WEBVTT 1 00:00:00.375 --> 00:00:02.544 This week I've got Star Trek: Discovery's master 2 00:00:02.544 --> 00:00:04.671 of metamorphosis, Glenn Hetrick, on hand 3 00:00:04.671 --> 00:00:06.798 to talk about this season's alien prosthetics 4 00:00:06.798 --> 00:00:07.924 and special effects. 5 00:00:07.924 --> 00:00:09.801 Plus, it's time to get excited for Season 2 6 00:00:09.801 --> 00:00:12.262 of Star Trek: Picard with an exclusive clip 7 00:00:12.262 --> 00:00:13.888 from next week's premiere. 8 00:00:13.888 --> 00:00:16.433 Faster than catching a ride in a spatial cell, 9 00:00:16.433 --> 00:00:20.228 all this and more is coming up now in The Ready Room. 10 00:00:28.611 --> 00:00:31.823 Hey, nerds, I'm Wil Wheaton, and this is The Ready Room, 11 00:00:31.823 --> 00:00:33.116 your official behind-the-scenes hub 12 00:00:33.116 --> 00:00:35.243 for all things Star Trek Universe. 13 00:00:35.243 --> 00:00:38.204 Can you believe we are now 10 episodes into Season 4 14 00:00:38.204 --> 00:00:39.414 of Star Trek: Discovery? 15 00:00:39.414 --> 00:00:41.916 Things are getting literally intergalactic, 16 00:00:41.916 --> 00:00:44.169 which reminds me, red alert! 17 00:00:44.169 --> 00:00:45.003 [siren blaring] 18 00:00:45.003 --> 00:00:45.837 If you haven't watched Season 4, Episode 10, 19 00:00:45.837 --> 00:00:49.382 "The Galactic Barrier," there are spoilers aplenty ahead 20 00:00:49.382 --> 00:00:52.177 and if you proceed, you may find yourself dangerously adrift 21 00:00:52.177 --> 00:00:53.970 in an uncharted galaxy. 22 00:00:53.970 --> 00:00:57.807 Stream it first, then join us back here in The Ready Room. 23 00:00:57.807 --> 00:01:00.351 Today, I am incredibly excited 24 00:01:00.351 --> 00:01:03.063 to welcome the artist behind the many prosthetics 25 00:01:03.063 --> 00:01:05.231 of Star Trek: Discovery. Head 26 00:01:05.231 --> 00:01:07.275 of Makeup Effects, Glenn Hetrick is here 27 00:01:07.275 --> 00:01:09.527 to discuss how he brings the many aliens 28 00:01:09.527 --> 00:01:12.072 of the 32nd century to life. 29 00:01:12.072 --> 00:01:14.449 This week's episode also got us thinking about 30 00:01:14.449 --> 00:01:18.578 what else we've seen of the space beyond our known galaxy. 31 00:01:18.578 --> 00:01:20.747 So we'll be taking a look at a few times 32 00:01:20.747 --> 00:01:22.957 the barrier has been breached, by aliens 33 00:01:22.957 --> 00:01:26.044 and Federation alike, in the Star Trek Universe. 34 00:01:26.044 --> 00:01:28.838 But before all of that, it's time to get excited 35 00:01:28.838 --> 00:01:30.757 For Star Trek: Picard Season 2. 36 00:01:30.757 --> 00:01:34.511 We have been looking forward to this for two years, 37 00:01:34.511 --> 00:01:36.763 y'all, so it is no surprise, some 38 00:01:36.763 --> 00:01:39.474 of us could use a little bit of a refresher. 39 00:01:39.474 --> 00:01:43.019 Let's get prepped with this perfect Picard primer, 40 00:01:43.019 --> 00:01:45.480 a Q-worthy tongue twister. 41 00:01:45.480 --> 00:01:47.357 Control room, engage! 42 00:01:49.442 --> 00:01:54.405 It was quite an emotional experience for me at times, 43 00:01:55.949 --> 00:01:59.410 as Jean-Luc, when we meet him in Season 2. 44 00:02:04.457 --> 00:02:09.462 Jean-Luc is back in the chateau, Chateau Picard. 45 00:02:09.712 --> 00:02:12.966 He's alone, but he is being cared 46 00:02:12.966 --> 00:02:16.636 for by Laris. But is he happy? 47 00:02:18.680 --> 00:02:22.016 I don't think Jean-Luc is sentimental. 48 00:02:25.103 --> 00:02:30.108 But he is exposed to memories he cannot control. 49 00:02:30.900 --> 00:02:35.905 It's about how a certain turmoil within him gets stirred up 50 00:02:37.490 --> 00:02:42.036 and what the outcomes of that is. 51 00:02:42.036 --> 00:02:44.581 I am very happy to make Chancellor 52 00:02:44.581 --> 00:02:46.499 of the Academy, thank you very much. 53 00:02:46.499 --> 00:02:48.168 At the start of Season 2, 54 00:02:48.168 --> 00:02:51.337 we find Raffi has gone back to Starfleet. 55 00:02:51.337 --> 00:02:52.755 She's now actually teaching, 56 00:02:52.755 --> 00:02:56.134 she's got her eye on her favorite cadet. 57 00:02:56.134 --> 00:02:58.636 The first fully Romulan cadet 58 00:02:58.636 --> 00:03:01.431 at Starfleet Academy, Elnor! 59 00:03:01.431 --> 00:03:02.265 [crowd applauding] 60 00:03:02.265 --> 00:03:03.308 At the start of Season 2, 61 00:03:03.308 --> 00:03:05.852 we find Elnor in Starfleet Academy. 62 00:03:05.852 --> 00:03:07.937 Raffi who's, you know, kind of like a mentor to him, 63 00:03:07.937 --> 00:03:09.731 as well as like a mother figure, 64 00:03:09.731 --> 00:03:11.858 she's really taken him under her wing. 65 00:03:11.858 --> 00:03:14.152 And you know, she's kind of just been helping him 66 00:03:14.152 --> 00:03:16.279 navigate life within the academy. 67 00:03:16.279 --> 00:03:18.156 I think he's grown quite a bit. 68 00:03:18.156 --> 00:03:20.617 He's still learning things, he's still kind 69 00:03:20.617 --> 00:03:23.536 of that like awkward kid, but I'd say he's more phasing out 70 00:03:23.536 --> 00:03:24.662 of that process. 71 00:03:26.080 --> 00:03:27.248 At the beginning of Season 2, 72 00:03:27.248 --> 00:03:30.293 Seven has rejoined the Rangers, Fenris Rangers. 73 00:03:30.293 --> 00:03:31.961 She's the Captain of La Sirena 74 00:03:31.961 --> 00:03:36.132 and she's battling some pirates when we first encounter her. 75 00:03:36.132 --> 00:03:36.966 [Seven grunting] 76 00:03:36.966 --> 00:03:37.800 [pirate groaning] 77 00:03:37.800 --> 00:03:40.261 Assisted by one of the holographic versions 78 00:03:40.261 --> 00:03:41.888 of Rios on La Sirena. 79 00:03:41.888 --> 00:03:42.722 [pirate yells] 80 00:03:42.722 --> 00:03:44.641 Just deactivated the rest of 'em cause they annoyed her. 81 00:03:44.641 --> 00:03:45.475 [laughing] 82 00:03:45.475 --> 00:03:46.309 [Emmet speaking Spanish] 83 00:03:46.309 --> 00:03:48.978 At the end of Season 1, we did see a little glimpse 84 00:03:48.978 --> 00:03:52.607 at the beginnings of a relationship between Seven and Raffi. 85 00:03:52.607 --> 00:03:54.025 You know, it's a bit of a time cut. 86 00:03:54.025 --> 00:03:55.944 Seven's off with the Rangers. 87 00:03:55.944 --> 00:03:57.946 Raffi's, I think, feeling a little left out. 88 00:03:57.946 --> 00:04:01.824 Because Rafaela has had some crutches that she's leaned on 89 00:04:01.824 --> 00:04:04.953 in the past of her addictions. 90 00:04:04.953 --> 00:04:05.954 She's vulnerable. 91 00:04:05.954 --> 00:04:09.123 That might be challenging for someone as strong 92 00:04:09.123 --> 00:04:12.126 and as self-assured as Seven. 93 00:04:12.126 --> 00:04:13.836 For a number of reasons, I think. 94 00:04:13.836 --> 00:04:16.839 Maybe too much, too close, too human, 95 00:04:16.839 --> 00:04:18.591 because that's something that Seven grapples with. 96 00:04:18.591 --> 00:04:21.010 It's definitely not, you know, 97 00:04:21.010 --> 00:04:24.138 white picket fence and a fairy tale. 98 00:04:24.138 --> 00:04:26.391 We've been touring the galaxy for over a year 99 00:04:26.391 --> 00:04:29.018 since the Federation ended the ban on synthetics. 100 00:04:29.018 --> 00:04:33.189 At the top of Season 2, we find Jurati and Soji sort 101 00:04:33.189 --> 00:04:35.566 of doing a diplomatic tour of the universe. 102 00:04:35.566 --> 00:04:38.361 You can't ask for trust through an interpreter. 103 00:04:38.361 --> 00:04:39.988 It needs to come from here. 104 00:04:39.988 --> 00:04:44.409 Trying to, you know, speak about how 105 00:04:44.409 --> 00:04:47.954 these AI creatures are awesome. 106 00:04:47.954 --> 00:04:50.999 As this kind of synthetic emissary, 107 00:04:50.999 --> 00:04:54.836 she's making connections with planets all over and just 108 00:04:54.836 --> 00:04:57.839 to kind of assure everyone synthetics are okay. 109 00:04:57.839 --> 00:05:02.468 We are good people and we want to enter the universe 110 00:05:02.468 --> 00:05:04.679 and the Federation, we want to be a part of you guys 111 00:05:04.679 --> 00:05:07.098 and we are, we're good people. [chuckling] 112 00:05:07.098 --> 00:05:09.642 I know Rios called, you're going. 113 00:05:09.642 --> 00:05:12.645 I'm staying here to continue being charmingly diplomatic. 114 00:05:12.645 --> 00:05:15.148 Rios this season is very much a case 115 00:05:15.148 --> 00:05:18.568 of just when I thought I was out, they pulled me back in. 116 00:05:18.568 --> 00:05:20.194 What else but on the Stargazer, 117 00:05:20.194 --> 00:05:21.988 one of the most iconic ships. 118 00:05:21.988 --> 00:05:25.199 So what's the big hurry, Captain? 119 00:05:25.199 --> 00:05:27.285 Shelf that, there's no time. Give me a sec. 120 00:05:27.285 --> 00:05:29.495 It goes in line with who Rios is, 121 00:05:29.495 --> 00:05:30.872 he doesn't want a light job, 122 00:05:30.872 --> 00:05:32.415 he doesn't want something that's gonna be easy. 123 00:05:32.415 --> 00:05:34.876 Some kind of subspace anomaly Starfleet's ordered us 124 00:05:34.876 --> 00:05:37.045 to investigate, I could use you on this one. 125 00:05:37.045 --> 00:05:38.963 If he's gonna do it, he's gonna go for something 126 00:05:38.963 --> 00:05:41.341 that's kind of a challenge. 127 00:05:41.341 --> 00:05:44.635 I imagine he took this job on to have different kind 128 00:05:44.635 --> 00:05:46.554 of closure with staff, like he wanted 129 00:05:46.554 --> 00:05:47.805 to write a different history. 130 00:05:47.805 --> 00:05:49.390 Admiral on the bridge. 131 00:05:51.976 --> 00:05:56.356 Season 2 was not looking so much at Picard's past, 132 00:05:56.356 --> 00:06:01.361 but at his present and what he sees is a possible future. 133 00:06:02.403 --> 00:06:05.865 It's just a nice feeling to be back. 134 00:06:05.865 --> 00:06:08.451 I can't wait for them to see Season 2. 135 00:06:15.249 --> 00:06:17.377 Before we turn our focus and attention 136 00:06:17.377 --> 00:06:20.254 to Season 2 of Picard entirely, 137 00:06:20.254 --> 00:06:22.090 let's spend a little bit of time today 138 00:06:22.090 --> 00:06:24.759 with Season 4 of Discovery. 139 00:06:24.759 --> 00:06:27.303 Joining me to do that is Glenn Hetrick, 140 00:06:27.303 --> 00:06:29.680 Head of Makeup Effects for Star Trek: Discovery. 141 00:06:29.680 --> 00:06:31.224 Glenn, thank you so much for being here, 142 00:06:31.224 --> 00:06:34.060 I have so many alien questions. 143 00:06:34.060 --> 00:06:36.187 Hello, everyone, I'm thrilled to be here, 144 00:06:36.187 --> 00:06:38.856 been looking forward to for a long time. 145 00:06:38.856 --> 00:06:40.900 Oh, that's so cool, I love that. 146 00:06:40.900 --> 00:06:43.152 First of all, on behalf of everyone here at The Ready Room, 147 00:06:43.152 --> 00:06:45.446 congratulations on your third Emmy nomination 148 00:06:45.446 --> 00:06:46.948 for prosthetics. 149 00:06:46.948 --> 00:06:50.076 Oh man, it's so incredible, you know, dream come true. 150 00:06:50.076 --> 00:06:52.745 So, we do what we do because we love it. 151 00:06:52.745 --> 00:06:55.581 And then when you get to work on something like Star Trek, 152 00:06:55.581 --> 00:06:58.876 which is a lifelong obsession, it becomes surreal. 153 00:06:58.876 --> 00:07:01.003 But then when you start to get acknowledged 154 00:07:01.003 --> 00:07:03.756 for that work, it's inexplicable, the joy. 155 00:07:03.756 --> 00:07:07.009 It's just this, it's the center of our lives, it's amazing. 156 00:07:07.009 --> 00:07:09.762 In this episode that we just saw, 157 00:07:09.762 --> 00:07:12.432 we were introduced to this brand new species. 158 00:07:12.432 --> 00:07:14.642 It is Oros who is Tarka's cellmate, 159 00:07:14.642 --> 00:07:16.310 eventually becomes Tarka's friend. 160 00:07:16.310 --> 00:07:18.104 You got to sort of go from the ground up. 161 00:07:18.104 --> 00:07:20.440 I would love for you to put us into that room if you can. 162 00:07:20.440 --> 00:07:24.277 We start an amazing collaborative process, unlike any 163 00:07:24.277 --> 00:07:27.655 I've experienced on any show between Alex Kurtzman, 164 00:07:27.655 --> 00:07:31.117 Michelle Paradise, and Tunde in Canada. 165 00:07:31.117 --> 00:07:33.786 We get together and we go over, you know, 166 00:07:33.786 --> 00:07:37.123 with Michelle's perspective as Showrunner, 167 00:07:37.123 --> 00:07:39.876 what's going on in the script and that particular episode, 168 00:07:39.876 --> 00:07:41.711 we did several meetings and we discussed 169 00:07:41.711 --> 00:07:43.963 the emotion behind the character. 170 00:07:43.963 --> 00:07:46.716 Is your design process largely practical? 171 00:07:46.716 --> 00:07:50.470 Do you work with clay and tools or are you predominantly 172 00:07:50.470 --> 00:07:53.556 in a digital space where things maybe move faster, 173 00:07:53.556 --> 00:07:55.349 it's easier to send files back and forth. 174 00:07:55.349 --> 00:07:57.935 How does that part of the creative process work for you? 175 00:07:57.935 --> 00:07:59.187 It's very, very, very different 176 00:07:59.187 --> 00:08:00.938 from what it was years ago. 177 00:08:00.938 --> 00:08:04.609 They had to sort of just wink and a nod and you did, 178 00:08:04.609 --> 00:08:07.153 you know, napkin diner sketches and kind of went for it. 179 00:08:07.153 --> 00:08:09.489 And that's what you got and that's what went to camera. 180 00:08:09.489 --> 00:08:10.656 Today it's not that. [chuckling] 181 00:08:10.656 --> 00:08:15.620 So, yeah no, we have a very thick digital front end 182 00:08:17.205 --> 00:08:19.165 that we get out as many ideas as possible 183 00:08:19.165 --> 00:08:21.250 with a whole team of incredible artists. 184 00:08:21.250 --> 00:08:23.419 An artist named Jared Brandts that works with us 185 00:08:23.419 --> 00:08:27.757 on the show who, the speed that he can give you variations. 186 00:08:27.757 --> 00:08:28.591 Yeah. 187 00:08:28.591 --> 00:08:31.511 Simultaneously, as soon as our actor is cast, 188 00:08:31.511 --> 00:08:34.180 we get him or her in life cast. 189 00:08:34.180 --> 00:08:36.307 So that at the time we're signed off on it, 190 00:08:36.307 --> 00:08:38.434 we're already down the road with the sculpt. 191 00:08:38.434 --> 00:08:40.811 Then our producers weigh in on the sculpture, 192 00:08:40.811 --> 00:08:42.897 different angles and the paint job. 193 00:08:42.897 --> 00:08:46.108 We still manage to get it to set in Toronto. 194 00:08:46.108 --> 00:08:48.528 So there's usually about a week, hopefully 195 00:08:48.528 --> 00:08:50.738 of a process where they put it on 196 00:08:50.738 --> 00:08:52.740 as a test and can adjust colors. 197 00:08:52.740 --> 00:08:56.160 I remember when I worked on Next Generation, 198 00:08:56.160 --> 00:09:00.414 Mike Westmore had a small room that was constructed 199 00:09:00.414 --> 00:09:03.543 inside a sound stage, and that's where he sculpted stuff 200 00:09:03.543 --> 00:09:05.336 and was just going to town. 201 00:09:05.336 --> 00:09:07.421 And I would just every now and then I'd walk up to the door 202 00:09:07.421 --> 00:09:08.881 and just watch, it was so cool 203 00:09:08.881 --> 00:09:11.884 to watch him turn that into this stuff. 204 00:09:11.884 --> 00:09:16.264 I am appreciating so much more in ways I never did 205 00:09:16.264 --> 00:09:20.351 how remarkable what Michael and Jerry and everybody 206 00:09:20.351 --> 00:09:24.647 on our makeup crew did back in those days. 207 00:09:24.647 --> 00:09:26.983 And it is so cool to see someone like you 208 00:09:26.983 --> 00:09:30.695 whose work blows my mind on a weekly basis, 209 00:09:30.695 --> 00:09:32.697 talk about kind of standing on his shoulders. 210 00:09:32.697 --> 00:09:34.824 Yeah, it is that, it is absolutely standing 211 00:09:34.824 --> 00:09:37.285 on his shoulders and I think we did some huge interview 212 00:09:37.285 --> 00:09:39.412 where I kind of wrote a piece about that, where 213 00:09:39.412 --> 00:09:41.789 if it wasn't for him and those characters, 214 00:09:41.789 --> 00:09:43.583 we would not be able to do what we do. 215 00:09:43.583 --> 00:09:44.417 Yeah. 216 00:09:44.417 --> 00:09:47.670 So I'm just trying to stay as genuine to the design 217 00:09:47.670 --> 00:09:49.130 as we can, because I love them all 218 00:09:49.130 --> 00:09:51.215 as much as all the fans do. 219 00:09:51.215 --> 00:09:53.217 So let's walk down that hallway a little bit together. 220 00:09:53.217 --> 00:09:55.469 Let's start out with President Rillak. 221 00:09:55.469 --> 00:09:58.764 I was the Federation's top ambassador for 20 years. 222 00:09:58.764 --> 00:10:02.935 Given the complexities that we'll face, 223 00:10:02.935 --> 00:10:05.271 I believe my skills will be needed. 224 00:10:05.271 --> 00:10:09.442 We're talking about bringing characters and designs 225 00:10:09.442 --> 00:10:11.193 that are canonical, that exist 226 00:10:11.193 --> 00:10:13.529 and reinterpreting them in your own way. 227 00:10:13.529 --> 00:10:16.324 So President Rillak is not necessarily a new species, 228 00:10:16.324 --> 00:10:19.952 but she is Bajoran and Cardassian and human, 229 00:10:19.952 --> 00:10:23.205 and to bring together all of those elements 230 00:10:23.205 --> 00:10:25.666 in a way that was sort of like biologically logical, 231 00:10:25.666 --> 00:10:28.127 that was visually pleasing, that like, 232 00:10:28.127 --> 00:10:30.254 that seems like a little bit of a heavy lift for me. 233 00:10:30.254 --> 00:10:33.090 Yeah, it's very astute of you to have picked up 234 00:10:33.090 --> 00:10:35.426 on that makeup as something to discuss 235 00:10:35.426 --> 00:10:39.305 because it's elusively difficult the smaller it is. 236 00:10:39.305 --> 00:10:40.765 Yeah, how hard could it be? 237 00:10:40.765 --> 00:10:42.558 It's actually much more difficult than some 238 00:10:42.558 --> 00:10:44.185 of the other things that we've done because 239 00:10:44.185 --> 00:10:47.563 of edge placement and making sure the blend is perfect 240 00:10:47.563 --> 00:10:48.773 with the beauty makeup. 241 00:10:48.773 --> 00:10:52.693 So, Rocky Faulkner and Nicola Bendrey and our main team up 242 00:10:52.693 --> 00:10:57.406 in Canada with Adrian and Chris, they really had 243 00:10:57.406 --> 00:10:59.283 to test the heck out of that thing. 244 00:10:59.283 --> 00:11:00.409 Initial pitches. 245 00:11:01.285 --> 00:11:04.538 I was very much going down a road where there was a bit more 246 00:11:04.538 --> 00:11:09.543 to the president. Where we sort of had this raised ridge 247 00:11:09.877 --> 00:11:13.714 on the tip of the chin, more of a Cardassian nod. 248 00:11:13.714 --> 00:11:16.425 I had pitched like the ear lobe attachment 249 00:11:16.425 --> 00:11:18.844 to the sides of the jaw. 250 00:11:18.844 --> 00:11:19.679 Oh, cool! 251 00:11:19.679 --> 00:11:23.015 And at one point, even the really big trapezius, 252 00:11:23.015 --> 00:11:25.059 which is so Cardassian. 253 00:11:25.059 --> 00:11:26.143 Super Cardassian. 254 00:11:26.143 --> 00:11:29.855 As we reduce that to make, to balance the human 255 00:11:29.855 --> 00:11:33.025 with the alien, the end result is stunning, 256 00:11:33.025 --> 00:11:34.860 but the makeup becomes more difficult. 257 00:11:34.860 --> 00:11:37.321 The more we take away, the harder it is to hide the edges. 258 00:11:37.321 --> 00:11:39.615 So it was a huge process. 259 00:11:39.615 --> 00:11:42.201 I imagine with a character like the president, 260 00:11:42.201 --> 00:11:47.039 who's gonna be in at least one day, almost every episode, 261 00:11:47.039 --> 00:11:50.501 usually more than that, you have to take into consideration, 262 00:11:50.501 --> 00:11:54.588 well, we've gotta do Saru and we've gotta do Linus 263 00:11:54.588 --> 00:11:57.133 and we've gotta do all these other things. 264 00:11:57.133 --> 00:12:00.136 And like now we have to do the president, as well. 265 00:12:00.136 --> 00:12:02.972 We only have so many artists when we have so much time 266 00:12:02.972 --> 00:12:04.181 to put everything together, 267 00:12:04.181 --> 00:12:07.810 but then you also have to design them so that a human can 268 00:12:07.810 --> 00:12:09.812 act in this makeup all day long. 269 00:12:09.812 --> 00:12:10.646 Right. 270 00:12:10.646 --> 00:12:13.190 That seems incredibly challenging, 271 00:12:13.190 --> 00:12:17.319 particularly now with HD. 272 00:12:17.319 --> 00:12:19.071 So yeah, that's right, and you have 273 00:12:19.071 --> 00:12:20.364 to be far enough out to make sure 274 00:12:20.364 --> 00:12:23.284 that the crew can get augmented for those days. 275 00:12:23.284 --> 00:12:24.910 if you have lots of Vulcans and Romulans, 276 00:12:24.910 --> 00:12:27.788 so you have to be able to make sure there's enough people 277 00:12:27.788 --> 00:12:30.082 scheduled on the right days to even be able to handle 278 00:12:30.082 --> 00:12:32.334 something like Rillak. And then the touch up 279 00:12:32.334 --> 00:12:33.919 on the president, it's very difficult, 280 00:12:33.919 --> 00:12:36.338 you have to be right on it all day. 281 00:12:36.338 --> 00:12:39.133 If one shot ends up with a really rough edge, 282 00:12:39.133 --> 00:12:40.634 you can ruin the whole, the whole shot. 283 00:12:40.634 --> 00:12:42.595 So, she's a very difficult makeup. 284 00:12:42.595 --> 00:12:45.890 I couldn't be prouder of the team. My lead sculptor, 285 00:12:45.890 --> 00:12:48.976 Michael Brian, and my lead painter, Jamie Grove, and our, 286 00:12:48.976 --> 00:12:52.396 our mold-maker extraordinaire and our fabricator, 287 00:12:52.396 --> 00:12:53.773 Brian Van Dorn and Ken Culver, 288 00:12:53.773 --> 00:12:55.274 they really came up with a way 289 00:12:55.274 --> 00:12:56.609 to build that thing. 290 00:12:56.609 --> 00:12:57.443 Uh-huh. 291 00:12:57.443 --> 00:13:00.571 So we had to truncate that process and get it as fast 292 00:13:00.571 --> 00:13:03.157 as possible, but also make sure that once it got 293 00:13:03.157 --> 00:13:06.869 into Rocky's hands in Toronto, that it was seamless even 294 00:13:06.869 --> 00:13:09.622 in close up. Very, very tricky stuff. 295 00:13:09.622 --> 00:13:13.501 I wanna stay with building off of existing designs 296 00:13:13.501 --> 00:13:15.169 and reinterpretations and I really want 297 00:13:15.169 --> 00:13:18.881 to talk about a couple of episodes ago. 298 00:13:18.881 --> 00:13:21.050 Welcome delegates, Federation, 299 00:13:21.050 --> 00:13:24.553 non-Federation, in person and remote. 300 00:13:24.553 --> 00:13:27.640 What is, to this point in this season of Discovery, 301 00:13:27.640 --> 00:13:30.726 one of my absolute favorite cinematic moments 302 00:13:30.726 --> 00:13:35.105 in that giant gathering of everyone in the Federation. 303 00:13:35.105 --> 00:13:36.065 So cool. 304 00:13:36.065 --> 00:13:41.028 And there are just so many species in there. 305 00:13:41.028 --> 00:13:46.033 But there is very clearly and deliberately framed and shown 306 00:13:47.117 --> 00:13:52.122 to us nerds, a 900 years in the future Ferengi. 307 00:13:52.289 --> 00:13:55.960 That has obviously evolved and in interesting ways. 308 00:13:55.960 --> 00:13:57.920 Tell us all about that. 309 00:13:57.920 --> 00:14:00.214 The stuff like the Ferengis, they are for that. 310 00:14:00.214 --> 00:14:04.510 I want to spark that level of interest, every season, 311 00:14:04.510 --> 00:14:07.888 because Alex is so cool, and Michelle and Tunde are so cool 312 00:14:07.888 --> 00:14:12.643 to me, I can come to the show and, while we're dark 313 00:14:12.643 --> 00:14:15.896 in between seasons, this conversation never stops here 314 00:14:15.896 --> 00:14:17.815 at home with my wife, Michelle, who works 315 00:14:17.815 --> 00:14:19.316 on the show day and night with me. 316 00:14:19.316 --> 00:14:20.609 Yeah. 317 00:14:20.609 --> 00:14:21.443 The list is always building. 318 00:14:21.443 --> 00:14:23.070 What do we want to do? 319 00:14:23.070 --> 00:14:23.904 Uh-huh. 320 00:14:23.904 --> 00:14:26.407 Harkening back already to our previous conversation 321 00:14:26.407 --> 00:14:30.536 about Michael Westmore, that's what I'm talking about. 322 00:14:30.536 --> 00:14:33.122 Let's plant the flag, make him cool, 323 00:14:33.122 --> 00:14:35.624 make sure that we're honoring the integrity 324 00:14:35.624 --> 00:14:37.585 of the heart of the original character. 325 00:14:37.585 --> 00:14:38.419 For sure. 326 00:14:38.419 --> 00:14:40.838 The Ferengi is recognizable as Ferengi. 327 00:14:40.838 --> 00:14:42.673 The heart of the Ferengi is there. 328 00:14:42.673 --> 00:14:45.259 All we really did was clean those lines up 329 00:14:45.259 --> 00:14:48.512 and make them tighter and sort of more S-shaped. 330 00:14:48.512 --> 00:14:50.097 I always kind of try to think, 331 00:14:50.097 --> 00:14:52.308 like if you had more time to have done it, 332 00:14:52.308 --> 00:14:55.185 when you're sculpting something, a lot of those makeups, 333 00:14:55.185 --> 00:14:57.313 which makes them more impressive to me, 334 00:14:57.313 --> 00:14:59.857 that's the impetus for all those decisions 335 00:14:59.857 --> 00:15:02.985 with the Ferengi or a candid character like that. 336 00:15:02.985 --> 00:15:06.488 It's just so much fun to explore those things. 337 00:15:06.488 --> 00:15:11.493 You get to augment your incredible practical prosthetic 338 00:15:11.702 --> 00:15:14.997 effects with digital video effects. 339 00:15:14.997 --> 00:15:16.999 And this is something that did not exist 340 00:15:16.999 --> 00:15:20.711 during my time on Star Trek, I think this is very much 341 00:15:20.711 --> 00:15:24.757 a new piece of technology and you had mentioned 342 00:15:24.757 --> 00:15:28.552 some things earlier that I wanted to revisit 343 00:15:28.552 --> 00:15:30.262 when we talk about this, you had talked 344 00:15:30.262 --> 00:15:32.222 about the HD component of things 345 00:15:32.222 --> 00:15:34.725 and how the edges don't blend, and you get 346 00:15:34.725 --> 00:15:37.811 to have this incredible practical, 347 00:15:37.811 --> 00:15:39.605 working collaborative relationship 348 00:15:39.605 --> 00:15:44.276 with Jason Zimmerman doing digital effects. 349 00:15:45.694 --> 00:15:48.489 Is that super cool or is, or do you just feel like, 350 00:15:48.489 --> 00:15:50.240 I wish we could just do this practically? 351 00:15:50.240 --> 00:15:54.536 Or is it cool that you get to add something 352 00:15:54.536 --> 00:15:56.205 and take it to another level? 353 00:15:56.205 --> 00:15:58.165 If I'm being honest, Jason 354 00:15:58.165 --> 00:16:00.793 and his team are the absolute best I've ever worked with, 355 00:16:00.793 --> 00:16:02.628 and it's not just because we're working together 356 00:16:02.628 --> 00:16:07.007 on the show. I learned on Marvel shows, Heroes, 357 00:16:07.007 --> 00:16:09.301 Agents Of Shield, that that blend 358 00:16:09.301 --> 00:16:12.262 of working together allows us to do things we couldn't do 359 00:16:12.262 --> 00:16:14.890 on our own and you, when you embrace that 360 00:16:14.890 --> 00:16:18.519 and you work collaboratively, the result is spectacular. 361 00:16:18.519 --> 00:16:20.479 Linus, for instance, you wanna find 362 00:16:20.479 --> 00:16:22.439 the most efficacious path forward 363 00:16:22.439 --> 00:16:23.983 to get the character onscreen. 364 00:16:23.983 --> 00:16:26.402 If the cost is preclusive, even if we built them 365 00:16:26.402 --> 00:16:28.612 to work that way, you wouldn't see him as much. 366 00:16:28.612 --> 00:16:31.949 I'd rather you see him more and use this very rational, 367 00:16:31.949 --> 00:16:34.660 logical process of using a digi-eye blink, 368 00:16:34.660 --> 00:16:36.370 because that makes Linus very easy 369 00:16:36.370 --> 00:16:37.997 to use in episodes, right? 370 00:16:37.997 --> 00:16:41.166 You don't have to have mechanical cables and puppeteers. 371 00:16:41.166 --> 00:16:42.918 And so, there are some things you do. 372 00:16:42.918 --> 00:16:43.877 There are some that you don't. 373 00:16:43.877 --> 00:16:46.005 Linus is one that you don't, 374 00:16:46.005 --> 00:16:47.214 and that's how we designed them to begin with. 375 00:16:47.214 --> 00:16:48.757 Again, it's a win for everybody. 376 00:16:48.757 --> 00:16:50.467 We get way more aliens than we would 377 00:16:50.467 --> 00:16:52.177 if we had to spend the money 378 00:16:52.177 --> 00:16:54.346 to do all these mechanical elements 379 00:16:54.346 --> 00:16:56.974 that it's not so much building 'em, it's how long they, 380 00:16:56.974 --> 00:16:59.018 you know this, it's how long they take to shoot, right? 381 00:16:59.018 --> 00:17:02.271 How much time you have to spend just shooting things 382 00:17:02.271 --> 00:17:04.523 until they work perfectly. 383 00:17:04.523 --> 00:17:06.734 You've done so many incredible designs 384 00:17:06.734 --> 00:17:09.194 for Star Trek: Discovery. 385 00:17:09.194 --> 00:17:12.406 I don't want to ask you which one is your favorite. 386 00:17:12.406 --> 00:17:15.868 I want to ask you if there has been one 387 00:17:15.868 --> 00:17:18.996 that presented a challenge you didn't anticipate 388 00:17:18.996 --> 00:17:23.751 that either led to something cooler than you were expecting, 389 00:17:23.751 --> 00:17:27.838 or was just real satisfying to overcome, 390 00:17:27.838 --> 00:17:31.508 to like end up with whatever on the screen. 391 00:17:31.508 --> 00:17:33.510 It's Saru. Because I've worked with Doug 392 00:17:33.510 --> 00:17:35.804 and I've known him and loved them for so many years, 393 00:17:35.804 --> 00:17:38.932 when that character started to take shape, 394 00:17:38.932 --> 00:17:41.018 there was several different designs. 395 00:17:41.018 --> 00:17:43.270 There's sort of a Y-headed design. 396 00:17:43.270 --> 00:17:47.816 And by the time we landed on what Saru is now, 397 00:17:47.816 --> 00:17:51.278 sort of amphibious thing, right up to the finish line, 398 00:17:51.278 --> 00:17:54.740 there was a push for a green striped color. 399 00:17:54.740 --> 00:17:57.701 I mean, you could not get closer to "we're not going 400 00:17:57.701 --> 00:18:01.455 to make it" when finally the flesh-version that you know, 401 00:18:01.455 --> 00:18:04.458 that fleshy tone with the cool patterns finally got approved 402 00:18:04.458 --> 00:18:07.586 and we went with it. And the reasoning is I didn't want 403 00:18:07.586 --> 00:18:09.213 an alien that I know is going to be 404 00:18:09.213 --> 00:18:13.050 on the bridge all the time with such strong colors, 405 00:18:13.050 --> 00:18:15.135 because it starts to reduce the palette 406 00:18:15.135 --> 00:18:16.220 for all the other aliens. 407 00:18:16.220 --> 00:18:17.596 Oh, how interesting. 408 00:18:17.596 --> 00:18:21.350 I know how good of an a performer Doug is. 409 00:18:21.350 --> 00:18:22.726 I know how good he is at his job. 410 00:18:22.726 --> 00:18:24.728 I know what an excellent performer he is 411 00:18:24.728 --> 00:18:28.565 and this unlocked that, this makeup unlocked that 412 00:18:28.565 --> 00:18:31.276 and allowed Doug to come through Saru. 413 00:18:31.276 --> 00:18:34.696 So, what we did with Saru in the end and the way it serves 414 00:18:34.696 --> 00:18:37.324 the character, I'm very, very proud of. 415 00:18:37.324 --> 00:18:39.701 I imagine that there are just so many people 416 00:18:39.701 --> 00:18:43.038 in the audience who are enthusiastically nodding along, 417 00:18:43.038 --> 00:18:45.457 going like, "Oh, my God! You're doing exactly the thing 418 00:18:45.457 --> 00:18:47.501 that I do for fun, but you get paid for it. 419 00:18:47.501 --> 00:18:49.253 It's so totally cool." 420 00:18:49.253 --> 00:18:52.047 And rock and roll to all those people that feel that way. 421 00:18:52.047 --> 00:18:54.049 This has been such a lovely conversation 422 00:18:54.049 --> 00:18:56.385 and I have enjoyed your work for such a long time. 423 00:18:56.385 --> 00:18:58.387 It's so cool that you chose 424 00:18:58.387 --> 00:19:01.140 to spend some time with us today, thank you. 425 00:19:01.140 --> 00:19:04.810 Enjoy the rest of the season and I cannot wait 426 00:19:04.810 --> 00:19:07.354 to find out what you bring into the Star Trek world 427 00:19:07.354 --> 00:19:10.941 as the story unfolds and the seasons unroll before us. 428 00:19:10.941 --> 00:19:12.067 Same here, thank you so much. 429 00:19:12.067 --> 00:19:15.070 And thank you to all the fans, we really appreciate you. 430 00:19:15.070 --> 00:19:16.405 Thank you so much for your time, man. 431 00:19:16.405 --> 00:19:17.614 Hope to talk to you again soon. 432 00:19:33.255 --> 00:19:36.091 This week's episode of Discovery is kind of a big deal. 433 00:19:36.091 --> 00:19:37.301 It's not often in Star Trek we get 434 00:19:37.301 --> 00:19:39.178 to travel beyond our own galaxy. 435 00:19:39.178 --> 00:19:40.596 I mean, you saw how bumpy the journey 436 00:19:40.596 --> 00:19:42.556 through the galactic barrier was and if you know 437 00:19:42.556 --> 00:19:44.975 who Lieutenant Commander Gary Mitchell is, well, 438 00:19:44.975 --> 00:19:46.768 even getting close to the barrier 439 00:19:46.768 --> 00:19:49.062 has some pretty heavy repercussions. 440 00:19:49.062 --> 00:19:50.814 Let's take a look at what we know 441 00:19:50.814 --> 00:19:53.442 about this treacherous edge of the unknown. 442 00:19:54.318 --> 00:19:55.152 Commander Detmar, 443 00:19:55.152 --> 00:19:57.112 how soon until we reach the galactic barrier? 444 00:19:57.112 --> 00:19:59.239 Coming out of warp now, Captain. 445 00:19:59.239 --> 00:20:01.325 [Narrator] When it comes to boldly going 446 00:20:01.325 --> 00:20:03.368 where no one has gone before, 447 00:20:03.368 --> 00:20:05.913 Star Trek has explored the very boundaries 448 00:20:05.913 --> 00:20:10.042 of the imagination. Separating the Milky Way from the rest 449 00:20:10.042 --> 00:20:13.378 of the universe lies the galactic barrier, 450 00:20:13.378 --> 00:20:15.547 a treacherous border between the known 451 00:20:15.547 --> 00:20:18.425 and the yet to be discovered. 452 00:20:18.425 --> 00:20:20.260 The negative energy will eat through shields 453 00:20:20.260 --> 00:20:23.889 and fry your frontal cortex [snapping fingers] like that. 454 00:20:23.889 --> 00:20:27.351 [Narrator] Captain Burnham and her crew face untold dangers 455 00:20:27.351 --> 00:20:31.271 beyond the barrier in Season 4 of Star Trek: Discovery. 456 00:20:32.105 --> 00:20:35.150 Is it wrong that I think that's pretty damn cool? 457 00:20:35.150 --> 00:20:38.070 Frontiers are always cool, Mr. Rhys. 458 00:20:38.070 --> 00:20:39.488 If only we could enjoy it. 459 00:20:40.656 --> 00:20:42.115 [Narrator] But this isn't the first time 460 00:20:42.115 --> 00:20:44.034 the Federation has traveled to the edge 461 00:20:44.034 --> 00:20:46.495 of the galaxy and beyond. 462 00:20:53.669 --> 00:20:55.337 Approaching galaxy edge, sir. 463 00:20:55.337 --> 00:20:58.006 Neutralize warp, Mr. Mitchell. Hold this position. 464 00:20:59.466 --> 00:21:00.759 [Narrator] Captain Kirk and the crew 465 00:21:00.759 --> 00:21:03.220 of the U.S.S. Enterprise attempt 466 00:21:03.220 --> 00:21:06.640 to cross the galactic barrier in the third episode 467 00:21:06.640 --> 00:21:09.059 of Star Trek: The Original Series. 468 00:21:09.977 --> 00:21:13.313 The Enterprise enters the barrier to gather intel 469 00:21:13.313 --> 00:21:16.817 around the doomed voyage of the S.S. Valiant, 470 00:21:16.817 --> 00:21:18.694 200 years previous. 471 00:21:22.114 --> 00:21:23.865 Emergency stations! 472 00:21:23.865 --> 00:21:25.993 [Narrator] The ship reverses course quickly 473 00:21:25.993 --> 00:21:29.913 when the unstable conditions wreak havoc on the ship, 474 00:21:29.913 --> 00:21:33.875 as well as on one Lieutenant Commander Gary Mitchell, 475 00:21:33.875 --> 00:21:38.588 a crew member with an elevated ESP sensitivity. 476 00:21:38.588 --> 00:21:43.427 Sometimes I feel there's nothing I couldn't do in time. 477 00:21:46.221 --> 00:21:48.181 I'll just keep getting stronger. 478 00:21:50.058 --> 00:21:52.144 You know that, don't you? 479 00:21:52.144 --> 00:21:53.979 You will surrender your ship to me. 480 00:21:56.064 --> 00:21:58.900 [Narrator] Later, the Kelvans, an alien species 481 00:21:58.900 --> 00:22:02.571 from beyond the barrier, hijack and upgrade the Enterprise 482 00:22:02.571 --> 00:22:05.657 to return to the Andromeda galaxy. 483 00:22:05.657 --> 00:22:07.993 The Enterprise emerges from the barrier 484 00:22:07.993 --> 00:22:11.163 into the dark void that separates the galaxies. 485 00:22:13.915 --> 00:22:16.752 You're going to need something to wash that down with. 486 00:22:16.752 --> 00:22:19.921 Have you ever tried any Saurian brandy? 487 00:22:19.921 --> 00:22:22.382 [Narrator] But luckily, the crew regains control 488 00:22:22.382 --> 00:22:25.886 of the ship and returns to the Milky Way. 489 00:22:25.886 --> 00:22:27.304 We're going home. 490 00:22:27.304 --> 00:22:29.181 [Narrator] Star Trek's few other trips 491 00:22:29.181 --> 00:22:32.976 beyond the barrier were universally involuntary. 492 00:22:35.062 --> 00:22:38.982 An engineer driven mad at the site of the Medusan Kollos 493 00:22:38.982 --> 00:22:42.819 takes the Enterprise through the barrier and into the void. 494 00:22:44.071 --> 00:22:45.322 Scotty, where are we? 495 00:22:46.239 --> 00:22:47.074 I don't know. 496 00:22:47.074 --> 00:22:49.701 Beyond the boundaries of the galaxy. 497 00:22:49.701 --> 00:22:51.411 Captain, we're passing warp 10. 498 00:22:57.084 --> 00:22:59.461 [Narrator] An experimental engine modification 499 00:22:59.461 --> 00:23:02.130 on the Enterprise-D, and a little help 500 00:23:02.130 --> 00:23:04.508 from The Traveler, sends the ship well 501 00:23:04.508 --> 00:23:07.386 beyond the galactic barrier. 502 00:23:07.386 --> 00:23:09.096 Message on this has already been transmitted 503 00:23:09.096 --> 00:23:10.305 to Starfleet, sir. 504 00:23:10.305 --> 00:23:13.350 Which, traveling subspace, they should receive in 51 years, 505 00:23:13.350 --> 00:23:15.435 10 months, nine weeks, 16 days. 506 00:23:15.435 --> 00:23:16.269 Mr. Data. 507 00:23:17.145 --> 00:23:18.688 Sir? 508 00:23:18.688 --> 00:23:20.690 [Narrator] Though perilous to enter, 509 00:23:20.690 --> 00:23:23.985 the galactic barrier remains a true gateway 510 00:23:23.985 --> 00:23:26.738 to boundless new discoveries. 511 00:23:28.490 --> 00:23:30.534 It won't be easy, but with this crew, 512 00:23:30.534 --> 00:23:33.203 I know that we'll succeed. 513 00:24:00.188 --> 00:24:01.231 Okay, real talk. 514 00:24:01.231 --> 00:24:05.318 I am beyond excited that Picard and the La Sirena crew 515 00:24:05.318 --> 00:24:08.864 will be back in all of our lives next week with the premiere 516 00:24:08.864 --> 00:24:11.074 of Season 2. I'm gonna be real with you, 517 00:24:11.074 --> 00:24:14.786 I have seen a lot of this season so far, and it makes 518 00:24:14.786 --> 00:24:17.747 that part of my heart where Next Generation lives 519 00:24:17.747 --> 00:24:22.252 so enormous, which is why I can't wait for you 520 00:24:22.252 --> 00:24:25.505 to see this exclusive clip from the first episode. 521 00:24:26.381 --> 00:24:28.592 [Computer] Alert, life support failure on deck five. 522 00:24:28.592 --> 00:24:29.468 Move it, move it, move it! 523 00:24:32.971 --> 00:24:35.223 [Computer] Powergrid failure on deck five. 524 00:24:35.223 --> 00:24:38.143 All security teams, report to the bridge immediately! 525 00:24:38.143 --> 00:24:39.728 [Computer] Intruder alert. 526 00:24:39.728 --> 00:24:42.689 [On speaker] Officers to bridge. Secure the warp core! 527 00:24:42.689 --> 00:24:43.565 Come on! 528 00:24:46.902 --> 00:24:49.070 [Computer] Malfunction... 529 00:24:51.448 --> 00:24:52.240 Come on! 530 00:24:53.533 --> 00:24:56.453 [Computer] Force field collapse imminent. 531 00:24:56.453 --> 00:24:59.122 [alarm blaring] 532 00:25:01.416 --> 00:25:02.375 [Computer] Bridge. 533 00:25:06.171 --> 00:25:07.464 [Computer] Ship system rebooting. 534 00:25:08.840 --> 00:25:11.343 [alarm blaring] 535 00:25:11.343 --> 00:25:13.470 [Computer] System, system, system... online. 536 00:25:33.198 --> 00:25:34.032 [man groaning] 537 00:25:34.032 --> 00:25:34.866 [Rios] Status? 538 00:25:38.245 --> 00:25:39.704 [Rios] Stop firing! 539 00:25:39.704 --> 00:25:40.956 [Seven] Picard? 540 00:25:44.417 --> 00:25:47.170 [Computer] Bridge control transfer: 40%. 541 00:25:47.170 --> 00:25:48.213 What's happening? 542 00:25:48.213 --> 00:25:50.507 All systems are redirected, she's getting complete access, 543 00:25:50.507 --> 00:25:52.634 weapons, navigation, everything. 544 00:25:52.634 --> 00:25:56.638 Computer, activate auto-destruct sequence. 545 00:25:56.638 --> 00:26:00.725 [Computer] Auto-destruct activated. Nine, eight, 546 00:26:00.725 --> 00:26:01.601 [Voice] Picard. 547 00:26:01.601 --> 00:26:05.689 [Computer] Seven, six, five, 548 00:26:05.689 --> 00:26:10.527 four, three, two, one. 549 00:26:12.237 --> 00:26:16.116 Thank you, everyone, for joining me today in The Ready Room. 550 00:26:16.116 --> 00:26:18.201 With Discovery keeping me on the edge of my seat 551 00:26:18.201 --> 00:26:19.953 and Picard right around the corner, 552 00:26:19.953 --> 00:26:23.415 I am more grateful than ever to have you all along 553 00:26:23.415 --> 00:26:26.668 to talk Star Trek. I love getting my nerd on with you folks! 554 00:26:26.668 --> 00:26:29.504 Next week, we'll kick off an all new season of 555 00:26:29.504 --> 00:26:32.090 Star Trek: Picard by speaking with mon capitaine himself, 556 00:26:32.090 --> 00:26:34.551 Sir Patrick Stewart, about the premiere episode 557 00:26:34.551 --> 00:26:36.845 and what Season 2 has in store. 558 00:26:36.845 --> 00:26:40.473 Until then, I'm Wil Wheaton, live long and prosper.