WEBVTT
1
00:00:02.210 --> 00:00:04.671
This is, kind of, the way Wesley Crusher
2
00:00:04.671 --> 00:00:06.840
first experienced the
bridge of the Enterprise-D,
3
00:00:06.840 --> 00:00:09.092
and it is the first way
adult Wil Wheaton
4
00:00:09.092 --> 00:00:12.554
is getting to experience the
bridge of the Enterprise-D.
5
00:00:12.554 --> 00:00:14.055
This is Mike Okuda.
6
00:00:14.055 --> 00:00:17.559
Mike is responsible for
all of the graphic design.
7
00:00:18.393 --> 00:00:21.104
Mike invented LCARS.
8
00:00:21.104 --> 00:00:22.814
We're gonna talk about that today.
9
00:00:22.814 --> 00:00:25.859
Mike, let's start at the science stations.
10
00:00:25.859 --> 00:00:26.693
Perfect.
11
00:00:33.825 --> 00:00:35.660
I think LCARS is amazing.
12
00:00:35.660 --> 00:00:38.788
I remember you talking about the software,
13
00:00:38.788 --> 00:00:40.832
the system being software-controlled,
14
00:00:40.832 --> 00:00:45.045
and the system responding to
the person who was using it.
15
00:00:45.045 --> 00:00:47.714
When I was first starting
to lay out the bridge,
16
00:00:47.714 --> 00:00:49.507
I had a meeting with Gene and I said,
17
00:00:49.507 --> 00:00:50.592
"Here's what I wanna do.
18
00:00:50.592 --> 00:00:52.719
I wanna riff off of what
Matt Jefferies did."
19
00:00:52.719 --> 00:00:53.553
Right.
20
00:00:53.553 --> 00:00:54.888
"In the original Star Trek."
- Yeah.
21
00:00:54.888 --> 00:00:57.432
And Gene, to his very
considerable credit, said,
22
00:00:57.432 --> 00:01:00.351
"I don't wanna do what
we did in the first show.
23
00:01:00.351 --> 00:01:01.394
I want this to be different.
24
00:01:01.394 --> 00:01:04.814
I want this show to be so
advanced that it's really simple."
25
00:01:04.814 --> 00:01:07.108
And that's really the genesis of this.
26
00:01:07.108 --> 00:01:08.777
Now, Star Trek: The Next Generation,
27
00:01:08.777 --> 00:01:11.154
we had just shot our first
scene on the battle bridge.
28
00:01:11.154 --> 00:01:11.988
Yes.
29
00:01:11.988 --> 00:01:14.032
And you could tell Marina
was a little nervous
30
00:01:14.032 --> 00:01:16.743
about working the controls.
31
00:01:16.743 --> 00:01:17.577
And I said to Marina,
32
00:01:17.577 --> 00:01:20.371
"Look, these buttons are software-defined.
33
00:01:20.371 --> 00:01:22.248
The layout is software-defined.
34
00:01:22.248 --> 00:01:25.085
It responds to your
training, to your needs,
35
00:01:25.085 --> 00:01:26.336
to what's happening right now.
36
00:01:26.336 --> 00:01:28.755
So the button that you
press is the correct button.
37
00:01:28.755 --> 00:01:30.131
Just remember that."
38
00:01:30.131 --> 00:01:30.965
Let's go to tactical.
39
00:01:30.965 --> 00:01:31.966
[Mike] Let's go fire some phasers.
40
00:01:31.966 --> 00:01:33.676
Let's fire some phasers.
41
00:01:33.676 --> 00:01:35.428
Let's talk about tactical.
42
00:01:35.428 --> 00:01:38.056
When you were putting this together,
43
00:01:39.265 --> 00:01:43.394
was this something you had to
work closely or more closely,
44
00:01:43.394 --> 00:01:45.730
like with Herman or whoever was doing
45
00:01:45.730 --> 00:01:48.233
the physical shaping of this horseshoe?
46
00:01:48.233 --> 00:01:49.943
Did that matter for you at all?
47
00:01:49.943 --> 00:01:51.236
Or was it just like, nope,
48
00:01:51.236 --> 00:01:53.363
the graphics are gonna lay
in and it's gonna be great?
49
00:01:53.363 --> 00:01:56.783
Well, this is an incredibly
complicated shape.
50
00:01:56.783 --> 00:01:59.786
It's compound intersecting ellipses.
51
00:01:59.786 --> 00:02:01.996
And back in the day,
52
00:02:01.996 --> 00:02:03.373
I mean, the original version
53
00:02:03.373 --> 00:02:07.127
took literally weeks
and weeks to assemble.
54
00:02:07.127 --> 00:02:10.046
Even this version, Art
Director, Liz Kloczkowski,
55
00:02:10.046 --> 00:02:12.590
and Set Designer, Kyle Courter
56
00:02:13.925 --> 00:02:15.260
sweated these details.
57
00:02:15.260 --> 00:02:18.596
Because before you can build
it, you have to draw it.
58
00:02:18.596 --> 00:02:20.890
And you have to be able to dimension it.
59
00:02:20.890 --> 00:02:22.267
And you have to figure out, you know,
60
00:02:22.267 --> 00:02:24.686
what the angles are and
what are the Bézier curves,
61
00:02:24.686 --> 00:02:25.937
and all those things.
62
00:02:25.937 --> 00:02:28.064
And these guys sweated into
details, and look at that.
63
00:02:28.064 --> 00:02:29.149
Isn't this perfect?
64
00:02:29.149 --> 00:02:30.984
On the original version of this console,
65
00:02:30.984 --> 00:02:34.362
It was a problem because
it's relatively thin.
66
00:02:34.362 --> 00:02:37.323
It was actually too thin
to put to fluorescents.
67
00:02:37.323 --> 00:02:42.328
So this particular panel was
illuminated by neon lamps,
68
00:02:42.579 --> 00:02:44.873
which was a lot of power
going through this.
69
00:02:44.873 --> 00:02:47.584
And Geoff Mandel actually
recreated this graphic
70
00:02:47.584 --> 00:02:49.711
for this set.
71
00:02:49.711 --> 00:02:53.089
But notice how he's given
it a slightly bluer tint
72
00:02:53.089 --> 00:02:54.799
than everything else here.
73
00:02:54.799 --> 00:02:56.301
That's part of the look of this set.
74
00:02:56.301 --> 00:02:59.429
And that's that, that's what he recreated.
75
00:02:59.429 --> 00:03:02.223
I can't not see that now.
76
00:03:02.223 --> 00:03:04.225
That is why this feels so perfect.
77
00:03:04.225 --> 00:03:06.102
Of course, 'cause it's, like,
there's neon light behind it.
78
00:03:06.102 --> 00:03:07.937
If we did it today.
79
00:03:07.937 --> 00:03:09.981
- Which we did.
- Which we did.
80
00:03:09.981 --> 00:03:11.274
What did we put behind it?
81
00:03:11.274 --> 00:03:13.193
We used LED lamps.
82
00:03:13.193 --> 00:03:16.821
The Picard set lighting department
put all these wonderful,
83
00:03:18.031 --> 00:03:21.910
cool, color-controllable LED arrays.
84
00:03:21.910 --> 00:03:25.246
And they used it to recreate the flaws
85
00:03:25.246 --> 00:03:28.208
of a 1987 television set.
86
00:03:28.208 --> 00:03:31.127
And the result is, you saw
it when you stepped in here,
87
00:03:31.127 --> 00:03:32.462
it feels like you're coming home.
88
00:03:32.462 --> 00:03:36.674
And it's going home to a home
that was torn down in '95.
89
00:03:36.674 --> 00:03:37.550
Yeah.
90
00:03:37.550 --> 00:03:39.427
And you thought, you never
thought you'd be there again.
91
00:03:39.427 --> 00:03:41.930
And you walked into here and suddenly,
92
00:03:41.930 --> 00:03:45.391
it's there, and it's, it's
the way you remembered it.
93
00:03:45.391 --> 00:03:48.645
Let's go where that kid got to sit.
94
00:03:48.645 --> 00:03:49.479
All right.
95
00:03:49.479 --> 00:03:53.066
I'm gonna head down to conn and ops.
96
00:03:53.066 --> 00:03:56.736
We are in my wheelhouse, now.
97
00:03:56.736 --> 00:03:58.947
Welcome to my office.
98
00:04:00.323 --> 00:04:02.075
Does it feel familiar?
99
00:04:02.075 --> 00:04:03.201
Yeah, it does.
100
00:04:03.201 --> 00:04:06.829
If I recall correctly,
if Picard was, like,
101
00:04:06.829 --> 00:04:10.041
"Lay in a course for blah,
blah, blah, mark, blah."
102
00:04:10.041 --> 00:04:10.875
And I would go, "Okay,
103
00:04:10.875 --> 00:04:14.087
blah, blah, blah, blah,
mark, blah, blah, blah.
104
00:04:14.087 --> 00:04:15.546
Great, course laid in."
105
00:04:15.546 --> 00:04:18.424
"Terrific, take us to warp whatever."
106
00:04:18.424 --> 00:04:22.595
"Okay, warp seven, warp
seven, course laid in."
107
00:04:22.595 --> 00:04:25.390
And that's how the ship
went to warp speed.
108
00:04:25.390 --> 00:04:28.142
And I love that you used the framing bars.
109
00:04:28.142 --> 00:04:30.395
Now you have course and speed laid in.
110
00:04:30.395 --> 00:04:31.729
Yes, sir, they are.
111
00:04:31.729 --> 00:04:32.939
Standing here in front of this chair,
112
00:04:32.939 --> 00:04:36.818
I just had this wonderful,
113
00:04:36.818 --> 00:04:38.945
like almost a flashback memory.
114
00:04:38.945 --> 00:04:42.699
When this set was on
stage six, for the pilot.
115
00:04:42.699 --> 00:04:45.618
We've been here for 25 minutes
or something like that,
116
00:04:45.618 --> 00:04:47.203
while the camera's set up.
117
00:04:47.203 --> 00:04:49.372
And I'm all kinds of not
sitting in this chair.
118
00:04:49.372 --> 00:04:50.164
I notice you're not sitting in the chair.
119
00:04:50.164 --> 00:04:51.416
Because there's a protocol.
120
00:04:51.416 --> 00:04:53.751
Because there are rules, right?
121
00:04:54.711 --> 00:04:56.796
So I texted the cast.
122
00:04:56.796 --> 00:05:01.801
And I said, "Ready Room
wants me to sit in the chair.
123
00:05:03.636 --> 00:05:05.805
I need one of you to give me permission,
124
00:05:05.805 --> 00:05:07.181
before I can do that."
125
00:05:07.181 --> 00:05:12.186
Brent replies, "No, absolutely not."
126
00:05:12.687 --> 00:05:15.064
And then a second later
he says, "What the hell?
127
00:05:15.064 --> 00:05:16.065
Permission granted."
128
00:05:17.900 --> 00:05:20.153
I just got a text from Jonathan Frakes,
129
00:05:20.153 --> 00:05:23.406
who, as it turns out, is one
stage over from us today.
130
00:05:23.406 --> 00:05:28.244
And Frakes said, "Mr.
Crusher, you have the bridge."
131
00:05:28.244 --> 00:05:29.495
There you go.
132
00:05:29.495 --> 00:05:30.330
So,
133
00:05:37.211 --> 00:05:39.213
because Frakes gave me the bridge,
134
00:05:39.213 --> 00:05:41.966
would you please sit in
my first officer's chair?
135
00:05:41.966 --> 00:05:43.009
I would be honored.
136
00:05:47.805 --> 00:05:49.682
That's pretty nice, too.
137
00:05:49.682 --> 00:05:52.477
It feels different than
sitting in a chair, right?
138
00:05:52.477 --> 00:05:53.478
Absolutely.
139
00:05:54.645 --> 00:05:57.732
I just wanna say thank
you to everybody involved
140
00:05:58.608 --> 00:06:00.610
in everything that had to happen
141
00:06:00.610 --> 00:06:04.364
for me to be right here, right now.
142
00:06:04.364 --> 00:06:07.033
Helm, take us out of orbit.
143
00:06:09.160 --> 00:06:13.164
Lay in a course for the Ready Room set.