.903
who would come in, who we
frankly would not dread,
546
00:24:06.903 --> 00:24:09.030
but we'd think, oh it's
gonna be a bit of more
547
00:24:09.030 --> 00:24:11.450
of an uphill sludge.
548
00:24:11.450 --> 00:24:12.742
Yeah.
549
00:24:12.742 --> 00:24:15.996
Some directors, I mean, this
guy or this woman is gonna know
550
00:24:15.996 --> 00:24:18.206
what they're doing and we're
gonna have a few laughs,
551
00:24:18.206 --> 00:24:19.332
and we're gonna have a good show.
552
00:24:19.332 --> 00:24:23.086
And there's a-- And big part of my job
553
00:24:23.086 --> 00:24:27.757
is making the environment
a place where people feel
554
00:24:27.757 --> 00:24:29.885
that they can-- first
of all, be creative--
555
00:24:29.885 --> 00:24:32.179
but they are safe to make a mistake,
556
00:24:32.179 --> 00:24:33.305
you can make a mistake.
557
00:24:34.431 --> 00:24:37.767
And in those mistakes,
maybe magic happens.
558
00:24:37.767 --> 00:24:41.021
If not, they're just
little pixels, we'll make,
559
00:24:41.021 --> 00:24:42.105
we'll do another tape.
560
00:24:42.105 --> 00:24:43.815
Have they asked you to
direct next season yet?
561
00:24:43.815 --> 00:24:47.527
They have, I'm heading up in,
562
00:24:47.527 --> 00:24:48.528
right after Thanksgiving.
563
00:24:48.528 --> 00:24:50.113
That's super exciting.
564
00:24:50.113 --> 00:24:51.948
I'm excited for you and the cast.
565
00:24:51.948 --> 00:24:53.575
And I'm excited for me as a fan.
566
00:24:54.743 --> 00:24:55.994
You're fabulous.
567
00:24:55.994 --> 00:24:58.497
Johnny, I love you, and I
love that you made the time
568
00:24:58.497 --> 00:24:59.331
for us today.
569
00:24:59.331 --> 00:25:01.291
Thank you for spending time
with us in "The Ready Room."
570
00:25:01.291 --> 00:25:04.169
Thank you for your
contributions to Discovery.
571
00:25:04.169 --> 00:25:07.255
Thank you for being just
such an important part
572
00:25:07.255 --> 00:25:08.507
of my family.
573
00:25:08.507 --> 00:25:11.718
It is always such a privilege to see you.
574
00:25:11.718 --> 00:25:13.678
I always look forward
to this time with you,
575
00:25:13.678 --> 00:25:15.096
and you make it so easy.
576
00:25:15.096 --> 00:25:16.139
You're a real pleasure,
577
00:25:16.139 --> 00:25:17.390
bless you.
Thanks buddy,
578
00:25:17.390 --> 00:25:18.475
I love you too.
579
00:25:35.075 --> 00:25:38.036
And now we have a never-before-seen
580
00:25:38.036 --> 00:25:40.038
behind the scenes video for you to watch.
581
00:25:40.038 --> 00:25:41.414
And I mean that literally,
582
00:25:41.414 --> 00:25:44.376
because I haven't even seen it yet.
583
00:25:44.376 --> 00:25:46.169
They're gonna put this
in in post-production.
584
00:25:46.169 --> 00:25:48.213
I have no idea what it is.
585
00:25:48.213 --> 00:25:51.967
Let's find out together.
Control room, roll it.
586
00:25:52.884 --> 00:25:54.094
Or engage, it's up to you.
587
00:26:07.399 --> 00:26:09.985
This is the new Starfleet phaser.
588
00:26:09.985 --> 00:26:12.195
We're affectionately calling
this one the "Great White."
589
00:26:12.195 --> 00:26:14.698
This is for, the white
is for the higher ranks.
590
00:26:14.698 --> 00:26:16.783
Then we've got the the "Gray Shark"
591
00:26:16.783 --> 00:26:19.286
for some of the lower ranks.
592
00:26:19.286 --> 00:26:23.623
You know, there's sort of
this fan nicknamed phaser
593
00:26:23.623 --> 00:26:24.958
which was the "Dolphin."
594
00:26:24.958 --> 00:26:27.043
So we wanted to get a
little tougher with ours
595
00:26:27.043 --> 00:26:30.505
and a little bit more, a
little bit more dangerous.
596
00:26:30.505 --> 00:26:31.756
That's the "Great White."
597
00:26:33.592 --> 00:26:36.219
A lot of these for
background are 3D-printed
598
00:26:36.219 --> 00:26:38.471
except for the ones that
our actors are holding,
599
00:26:38.471 --> 00:26:40.265
which will be aluminum milled,
600
00:26:40.265 --> 00:26:42.559
so that there's just a
bit more weight to them,
601
00:26:42.559 --> 00:26:44.728
and you can, it's just a tiny little bit,
602
00:26:44.728 --> 00:26:46.855
but it really changes the performance,
603
00:26:46.855 --> 00:26:50.108
and it really changes how
they're-- how they behave
604
00:26:50.108 --> 00:26:53.069
on camera with it and how they move.
605
00:26:53.069 --> 00:26:54.029
The cool thing about this,
606
00:26:54.029 --> 00:26:55.947
because it is programmable matter,
607
00:26:55.947 --> 00:26:58.867
a lot of our crew are
armed and ready to go.
608
00:26:58.867 --> 00:27:00.619
And what you'll see is, you don't need
609
00:27:00.619 --> 00:27:02.829
to have holsters anymore,
610
00:27:02.829 --> 00:27:06.041
you'll have this tiny little wrist tech.
611
00:27:06.041 --> 00:27:08.293
So that tiny piece is on the sleeve
612
00:27:08.293 --> 00:27:13.293
of a lot of our crew and a
little gesture of bringing up,
613
00:27:13.548 --> 00:27:18.428
bringing up a weapon, will
then form and become this.
614
00:27:18.428 --> 00:27:22.057
Again, a lot of our stuff
this year is working
615
00:27:22.057 --> 00:27:25.143
in conjunction with VFX
and with our VFX team.
616
00:27:25.143 --> 00:27:27.979
We designed a lot of
features into the phaser
617
00:27:27.979 --> 00:27:30.315
that haven't been fully explored yet,
618
00:27:30.315 --> 00:27:33.985
but we'll see them come
out in different seasons
619
00:27:33.985 --> 00:27:36.029
as to, you know, what they can all do.
620
00:27:37.781 --> 00:27:38.615
Come on!
621
00:27:39.991 --> 00:27:42.869
One of our other worlds that we travel to
622
00:27:42.869 --> 00:27:45.288
is Book's home planet. There's a sort of
623
00:27:45.288 --> 00:27:50.001
this very organic warrior race.
624
00:27:51.086 --> 00:27:54.547
And these are phaser
rifles, phaser dart rifles.
625
00:27:54.547 --> 00:27:57.634
And you'll see that they shoot
these little phaser darts
626
00:27:57.634 --> 00:28:01.680
that embed themselves and
then shoot a little pulse
627
00:28:01.680 --> 00:28:04.432
of electricity to knock you out.
628
00:28:04.432 --> 00:28:09.062
We went with sort of more of this
629
00:28:09.062 --> 00:28:11.690
like woodgrain look. The challenge is
630
00:28:11.690 --> 00:28:15.026
that the 3D printers
will only print so far.
631
00:28:15.026 --> 00:28:18.154
So for these pieces, we
print in pieces. Especially
632
00:28:18.154 --> 00:28:21.366
in-house where we don't have
the big, massive printers.
633
00:28:21.366 --> 00:28:22.784
So here we'll just print in-house
634
00:28:22.784 --> 00:28:24.327
and then glue them together,
635
00:28:24.327 --> 00:28:27.038
and then we'll mold it and
cast it as one big piece.
636
00:28:28.206 --> 00:28:29.708
It's less of a challenge every year.
637
00:28:29.708 --> 00:28:32.419
The technology is definitely
catching up to our ideas.
638
00:28:33.962 --> 00:28:37.674
This is actually a fully 3D-printed mask,
639
00:28:37.674 --> 00:28:40.635
with just a little bit
of a bent plexi inside.
640
00:28:40.635 --> 00:28:43.346
This is called the Terran Death Mask.
641
00:28:43.346 --> 00:28:46.224
And you'll see it in,
well you saw, you saw it
642
00:28:46.224 --> 00:28:49.185
in a little flashback that Georgiou has.
643
00:28:50.478 --> 00:28:52.272
It's all one solid piece.
644
00:28:53.773 --> 00:28:58.027
All of it was printed off of one pull.
645
00:28:59.821 --> 00:29:01.156
Pretty amazing little build.
646
00:29:01.156 --> 00:29:02.991
The stuff we're doing
this year with 3D printers
647
00:29:02.991 --> 00:29:03.825
is incredible.
648
00:29:06.119 --> 00:29:07.495
[Book] The black box I promised.
649
00:29:10.165 --> 00:29:12.292
I hope it helps you find
what you're looking for.
650
00:29:12.292 --> 00:29:16.212
A lot of this season
hinges on Burnham's search
651
00:29:16.212 --> 00:29:18.673
for the cause of the Burn.
652
00:29:18.673 --> 00:29:21.968
And throughout the early
episodes, she's in search
653
00:29:21.968 --> 00:29:26.968
of data black boxes, which are
on all the Federation ships
654
00:29:27.599 --> 00:29:32.187
and are on a lot of
Federation member ships.
655
00:29:32.187 --> 00:29:35.982
These are the black
boxes that Burnham uses
656
00:29:35.982 --> 00:29:37.442
and Burnham finds.
657
00:29:37.442 --> 00:29:40.612
We've got like an old beat
up one from one of the ships,
658
00:29:40.612 --> 00:29:42.489
one of the newer ones she finds.
659
00:29:42.489 --> 00:29:46.075
And then she finds this one
which is on a Cardassian ship,
660
00:29:46.075 --> 00:29:48.536
Federation member ship at that point.
661
00:29:48.536 --> 00:29:52.749
It took a little bit of inspiration
from today's black boxes
662
00:29:54.209 --> 00:29:56.419
from planes, which are
actually bright orange.
663
00:29:56.419 --> 00:29:59.088
So what you see here is a
lot of the bright orange,
664
00:29:59.088 --> 00:30:02.217
you know, and the amber's in there,
665
00:30:02.217 --> 00:30:04.052
inspired from today's black boxes.
666
00:30:07.889 --> 00:30:10.475
One of the big twists in
this season, that you saw,
667
00:30:10.475 --> 00:30:15.271
is the reuniting of Burnham
and Burnham's mother.
668
00:30:16.314 --> 00:30:19.025
She gives Burnham the
last piece of the puzzle,
669
00:30:19.025 --> 00:30:22.570
in order to find and triangulate
where the Burn originated
670
00:30:22.570 --> 00:30:27.367
from. And this is a
Vulcan-Romulan storage device.
671
00:30:28.243 --> 00:30:32.413
Coordinates and everything for
ships that were investigating
672
00:30:32.413 --> 00:30:34.999
where they could find more
dilithium and where one
673
00:30:34.999 --> 00:30:37.627
of the last ships that disappeared is.
674
00:30:37.627 --> 00:30:41.381
Again, this is a polished clear 3D print
675
00:30:41.381 --> 00:30:44.843
with brass. And if you look closely--
676
00:30:44.843 --> 00:30:48.388
the etching on the inside.
It's all laser etched.
677
00:30:48.388 --> 00:30:53.059
That's a really, yeah, this
was a gorgeous little piece.
678
00:31:27.427 --> 00:31:31.931
Wow, nerds, the end is in sight.
679
00:31:31.931 --> 00:31:34.142
Next week, Season 3 of
Star Trek: Discovery
680
00:31:34.142 --> 00:31:36.060
will reach its epic conclusion.
681
00:31:36.060 --> 00:31:39.188
It feels like we just started this season.
682
00:31:39.188 --> 00:31:42.650
But before we go, I have an
exclusive clip to show you
683
00:31:42.650 --> 00:31:45.111
from the finale, which is aptly titled,
684
00:31:45.111 --> 00:31:47.530
"That Hope Is You, Part Two."
685
00:31:47.530 --> 00:31:48.948
See what they did there?
686
00:31:48.948 --> 00:31:51.159
Sit back and enjoy.
687
00:31:51.159 --> 00:31:54.370
[Gormagander gurgling]
688
00:31:56.289 --> 00:31:59.500
[Narrator] The Gormagander,
a sentient Cosmozoan species,
689
00:31:59.500 --> 00:32:03.087
holds the ignominious record
of the longest time spent
690
00:32:03.087 --> 00:32:05.840
on the Federation's
endangered species list.
691
00:32:05.840 --> 00:32:09.719
That's why this recorded scan
of a young Gormagander pup
692
00:32:09.719 --> 00:32:14.719
in 3052, was of particular interest to us.
693
00:32:34.285 --> 00:32:36.663
[Su'Kal] That looks painful.
694
00:32:41.417 --> 00:32:43.711
Su'Kal, I am ill.
695
00:32:45.338 --> 00:32:47.465
This... this world.
696
00:32:47.465 --> 00:32:50.635
Here. For your wounds.
697
00:32:55.348 --> 00:32:56.557
Saru.
698
00:33:01.396 --> 00:33:02.563
I've looked everywhere
699
00:33:02.563 --> 00:33:04.649
and things are definitely worse.
700
00:33:04.649 --> 00:33:06.943
More radiation is getting in.
701
00:33:06.943 --> 00:33:09.862
His outburst must have caused
a breach in the ship's hull.
702
00:33:09.862 --> 00:33:11.948
Has he told you how to turn off the holo?
703
00:33:11.948 --> 00:33:13.574
I believe he knows more about this world
704
00:33:13.574 --> 00:33:16.661
than he has indicated,
but I cannot force a shift
705
00:33:16.661 --> 00:33:18.454
in perspective or he could panic.
706
00:33:20.498 --> 00:33:23.418
Another Burn could destroy
what remains of the Federation.
707
00:33:23.418 --> 00:33:25.211
I don't know what else to do.
708
00:33:25.211 --> 00:33:27.463
Thank you so much for joining
me here in "The Ready Room"
709
00:33:27.463 --> 00:33:29.424
to talk about the second to last episode
710
00:33:29.424 --> 00:33:31.801
of Star Trek: Discovery, Season 3.
711
00:33:31.801 --> 00:33:34.220
The fun is not over yet, we
still have one more episode
712
00:33:34.220 --> 00:33:36.681
and one more "Ready
Room" to go. Next week,
713
00:33:36.681 --> 00:33:38.850
I will be back to talk about everything
714
00:33:38.850 --> 00:33:40.518
that happens in the season finale
715
00:33:40.518 --> 00:33:43.813
and it is going to be awesome.
716
00:33:43.813 --> 00:33:46.149
Until then, I'm Wil Wheaton.
717
00:33:46.149 --> 00:33:47.984
Live long and prosper.