WEBVTT

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Hello, beautiful.

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[Titan Officer] Admiral
Picard, Captain Riker,

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welcome to the Titan.

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Captain, she's still on us.

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[Shaw] Helm, evasive.

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We knew we wanted a starship
adventure this season.

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The question is, what ship?

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And when we tied into the story,

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and we knew Riker was going to help Picard

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sort of con his way onto a starship,

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we looked at his previous command.

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And what would be

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a really good conflict there,

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was to put Riker back on the Titan.

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This sort of new starship.

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Permission to come aboard, Commander.

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Permission granted, sirs.

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With the Titan, it's
an established ship,

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it's an iconic ship, but
Terry wanted to sort of

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bring it forward to the next generation,

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with also his own spin on
it, his own take on it.

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This Titan in our show is not

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the Titan that is in Lower Decks.

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Ah! Ah! Ah!

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So, we're sitting there going, "Okay, well

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they've already done the Titan."

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So, we looked at that
and we're like, "Okay

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well that's the Lower Decks
Titan, but we're years on,"

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but we were doing an upgraded Titan.

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We looked at a lot of
the old Titan designs

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and we wanted to honor that.

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In canon, there's a very specific design

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that we honored by showing that it had,

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it did exist, the ship from the novels.

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And we made sure we had one of the

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gold models of that in the Ready Room.

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But I really wanted to bring back

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that Constitution class,

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Kirk movie feel to the ship.

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That's sort of iconic.

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This clean design that
was on all those posters.

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So, we went to all the proper

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Star Trek designers:
Doug Drexler, John Eaves.

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You have to be very
careful with these ships,

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that you're honoring
everything that's come before,

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but you're also bringing it to now,

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into what we expect now in Star Trek,

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and the looks and the
detail that we expect.

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And I think that he was really successful

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in getting that balance of
both classic and new together.

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[Seven] All stations
prepare for maximum warp.

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All engines online.

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Priming deflector shields for warp.

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Engage.

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My favorite part of the Titan
is the Bridge, of course.

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The seats are like,
they're like a sports car,

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so they're really cool seats.

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Stand by to execute commands.

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Okay, the chairs, the Captain's seat

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and the Commander seat,
they are super spinny.

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They are the best chairs in the world.

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They are so spinny.

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So the hardest part,
the biggest challenge,

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is to not just sit there and spin

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and play with the chairs,

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because they're really, really good.

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Well, the bridge on the
new Titan is gorgeous.

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Dave Blass, our new
production designer has,

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well he's a big hardcore Trekker,

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and he has delivered a beautiful ship.

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One of the first things I did,

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taking over in Season 2 of Star Trek,

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was to reach out to anyone who had worked

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on the show before and say,
"Hi, I'm doing Star Trek.

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Would you like to do Star Trek?"

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So I reached out to Mike,

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and he helped us develop our LCARS 2.0.

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And he has been just such
a joy, because, again,

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I know when I know about
Star Trek; he's a bible.

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He wrote the encyclopedia on Star Trek.

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The goal was to capture the spirit

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of what we had done
before in Next Generation,

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but to make it a little more modern,

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a little bit more suited
for present-day production.

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And it goes to the same thing

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for so many people, from
Doug Drexler, or John Eves.

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They'll literally say, "Oh yeah,

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when I was talking to Gene
Roddenberry about this,"

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and I'm like going, "Oh my God."

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Because they were there when
it was all being designed,

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and it was all being figured out.

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And they can also tell
you why things happened

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the way they happened.

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Why a certain design
was done the way it was.

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And it was really
interesting to see how far

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production has come in those years.

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Things that I did with ancient pen and ink

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and photo lithographs, sheets of film,

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are now done with digital tools.

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And what this allows you
to do, is you can get

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much more interesting,
much more intricate,

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much more animated displays.

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And that's so much fun.

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When I actually saw the set,

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I went, "Whoa! Wow!"

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It's cool. It's very cool
looking, I have to say.

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Where to begin?

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Our set was so small compared to this one.

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Our Enterprise-D compared to the Titan.

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So it's wonderful to
have that kind of space.

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And, obviously, the
cranes, the technology,

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the camera technology is remarkable.

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Stepping onto the Titan,
it was almost overwhelming.

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All those amazing video
displays, all those graphics.

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With the style that I had
established so many years ago,

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suddenly things that
we couldn't do before-

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information, and animation, 3-D elements-

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it was very much like a dream come true.