WEBVTT 1 00:00:00.480 --> 00:00:01.920 Today, I chat with the Captain 2 00:00:01.920 --> 00:00:03.750 of the Enterprise, Christopher Pike, 3 00:00:03.750 --> 00:00:06.900 aka Anson Mount, about confronting the past; 4 00:00:06.900 --> 00:00:09.240 we get an up close look at the amazing props 5 00:00:09.240 --> 00:00:10.680 from this week's episode; and we go 6 00:00:10.680 --> 00:00:12.750 behind the scenes and discover what went 7 00:00:12.750 --> 00:00:15.547 into creating Rigel VII's spectacular sets. 8 00:00:15.547 --> 00:00:18.214 The Ready Room starts right now! 9 00:00:25.140 --> 00:00:27.930 Hey, nerds! I'm Wil Wheaton and this is The Ready Room, 10 00:00:27.930 --> 00:00:29.610 your official behind-the-scenes hub 11 00:00:29.610 --> 00:00:31.620 for all things Star Trek Universe. 12 00:00:31.620 --> 00:00:32.877 In this week's episode, Captain Pike 13 00:00:32.877 --> 00:00:35.280 and the crew of the Enterprise returned to Rigel VII 14 00:00:35.280 --> 00:00:37.200 to correct a mistake from the past. 15 00:00:37.200 --> 00:00:39.120 But since I don't want to accidentally interfere 16 00:00:39.120 --> 00:00:41.190 with the evolution of you're streaming this episode, 17 00:00:41.190 --> 00:00:43.650 I am calling for a red alert! 18 00:00:43.650 --> 00:00:45.270 Just like the radiation on Rigel VII 19 00:00:45.270 --> 00:00:48.180 blocks its people's memories, I want to block spoilers 20 00:00:48.180 --> 00:00:50.010 from ruining your viewing experience. 21 00:00:50.010 --> 00:00:52.320 So if you haven't seen Star Trek: Strange New Worlds 22 00:00:52.320 --> 00:00:55.680 Season 2, Episode 4, titled "Among the Lotus Eaters", 23 00:00:55.680 --> 00:00:58.080 go undercover to your castle, stream it 24 00:00:58.080 --> 00:01:01.590 and return to The Ready Room for all of the details. 25 00:01:01.590 --> 00:01:05.220 Today, I am thrilled to be talking with Anson Mount, 26 00:01:05.220 --> 00:01:07.290 who plays Captain Christopher Pike, about love, 27 00:01:07.290 --> 00:01:09.960 loss and duty as well as what the future holds 28 00:01:09.960 --> 00:01:12.093 for the Enterprise's commanding officer. 29 00:01:13.020 --> 00:01:15.720 In this week's episode, the Enterprise crew 30 00:01:15.720 --> 00:01:19.410 returns to Rigel VII, this is a planet that first appeared 31 00:01:19.410 --> 00:01:21.877 in Star Trek's original pilot episode 32 00:01:21.877 --> 00:01:24.870 "The Cage" as a sort of illusion given 33 00:01:24.870 --> 00:01:28.050 to Captain Pike by his captors, the Talosians. 34 00:01:28.050 --> 00:01:31.320 Later, we'll explore how Strange New Worlds' production team 35 00:01:31.320 --> 00:01:34.260 updated Rigel VII's design while also staying true 36 00:01:34.260 --> 00:01:38.250 to the planet's nearly 60-year history in Star Trek canon. 37 00:01:38.250 --> 00:01:41.790 But first, during their away mission to Rigel VII, 38 00:01:41.790 --> 00:01:45.390 Captain Pike, Security Chief La'An and Dr. M'Benga 39 00:01:45.390 --> 00:01:47.370 are captured and forced to rely 40 00:01:47.370 --> 00:01:49.710 on a unique combination of primitive tools 41 00:01:49.710 --> 00:01:51.810 and Starfleet tech to survive. 42 00:01:51.810 --> 00:01:54.090 We here in The Ready Room thought you might like 43 00:01:54.090 --> 00:01:56.970 a closer look at the incredible props 44 00:01:56.970 --> 00:01:59.970 the Enterprise crew used in this week's episode. 45 00:01:59.970 --> 00:02:02.480 Control room? Engage! 46 00:02:17.400 --> 00:02:18.630 Working on Star Trek, you work 47 00:02:18.630 --> 00:02:20.130 with a lot of different departments. 48 00:02:20.130 --> 00:02:21.570 Justin Craig, the Set Decorator 49 00:02:21.570 --> 00:02:22.920 does certain things, like he'll do 50 00:02:22.920 --> 00:02:24.240 all the big parts of the set, 51 00:02:24.240 --> 00:02:26.389 like the seats and chairs and the tables 52 00:02:26.389 --> 00:02:28.230 and then we come in and we do little stuff 53 00:02:28.230 --> 00:02:30.060 like the cutlery, the bowls and plates. 54 00:02:30.060 --> 00:02:32.430 So, we have to really dance well together. 55 00:02:32.430 --> 00:02:33.685 You don't want to have everything arrive 56 00:02:33.685 --> 00:02:36.930 on set it not look like it's the same language. 57 00:02:36.930 --> 00:02:39.440 There's a lot of communication between art directors, 58 00:02:39.440 --> 00:02:42.000 between set dec, between costumes, 59 00:02:42.000 --> 00:02:44.610 lighting, to make sure this all works. 60 00:02:44.610 --> 00:02:46.020 And because we're second season, 61 00:02:46.020 --> 00:02:48.000 we know how this machine works, now 62 00:02:48.000 --> 00:02:50.010 and we've got a rhythm to the show 63 00:02:50.010 --> 00:02:53.340 and everybody's got this kind of like, unspoken language, 64 00:02:53.340 --> 00:02:55.252 like we just help each other out, so it's a lot of fun 65 00:02:55.252 --> 00:02:57.360 to work with all the different departments. 66 00:02:57.360 --> 00:02:59.580 What we really tried to lean into this season 67 00:02:59.580 --> 00:03:03.633 was the canon of what we have from TOS 'cause it works. 68 00:03:06.168 --> 00:03:09.750 In Episode 1 of Season 2, Spock has his lute. 69 00:03:09.750 --> 00:03:12.780 It's an iconic prop from the original TOS. 70 00:03:12.780 --> 00:03:14.640 We wanted to stay true to the design 71 00:03:14.640 --> 00:03:17.340 'cause of the beautiful design, it worked to look good. 72 00:03:17.340 --> 00:03:19.980 So, we basically had the builders just flesh it out 73 00:03:19.980 --> 00:03:24.420 and creates almost an exact replica of it. 74 00:03:24.420 --> 00:03:27.060 We modified a couple colors and such, 75 00:03:27.060 --> 00:03:29.280 but it stays true to the original. 76 00:03:29.280 --> 00:03:31.494 Ethan, when he was playing the loot on set, we brought 77 00:03:31.494 --> 00:03:35.090 in a harpist to help him figure out the strings of it. 78 00:03:35.090 --> 00:03:38.970 It doesn't sound good at all, we can't tune it, 79 00:03:38.970 --> 00:03:42.240 but we wanted to make sure that Ethan 80 00:03:42.240 --> 00:03:45.210 could get the the fingering right in the scene. 81 00:03:45.210 --> 00:03:47.400 So, we brought somebody in just to teach him how to do that. 82 00:03:47.400 --> 00:03:49.888 So, it paid off, he had about three or four lute lessons 83 00:03:49.888 --> 00:03:51.540 and it then looked great in scene 84 00:03:51.540 --> 00:03:54.840 and ended up playing in two episodes in Season 2. 85 00:03:54.840 --> 00:03:58.230 In Episode 201, we see Spock having a drink 86 00:03:58.230 --> 00:04:00.157 of bloodwine with the Klingon at the end of the episode. 87 00:04:00.157 --> 00:04:02.730 We've the captain there and we wanted to make it 88 00:04:02.730 --> 00:04:05.520 look a bit nicer than the regular Klingon bloodwine set. 89 00:04:05.520 --> 00:04:07.350 So, this is a riff on the original 90 00:04:07.350 --> 00:04:09.180 bloodwine glasses that were used. 91 00:04:09.180 --> 00:04:10.380 So, we found them, they're basically 92 00:04:10.380 --> 00:04:13.200 just measuring cups and we 3D printed a part, molded it 93 00:04:13.200 --> 00:04:15.480 and then wrapped it around these just to give them 94 00:04:15.480 --> 00:04:18.030 some texture and they can look a bit more upscale 95 00:04:18.030 --> 00:04:20.520 and like they were the captain's set. 96 00:04:20.520 --> 00:04:22.647 In the scene, they have to reach in 97 00:04:22.647 --> 00:04:24.030 and that's how they get their bloodwine. 98 00:04:24.030 --> 00:04:26.130 It's not poured into their cup, they just reach in. 99 00:04:26.130 --> 00:04:27.810 So, we had to make a vessel of some kind. 100 00:04:27.810 --> 00:04:30.480 So, this is just basically a flower pot 101 00:04:30.480 --> 00:04:35.340 that we got that we ended up building a simple base for. 102 00:04:35.340 --> 00:04:37.620 And again, taking the 3D printed elements 103 00:04:37.620 --> 00:04:40.020 that we had molded here and we added it 104 00:04:40.020 --> 00:04:42.240 around the edge here just to give it some detailing 105 00:04:42.240 --> 00:04:46.080 so it all kind of pulled in together. 106 00:04:46.080 --> 00:04:49.320 In Episode 2, Una is on trial and it's a kickback 107 00:04:49.320 --> 00:04:51.990 to "The Menagerie" episode from TOS. 108 00:04:51.990 --> 00:04:53.820 So, we wanted to kind of follow the flavor 109 00:04:53.820 --> 00:04:55.890 of what that was, and one of the big things 110 00:04:55.890 --> 00:04:57.810 in "The Menagerie" episode was the bell. 111 00:04:57.810 --> 00:04:59.970 So, it's a mariner's bell and we tracked down 112 00:04:59.970 --> 00:05:01.890 who built it and where it came from. 113 00:05:01.890 --> 00:05:05.670 So, this is all almost exactly like the original. 114 00:05:05.670 --> 00:05:07.200 There's a base that we've added to it 115 00:05:07.200 --> 00:05:08.820 and then we just, as a little detail, 116 00:05:08.820 --> 00:05:10.820 we added a little strike mallet as well. 117 00:05:12.000 --> 00:05:14.250 The other thing from Episode 2 was the commendations 118 00:05:14.250 --> 00:05:18.090 that the different characters wore on their uniforms. 119 00:05:18.090 --> 00:05:20.400 So, in the original episodes of TOS 120 00:05:20.400 --> 00:05:22.350 they were fabric. So, we wanted to go 121 00:05:22.350 --> 00:05:24.300 with something that looked like that 122 00:05:24.300 --> 00:05:26.640 but we wanted to do our updated version of it. 123 00:05:26.640 --> 00:05:28.440 We don't actually have details 124 00:05:28.440 --> 00:05:31.620 as to what these different commendations are, 125 00:05:31.620 --> 00:05:34.320 but each character, we wanted to divide them up 126 00:05:34.320 --> 00:05:35.367 so it'd be a different service 127 00:05:35.367 --> 00:05:37.770 where they were posted or whatever 128 00:05:37.770 --> 00:05:40.200 and then they would just grow as you would add to them. 129 00:05:40.200 --> 00:05:43.830 So, La'An has less than Spock would for instance. 130 00:05:43.830 --> 00:05:45.990 And these kept changing to the day we shot it. 131 00:05:45.990 --> 00:05:47.940 Even on the day we were shooting this, 132 00:05:47.940 --> 00:05:50.070 we were modifying these and changing them up, 133 00:05:50.070 --> 00:05:51.690 moving them around, cutting them down 134 00:05:51.690 --> 00:05:54.390 and then we had to mark them with a red dot 135 00:05:54.390 --> 00:05:55.920 at the top so the onset crew knew 136 00:05:55.920 --> 00:05:57.900 which way they were oriented so everybody 137 00:05:57.900 --> 00:05:59.820 was on the same page and that we could 138 00:05:59.820 --> 00:06:02.103 make sure that all of them looked uniform. 139 00:06:03.360 --> 00:06:07.380 In Episode 203, La'An gets gifted a time travel device. 140 00:06:07.380 --> 00:06:09.690 The design for this basically was inspired 141 00:06:09.690 --> 00:06:11.520 by the communicator so we wanted to stay 142 00:06:11.520 --> 00:06:13.260 in the same vibe as that, but we wanted 143 00:06:13.260 --> 00:06:16.020 to keep it really simple, like a '60s kind of vibe. 144 00:06:16.020 --> 00:06:18.900 It's milled of aluminum, outsides are plastic 145 00:06:18.900 --> 00:06:20.970 and there's light in the center here 146 00:06:20.970 --> 00:06:22.830 that is cued by remote control 147 00:06:22.830 --> 00:06:26.070 that can go from red to green on cue. 148 00:06:26.070 --> 00:06:30.360 Prop breaks apart really easily with the batteries inside. 149 00:06:30.360 --> 00:06:31.830 And so we kept it really, really simple 150 00:06:31.830 --> 00:06:33.180 and I was glad we did cause it actually 151 00:06:33.180 --> 00:06:35.490 ended up look really slick and really nice. 152 00:06:35.490 --> 00:06:37.860 So, you're telling me that there's an alternate timeline 153 00:06:37.860 --> 00:06:40.230 where I'm not the captain of this ship. 154 00:06:40.230 --> 00:06:42.930 [Jim] Also for Episode 203, we meet 155 00:06:42.930 --> 00:06:45.030 James T. Kirk not in the Federation 156 00:06:45.030 --> 00:06:46.980 'cause it's different world completely. 157 00:06:46.980 --> 00:06:48.660 I have to stop you there ma'am. 158 00:06:48.660 --> 00:06:51.990 I have never heard of this Starfleet. 159 00:06:51.990 --> 00:06:53.850 So, we had to do a different kind of delta for him, 160 00:06:53.850 --> 00:06:55.410 which was actually a lot of fun. 161 00:06:55.410 --> 00:06:58.200 We did a riff on our current delta. 162 00:06:58.200 --> 00:07:02.310 These are just 3D printed, all put together and painted. 163 00:07:02.310 --> 00:07:04.530 And they work much like our other delta systems 164 00:07:04.530 --> 00:07:06.090 where they magnetize the back. 165 00:07:06.090 --> 00:07:07.230 So, this is the first time we would 166 00:07:07.230 --> 00:07:09.813 see this in our Star Trek world. 167 00:07:10.740 --> 00:07:14.100 Spock is also the captain of a Vulcan ship, 168 00:07:14.100 --> 00:07:16.350 so, we had to do him a design. 169 00:07:16.350 --> 00:07:18.426 So, we based this roughly on a design that was in canon 170 00:07:18.426 --> 00:07:20.190 and we just kind of enhanced it. 171 00:07:20.190 --> 00:07:23.023 So this would be his Vulcan delta. 172 00:07:24.930 --> 00:07:27.540 In Episode 204 we go Rigel VII 173 00:07:27.540 --> 00:07:29.130 and there's a rock quarry in it. 174 00:07:29.130 --> 00:07:32.857 So, we see Pike and his gang at the rock quarry. 175 00:07:32.857 --> 00:07:34.080 So, we had to come up with some 176 00:07:34.080 --> 00:07:35.970 kind of tool that they would use. 177 00:07:35.970 --> 00:07:38.850 We had a short turnaround time for these props. 178 00:07:38.850 --> 00:07:40.920 So, basically we didn't wanna reinvent the wheel 179 00:07:40.920 --> 00:07:43.590 and we knew we had to break some kind of real rock 180 00:07:43.590 --> 00:07:45.300 that special effects was building us 181 00:07:45.300 --> 00:07:47.670 so it had to have weight, so basically all we did 182 00:07:47.670 --> 00:07:50.250 was take real sledgehammers that we bought. 183 00:07:50.250 --> 00:07:53.250 We dressed them up on the ends, on the mallet ends, 184 00:07:53.250 --> 00:07:56.130 added some detailing and just aged it up 185 00:07:56.130 --> 00:07:59.220 to make it look kind of alien and foreign, a bit. 186 00:07:59.220 --> 00:08:00.932 And we made a smaller version of it, as well. 187 00:08:00.932 --> 00:08:03.013 Again, just something that we bought 188 00:08:03.013 --> 00:08:06.090 and then dressed up and then we got some chisels 189 00:08:06.090 --> 00:08:08.760 and cut the ends off them, wrap them the leather, 190 00:08:08.760 --> 00:08:09.666 aged them up and they could be 191 00:08:09.666 --> 00:08:12.480 hammering away on the day if need be. 192 00:08:12.480 --> 00:08:13.560 We just try to give it a lot 193 00:08:13.560 --> 00:08:15.983 of flavor and texture in the build. 194 00:08:22.207 --> 00:08:24.600 I've been looking forward to this for a minute. 195 00:08:24.600 --> 00:08:25.950 I'm very lucky today to be talking 196 00:08:25.950 --> 00:08:28.830 to the Enterprise's legendary Captain, Anson Mount. 197 00:08:28.830 --> 00:08:30.390 Anson, it's great to see you. 198 00:08:30.390 --> 00:08:32.130 Thanks for making time for us today. 199 00:08:32.130 --> 00:08:34.341 Thanks man, it's good to see you, too. 200 00:08:34.341 --> 00:08:36.300 I've been looking forward to this as well. 201 00:08:36.300 --> 00:08:37.924 Thank you for making this so easy for me this time 202 00:08:37.924 --> 00:08:41.280 and allowing me to do this from my home. 203 00:08:41.280 --> 00:08:43.800 Congratulations on the success of Season 1. 204 00:08:43.800 --> 00:08:48.800 It was a critical and fan success, everyone loved it. 205 00:08:51.480 --> 00:08:55.530 Just, the reviews are just unbelievable. 206 00:08:55.530 --> 00:09:00.530 How does it feel now getting into Season 2, 207 00:09:01.020 --> 00:09:03.900 reacting to the incredible love you received 208 00:09:03.900 --> 00:09:07.020 from the first season. Talk to me a little bit 209 00:09:07.020 --> 00:09:09.660 about the reaction from your first 10 episodes. 210 00:09:09.660 --> 00:09:13.170 Honestly, the response was so much greater 211 00:09:13.170 --> 00:09:17.580 than we could ever have expected, nobody saw that coming. 212 00:09:17.580 --> 00:09:19.593 I mean we felt like we had something 213 00:09:19.593 --> 00:09:21.385 but it's important to remember also we shot 214 00:09:21.385 --> 00:09:25.050 that first season during the pandemic under lockdown. 215 00:09:25.050 --> 00:09:27.480 And like, the sets were all closed, 216 00:09:27.480 --> 00:09:30.060 like, we didn't have too much supervision. 217 00:09:30.060 --> 00:09:32.827 So at the end of the day we'd be like, 218 00:09:32.827 --> 00:09:35.817 "I don't know, that felt okay." 219 00:09:35.817 --> 00:09:38.910 And with a show like this, when there's so much in post, 220 00:09:38.910 --> 00:09:41.190 you really don't know how it's gonna all look 221 00:09:41.190 --> 00:09:43.170 cut together once the CG is done and everything. 222 00:09:43.170 --> 00:09:46.530 But we felt confident but still, 223 00:09:46.530 --> 00:09:48.240 we were bowled over by the response. 224 00:09:48.240 --> 00:09:52.290 This upcoming season, you were able to shoot it 225 00:09:52.290 --> 00:09:54.720 kind of the way we've always shot television, right? 226 00:09:54.720 --> 00:09:56.880 Without the restrictions, without the lockdowns, 227 00:09:56.880 --> 00:10:00.180 were you able to spend more time together as a group? 228 00:10:00.180 --> 00:10:03.180 And I guess the question is not did it change the dynamic, 229 00:10:03.180 --> 00:10:06.095 but did it enhance the relationships that you had formed 230 00:10:06.095 --> 00:10:08.280 when you had to have glass between you 231 00:10:08.280 --> 00:10:10.800 and that sort of experience of the first year? 232 00:10:10.800 --> 00:10:13.710 The biggest difference in Season 2 233 00:10:13.710 --> 00:10:17.370 with the end of lockdown was that our writers 234 00:10:17.370 --> 00:10:19.350 got to come and be on set more, 235 00:10:19.350 --> 00:10:22.475 which is very important to the process. 236 00:10:22.475 --> 00:10:23.308 Yeah. 237 00:10:23.308 --> 00:10:24.930 Because a lot of people don't realize that, 238 00:10:24.930 --> 00:10:27.900 you know, with a play that spends years in development 239 00:10:27.900 --> 00:10:30.039 as well as some screenplays, you know, 240 00:10:30.039 --> 00:10:33.240 the work is pretty much, for the most part, 241 00:10:33.240 --> 00:10:36.390 the work, when you start producing, but with TV 242 00:10:36.390 --> 00:10:39.630 it's happening so quickly that the writing process 243 00:10:39.630 --> 00:10:43.440 is still happening as you're shooting more often than not. 244 00:10:43.440 --> 00:10:46.440 And also it's a writer's medium, our writers 245 00:10:46.440 --> 00:10:50.310 are our producers, they are in charge of the vision. 246 00:10:50.310 --> 00:10:54.060 So, it was really great to get them back on the set. 247 00:10:54.060 --> 00:10:56.490 It's an incredible collaborative experience working 248 00:10:56.490 --> 00:10:57.930 with the writers that we do have. 249 00:10:57.930 --> 00:11:01.800 They're very, very talented storytellers 250 00:11:01.800 --> 00:11:03.600 and we would be nowhere without them. 251 00:11:03.600 --> 00:11:05.010 I'm curious about production 252 00:11:05.010 --> 00:11:06.510 on this particular episode and if, 253 00:11:06.510 --> 00:11:08.445 you may not remember, 'cause I know it was a while ago, 254 00:11:08.445 --> 00:11:11.700 but this episode is kind of bookended 255 00:11:11.700 --> 00:11:16.667 by these scenes with Pike in his quarters and like, 256 00:11:16.667 --> 00:11:19.500 the beginning of this is like, "Listen, we can't do this, 257 00:11:19.500 --> 00:11:20.756 we can't be in this relationship, 258 00:11:20.756 --> 00:11:23.160 it's not working," like, "We can't do this." 259 00:11:23.160 --> 00:11:25.860 Then Pike goes through some stuff, right? 260 00:11:25.860 --> 00:11:29.520 It is very intense and we will get into that. 261 00:11:29.520 --> 00:11:32.460 If I haven't said it yet, I freaking love this episode. 262 00:11:32.460 --> 00:11:35.550 He goes through a lot and then at the end it changes him. 263 00:11:35.550 --> 00:11:37.770 That was a really impressive bit of acting 264 00:11:37.770 --> 00:11:40.950 from both of you that I very much 265 00:11:40.950 --> 00:11:44.310 felt the change and the weight of the episode 266 00:11:44.310 --> 00:11:46.648 come through Pike towards the end. 267 00:11:46.648 --> 00:11:49.783 Well this is also where, you know, 268 00:11:49.783 --> 00:11:52.290 you get those fortunate little overlaps 269 00:11:52.290 --> 00:11:54.933 between yourself and the character. 270 00:11:56.100 --> 00:11:57.510 Pike is, I've said this before, 271 00:11:57.510 --> 00:11:59.760 Pike is closer to me than most characters. 272 00:11:59.760 --> 00:12:01.334 And in case you haven't noticed, 273 00:12:01.334 --> 00:12:05.760 he has some commitment issues. 274 00:12:05.760 --> 00:12:07.350 Little bit. 275 00:12:07.350 --> 00:12:11.430 So yeah, that scene was very well written 276 00:12:11.430 --> 00:12:13.200 because it was very clear it's about 277 00:12:13.200 --> 00:12:15.599 one of those moments of realizing 278 00:12:15.599 --> 00:12:20.599 the way in which you have been communicating 279 00:12:21.104 --> 00:12:23.610 is not only not working for you, 280 00:12:23.610 --> 00:12:25.470 it's not working for somebody else, t's not working 281 00:12:25.470 --> 00:12:28.201 for the relationship and who are you kidding? 282 00:12:28.201 --> 00:12:31.800 I'm so fortunate to have Melanie Scrofano 283 00:12:31.800 --> 00:12:35.190 to work with as a scene partner because she is one 284 00:12:35.190 --> 00:12:38.500 of the greatest listeners I've ever worked with. 285 00:12:38.500 --> 00:12:39.990 I was thinking that this episode 286 00:12:39.990 --> 00:12:42.964 could have been set on just any planet anywhere 287 00:12:42.964 --> 00:12:46.383 and the fundamental story could have been the same. 288 00:12:47.250 --> 00:12:48.690 I thought it was wonderful that 289 00:12:48.690 --> 00:12:51.060 the writers chose to make it Rigel VII. 290 00:12:51.060 --> 00:12:54.300 Yeah, it is such a whirlwind of emotion 291 00:12:54.300 --> 00:12:57.060 going back to Rigel VII for Pike. 292 00:12:57.060 --> 00:13:01.410 And that definitely helped to inform the performance 293 00:13:01.410 --> 00:13:03.470 and the flow of the episode in general, I think. 294 00:13:03.470 --> 00:13:05.220 It wasn't your fault, Chris. 295 00:13:05.220 --> 00:13:06.690 I led the mission. 296 00:13:06.690 --> 00:13:08.163 Whatever we find down there, it's on me. 297 00:13:08.163 --> 00:13:09.960 If it really bothers you, I'm sure Command 298 00:13:09.960 --> 00:13:11.910 would understand if we recused ourselves. 299 00:13:11.910 --> 00:13:14.733 Command offered us this assignment as a courtesy. 300 00:13:15.780 --> 00:13:18.540 It's their way of saying what we already know. 301 00:13:18.540 --> 00:13:20.730 Enterprise needs to clean up its own mess. 302 00:13:20.730 --> 00:13:24.870 I thought it was really cool that they took 303 00:13:24.870 --> 00:13:27.174 a tiny little piece from "The Cage" 304 00:13:27.174 --> 00:13:31.770 of Pike leaving a man behind and really turned it 305 00:13:31.770 --> 00:13:36.770 into kind of a major story peg in this particular episode. 306 00:13:37.230 --> 00:13:40.440 Zach, you're alive, I thought- 307 00:13:40.440 --> 00:13:42.272 Does it ease your conscience? 308 00:13:42.272 --> 00:13:44.430 I-I'm just happy to see you. 309 00:13:44.430 --> 00:13:46.773 Are we meant to know this person? 310 00:13:47.833 --> 00:13:50.070 He's a KIA from the report. 311 00:13:50.070 --> 00:13:54.240 Only I wasn't killed in action, I was left behind. 312 00:13:54.240 --> 00:13:57.480 I think that what really impressed me the most 313 00:13:57.480 --> 00:14:02.460 about the episode was this little idea that the writers 314 00:14:02.460 --> 00:14:05.520 plucked out of nowhere with the memory loss. 315 00:14:05.520 --> 00:14:08.670 Haven't you noticed how hard it is to think? 316 00:14:08.670 --> 00:14:11.100 The radiation here affects your brain. 317 00:14:11.100 --> 00:14:15.840 First the ringing, lost time, fear, 318 00:14:15.840 --> 00:14:18.240 then finally the forgetting end. 319 00:14:18.240 --> 00:14:22.170 I've never really seen that kind of a thing 320 00:14:22.170 --> 00:14:25.770 as a nemesis in a Star Trek episode. 321 00:14:25.770 --> 00:14:30.360 It's so simple and yet so insidious 322 00:14:30.360 --> 00:14:33.900 that it reminds you as you're watching it, 323 00:14:33.900 --> 00:14:38.900 that the real engine of the Enterprise 324 00:14:39.030 --> 00:14:41.110 is the expertise of these people. 325 00:14:41.970 --> 00:14:45.150 And that if that goes away, that's a real threat 326 00:14:45.150 --> 00:14:47.520 that just kind of came out of left field. 327 00:14:47.520 --> 00:14:49.830 And I felt like watching it, I was like, "Oh, of course 328 00:14:49.830 --> 00:14:53.310 that would be a great thing to go up against." 329 00:14:53.310 --> 00:14:57.090 All of your exteriors on the planet 330 00:14:57.090 --> 00:15:00.150 are in front of the AR wall. Does it make a difference 331 00:15:00.150 --> 00:15:03.604 for you as an actor in finding those pieces? 332 00:15:03.604 --> 00:15:06.870 Does it free you up to like maybe lean 333 00:15:06.870 --> 00:15:08.340 into the environment a little bit more 334 00:15:08.340 --> 00:15:09.990 when it feels more three-dimensional, 335 00:15:09.990 --> 00:15:11.520 when it feels more like you are 336 00:15:11.520 --> 00:15:14.160 on the surface of a horrible planet somewhere? 337 00:15:14.160 --> 00:15:18.030 Yeah, absolutely, it's really hard to explain to people 338 00:15:18.030 --> 00:15:23.030 how much of your imaginative mind can get taken up 339 00:15:23.370 --> 00:15:28.320 with stuff that just isn't there on that day, 340 00:15:28.320 --> 00:15:31.920 that you have to bring into the scene imaginatively 341 00:15:31.920 --> 00:15:33.210 in order for the scene to work, 342 00:15:33.210 --> 00:15:36.330 in order for your own performance to work. 343 00:15:36.330 --> 00:15:37.710 And in a show like Star Trek, 344 00:15:37.710 --> 00:15:40.203 there's a lot of that stuff, right? 345 00:15:41.280 --> 00:15:43.516 I mean I'm sure you've spent your time 346 00:15:43.516 --> 00:15:47.127 looking at tennis balls on sticks, right? 347 00:15:47.127 --> 00:15:51.180 So many, so many tennis balls! 348 00:15:51.180 --> 00:15:54.750 It's great for us, it's great for post. 349 00:15:54.750 --> 00:15:57.990 It's not great for the crew because, 350 00:15:57.990 --> 00:16:00.900 you know, people forget that even though 351 00:16:00.900 --> 00:16:02.730 the walls have the environment, you actually 352 00:16:02.730 --> 00:16:06.240 have to match the stage environment to what's on the wall. 353 00:16:06.240 --> 00:16:09.990 So, you know, if we're gonna do a shoot on the AR wall, 354 00:16:09.990 --> 00:16:12.382 it's a week load-in to create 355 00:16:12.382 --> 00:16:14.370 the actual physical environment. 356 00:16:14.370 --> 00:16:16.440 'Cause we're trucking in dirt, we're trucking in sand, 357 00:16:16.440 --> 00:16:20.557 we're trucking in snow, you know, anything that we need 358 00:16:20.557 --> 00:16:23.790 to help match what's going on in the walls. 359 00:16:23.790 --> 00:16:24.686 But when you see it in action, 360 00:16:24.686 --> 00:16:29.640 it's amazing the the amount of weight 361 00:16:29.640 --> 00:16:32.100 that comes off your shoulders as an actor. 362 00:16:32.100 --> 00:16:33.810 Gosh, I can only imagine. 363 00:16:33.810 --> 00:16:35.550 And you're just there, because, 364 00:16:35.550 --> 00:16:38.160 and it's not just the walls, it's the ceiling too. 365 00:16:38.160 --> 00:16:39.900 The sky is there, it's amazing! 366 00:16:39.900 --> 00:16:40.920 I didn't know they're actually 367 00:16:40.920 --> 00:16:42.823 projecting it above you, that's so cool. 368 00:16:42.823 --> 00:16:47.823 Yeah, yeah, yeah, and also what they don't tell you 369 00:16:48.000 --> 00:16:51.376 is that in order to make it look 370 00:16:51.376 --> 00:16:53.760 like the depth you want it to look, 371 00:16:53.760 --> 00:16:56.880 the backgrounds have to move in coordination 372 00:16:56.880 --> 00:16:59.520 with the camera when it moves, right? 373 00:16:59.520 --> 00:17:00.844 And there's all these different layers 374 00:17:00.844 --> 00:17:04.740 in the CG environment. And so the computer program 375 00:17:04.740 --> 00:17:06.630 that handles the walls, it's seeing everything 376 00:17:06.630 --> 00:17:10.020 through the camera lens, it's moving according to that. 377 00:17:10.020 --> 00:17:15.020 So, when the camera moves, everything moves. 378 00:17:15.210 --> 00:17:19.110 And you have to be, you learn to get prepared 379 00:17:19.110 --> 00:17:22.320 for that by learning to focus on something 380 00:17:22.320 --> 00:17:24.840 that's right in front of you so you don't fall down. 381 00:17:24.840 --> 00:17:27.600 Oh man, that seems challenging? 382 00:17:27.600 --> 00:17:30.420 It can be, you learn to dance with it. 383 00:17:30.420 --> 00:17:33.810 Yeah, the costumes in this episode, 384 00:17:33.810 --> 00:17:37.080 the very first note I made as I watched it 385 00:17:37.080 --> 00:17:40.680 in all capital letters is, "Oh my God, these costumes!" 386 00:17:40.680 --> 00:17:41.520 Weren't they great? 387 00:17:41.520 --> 00:17:43.971 You get to wear the coolest stuff. 388 00:17:43.971 --> 00:17:48.090 Talk to me about just like, how, how fun it is 389 00:17:48.090 --> 00:17:49.560 to get to do these different things 390 00:17:49.560 --> 00:17:51.510 instead of, the uniforms are great, 391 00:17:51.510 --> 00:17:54.780 but when you get to get out of uniform, it's fun, right? 392 00:17:54.780 --> 00:17:58.193 Oh yeah, absolutely and we have a brilliant 393 00:17:58.193 --> 00:18:02.250 costume designer in Bernadette and she, 394 00:18:02.250 --> 00:18:04.200 I believe, did a little bit of research 395 00:18:04.200 --> 00:18:07.050 on ancient Mongolia, don't quote me on that, 396 00:18:07.050 --> 00:18:11.970 but you can kind of see that in the influences 397 00:18:11.970 --> 00:18:13.587 in those costumes and man, yeah, 398 00:18:13.587 --> 00:18:14.760 they were, they were beautiful. 399 00:18:14.760 --> 00:18:18.330 You just felt like fighting when you put them on. 400 00:18:18.330 --> 00:18:19.170 [Wil] Yeah, totally. 401 00:18:19.170 --> 00:18:21.278 [Anson] And you felt secure. 402 00:18:21.278 --> 00:18:22.680 I really, really liked those things. 403 00:18:22.680 --> 00:18:26.250 They brought a another essence of the culture 404 00:18:26.250 --> 00:18:29.580 on that planet, right, as all fashion does. 405 00:18:29.580 --> 00:18:32.772 Yeah, we're gonna wrap up with a couple of questions 406 00:18:32.772 --> 00:18:37.772 that I know fans are dying to have me ask you. 407 00:18:38.130 --> 00:18:42.120 So, we'll start here, turns out that the Klingons 408 00:18:42.120 --> 00:18:45.930 are back and we have the Gorn. 409 00:18:45.930 --> 00:18:50.280 Just talk to me about being a lifelong Star Trek fan, 410 00:18:50.280 --> 00:18:53.640 the Captain of the Enterprise, getting to face down 411 00:18:53.640 --> 00:18:58.380 legendary Starfleet adversaries, what is that like? 412 00:18:58.380 --> 00:19:00.420 Well, when Akiva and Henry told me 413 00:19:00.420 --> 00:19:02.070 that they wanted to make the Gorn a thing, 414 00:19:02.070 --> 00:19:04.860 I was so excited, it was such a great idea, 415 00:19:04.860 --> 00:19:08.340 It's an idea that's been coming 416 00:19:08.340 --> 00:19:11.280 for a long, long time that we didn't have, 417 00:19:11.280 --> 00:19:15.660 really the technical ability to do for a long time. 418 00:19:15.660 --> 00:19:17.490 But that, if, you know, if you read the fiction, 419 00:19:17.490 --> 00:19:18.660 like, the Gorn are everywhere. 420 00:19:18.660 --> 00:19:20.905 Yeah, they're really scary! 421 00:19:20.905 --> 00:19:22.781 We don't ever bump into them. 422 00:19:22.781 --> 00:19:27.781 So, I was very excited on that level 423 00:19:28.050 --> 00:19:30.210 as well as there's something behind, 424 00:19:30.210 --> 00:19:33.180 there's something in the idea of doing the Gorn 425 00:19:33.180 --> 00:19:38.180 that is so audacious and points back to an episode 426 00:19:39.240 --> 00:19:41.632 that we all kind of love in a kitschy way 427 00:19:41.632 --> 00:19:45.798 that I felt was a very right for the tone of our show, 428 00:19:45.798 --> 00:19:47.910 even though we're not going for kitschy, 429 00:19:47.910 --> 00:19:49.560 obviously we're going for horror, 430 00:19:50.850 --> 00:19:55.080 that I just felt like such a good, good fit. 431 00:19:55.080 --> 00:19:58.530 And we've had a tremendous amount of time 432 00:19:58.530 --> 00:20:00.567 trying to figure out how to make 433 00:20:00.567 --> 00:20:04.590 the modern iteration of the Gorn come alive. 434 00:20:04.590 --> 00:20:09.590 And, you know, all hats off to our special effects crew 435 00:20:09.600 --> 00:20:11.820 and our post-production team 'cause they've 436 00:20:11.820 --> 00:20:13.740 really been knocking it out of the park. 437 00:20:13.740 --> 00:20:15.540 We have to talk about this, Anson, 438 00:20:15.540 --> 00:20:17.850 and I'm sorry, we have to talk about Pike's Peak. 439 00:20:17.850 --> 00:20:22.380 They will hang me in front of the biggest conventions 440 00:20:22.380 --> 00:20:24.180 in the world and throw rocks at me 441 00:20:24.180 --> 00:20:25.890 if I don't talk to you about Pike's Peak. 442 00:20:25.890 --> 00:20:27.540 Okay. 443 00:20:27.540 --> 00:20:30.420 After Season 1, your hair 444 00:20:30.420 --> 00:20:32.610 has become a character of its own. 445 00:20:32.610 --> 00:20:34.650 It has its own fan club, I believe 446 00:20:34.650 --> 00:20:36.693 it has its own entry on the call sheet. 447 00:20:39.270 --> 00:20:40.290 Did you ever think that that's 448 00:20:40.290 --> 00:20:41.490 a thing that was gonna happen? 449 00:20:41.490 --> 00:20:43.290 Was there ever a moment in your life 450 00:20:43.290 --> 00:20:45.360 where you were like, I take pictures of myself 451 00:20:45.360 --> 00:20:47.400 every morning with my big ridiculous bedhead 452 00:20:47.400 --> 00:20:48.360 and people are like, "Well, I mean, 453 00:20:48.360 --> 00:20:49.830 it's good, but it's no Anson Mount." 454 00:20:49.830 --> 00:20:51.627 And I'm like, "It's not a contest!" 455 00:20:52.620 --> 00:20:55.443 Did you ever think that this was ever gonna happen? 456 00:20:58.417 --> 00:21:03.417 No, no and I, see, I hate grooming myself, I really do. 457 00:21:03.447 --> 00:21:04.280 Oh, I feel ya! 458 00:21:04.280 --> 00:21:06.330 It's just so annoying. 459 00:21:06.330 --> 00:21:08.070 There are very few things I hate more 460 00:21:08.070 --> 00:21:12.153 than having to comb my hair and get ready in the morning. 461 00:21:15.030 --> 00:21:18.210 No, and I, you know, I've never really thought 462 00:21:18.210 --> 00:21:21.337 of myself as having particularly admired hair. 463 00:21:25.610 --> 00:21:26.730 I get that. 464 00:21:26.730 --> 00:21:28.680 I think, I think Colin Farrell's 465 00:21:28.680 --> 00:21:30.090 got great hair, that's good hair. 466 00:21:30.090 --> 00:21:30.960 Yeah, sure. 467 00:21:30.960 --> 00:21:33.240 Okay, but they, you know, they make me, 468 00:21:33.240 --> 00:21:35.430 they make me look, they make me look good. 469 00:21:35.430 --> 00:21:40.430 I, personally, I roll onto the lot and into the hair trailer 470 00:21:42.540 --> 00:21:44.419 and they do their thing and I go to work. 471 00:21:44.419 --> 00:21:47.640 I have very little to say about it 472 00:21:47.640 --> 00:21:50.520 and let them do their thing, but I mean, I'm okay with it. 473 00:21:50.520 --> 00:21:55.233 I think that it's kind of cool that it's become a thing. 474 00:21:56.160 --> 00:22:00.000 It's clear that Pike is being established 475 00:22:00.000 --> 00:22:04.173 as his own captain and I guess in that way as well. 476 00:22:05.370 --> 00:22:10.350 I love how you roll with that because I think it's fun. 477 00:22:10.350 --> 00:22:11.572 I think it's kind of silly. 478 00:22:11.572 --> 00:22:13.717 If I were the actor, I'd be like, 479 00:22:13.717 --> 00:22:15.000 "Maybe it can be more about the work 480 00:22:15.000 --> 00:22:18.660 and less about the hair," but I do love, 481 00:22:18.660 --> 00:22:20.910 I, you know, it's always nice to see someone 482 00:22:20.910 --> 00:22:25.711 and talk to somebody who is in the chair that you are in 483 00:22:25.711 --> 00:22:28.339 who gets it in that way and appreciates it. 484 00:22:28.339 --> 00:22:30.690 I do, I will admit, I will admit 485 00:22:30.690 --> 00:22:33.100 when they told me that they were gonna name 486 00:22:34.080 --> 00:22:37.770 one of the special features on the DVD "Pike's Peek", 487 00:22:37.770 --> 00:22:40.767 P-E-E-K, I was like, "Oh, come on." 488 00:22:40.767 --> 00:22:42.060 Oh, we, we love our puns on our DVD menus. 489 00:22:42.060 --> 00:22:44.463 Come on, can we let it go, can we let it go? 490 00:22:45.690 --> 00:22:47.400 But no, finally they convinced me. 491 00:22:47.400 --> 00:22:49.080 I was like, "All right, I'm fine with it." 492 00:22:49.080 --> 00:22:50.430 This is the last time I will bring 493 00:22:50.430 --> 00:22:53.190 it up for today because we're done. 494 00:22:53.190 --> 00:22:56.520 Anson, thank you so, so, so much for making time 495 00:22:56.520 --> 00:22:58.827 for me and for everyone in the audience, today. 496 00:22:58.827 --> 00:23:00.780 I deeply appreciate it and I know 497 00:23:00.780 --> 00:23:02.670 everyone else does as well. 498 00:23:02.670 --> 00:23:06.586 Wil, always a pleasure. I hope you visit us out here. 499 00:23:06.586 --> 00:23:08.700 You know, if next time you come to the East Coast 500 00:23:08.700 --> 00:23:11.010 you'll have to swing up and spend a weekend. 501 00:23:11.010 --> 00:23:13.927 I cannot wait, just try to stop me. 502 00:23:34.260 --> 00:23:37.072 Back in 1964 when Rigel VII was first introduced 503 00:23:37.072 --> 00:23:38.940 during production of "The Cage", 504 00:23:38.940 --> 00:23:41.190 the planet's look was created by using 505 00:23:41.190 --> 00:23:44.430 a stunning, gorgeous matte painting. 506 00:23:44.430 --> 00:23:46.927 For this week's return to the rocky landscape, 507 00:23:46.927 --> 00:23:48.540 Star Trek, Strange New Worlds' 508 00:23:48.540 --> 00:23:52.530 production and effects teams use 21st century technology 509 00:23:52.530 --> 00:23:55.890 to recreate and enhance the original scenery. 510 00:23:55.890 --> 00:23:59.036 Here's a behind the scenes look at how that came to be. 511 00:24:01.920 --> 00:24:06.360 A lot of Rigel VII we shot on the AR screen. 512 00:24:06.360 --> 00:24:11.070 We actually as a cast stood there for a while just looking 513 00:24:11.070 --> 00:24:14.280 at this environment that had been created for us 514 00:24:14.280 --> 00:24:18.867 and marveling at how beautiful it was. 515 00:24:25.530 --> 00:24:26.763 This is Rigel VII! 516 00:24:28.080 --> 00:24:30.510 Please, we must hide ourselves. 517 00:24:30.510 --> 00:24:34.950 So, we know from The Original Series that Pike 518 00:24:34.950 --> 00:24:38.040 had an ill-fated visit to the planet 519 00:24:38.040 --> 00:24:42.450 of Rigel VII, things didn't go so well. 520 00:24:42.450 --> 00:24:44.160 [Una] Bridge to Captain Pike, 521 00:24:44.160 --> 00:24:45.930 apologies for the interruption, 522 00:24:45.930 --> 00:24:47.670 but we received a sensitive communication 523 00:24:47.670 --> 00:24:51.450 from Command. It's about Rigel VII. 524 00:24:51.450 --> 00:24:54.570 Rigel VII was a really interesting asset 525 00:24:54.570 --> 00:24:57.360 because that had been seen before in TOS, 526 00:24:57.360 --> 00:24:59.970 there was this very famous shot of the castle, 527 00:24:59.970 --> 00:25:03.060 which was a matte painting with a piece of physical scenery 528 00:25:03.060 --> 00:25:05.370 with the artist walking through that. 529 00:25:05.370 --> 00:25:07.800 That visual effect of Rigel VII in The Original Series 530 00:25:07.800 --> 00:25:10.530 is kind of very evocative and impressive. 531 00:25:10.530 --> 00:25:11.460 Even today when you look at it 532 00:25:11.460 --> 00:25:12.660 you're like, "Ooh, that's cool." 533 00:25:12.660 --> 00:25:14.310 You know, and it's like, it was weirdly 534 00:25:14.310 --> 00:25:16.440 its own kind of elusive mystery. 535 00:25:16.440 --> 00:25:19.511 There was a lot of debate as to how much 536 00:25:19.511 --> 00:25:21.750 of that matte painting we want to bring 537 00:25:21.750 --> 00:25:25.170 into our world, into our production wall. 538 00:25:25.170 --> 00:25:28.650 We wound up sticking pretty true to the original. 539 00:25:28.650 --> 00:25:31.830 I thought it was a pretty good homage to the original. 540 00:25:31.830 --> 00:25:34.290 We kept sort of that hint of violet 541 00:25:34.290 --> 00:25:37.200 throughout the lighting, moon big in the distance. 542 00:25:37.200 --> 00:25:39.000 So, we looked obviously, really closely 543 00:25:39.000 --> 00:25:41.032 at that and we wanted to respect that. 544 00:25:41.032 --> 00:25:44.280 But we wanted to make a much bigger landscape 545 00:25:44.280 --> 00:25:48.420 and we decided to make it a snowbound landscape. 546 00:25:48.420 --> 00:25:50.100 So we made the landscape much bigger 547 00:25:50.100 --> 00:25:52.860 and we made the castle enormous. 548 00:25:52.860 --> 00:25:54.540 The castle actually developed 549 00:25:54.540 --> 00:25:57.660 from Jonathan Lee's wonderful mind 550 00:25:57.660 --> 00:26:01.050 where he presented a couple options 551 00:26:01.050 --> 00:26:05.389 that actually were more based on the AR wall itself, 552 00:26:05.389 --> 00:26:08.943 trying to show off the scale and scope of the planet. 553 00:26:09.870 --> 00:26:12.360 You know, we created the castle front 554 00:26:12.360 --> 00:26:16.066 and we had a snowy surface, we had torches, 555 00:26:16.066 --> 00:26:18.210 we manufactured all of these rocks 556 00:26:18.210 --> 00:26:19.830 and built some really cool cages too, 557 00:26:19.830 --> 00:26:21.210 that we had outside of the castle. 558 00:26:21.210 --> 00:26:24.600 And once you see it tie in with the AR screens, 559 00:26:24.600 --> 00:26:27.720 it's like you're there and that's really exciting. 560 00:26:27.720 --> 00:26:30.060 Just incredible how they can do that. 561 00:26:30.060 --> 00:26:33.000 I'm still blown away by how that is possible 562 00:26:33.000 --> 00:26:36.504 to make it look and feel like you're actually there. 563 00:26:36.504 --> 00:26:40.560 La'An, you alright? 564 00:26:40.560 --> 00:26:43.380 We do have a few different locations on that planet 565 00:26:43.380 --> 00:26:46.723 that we go to that show us different skylines. 566 00:26:46.723 --> 00:26:49.230 There's another Scottish approach to AR. 567 00:26:49.230 --> 00:26:51.660 You get great value for money if you do this, 568 00:26:51.660 --> 00:26:54.010 you build one and you get three sets out of it. 569 00:26:55.480 --> 00:26:57.816 [Guard] Keep going, move it! 570 00:26:57.816 --> 00:26:59.566 What is this place? 571 00:27:00.420 --> 00:27:02.450 Outside of our hero set, we shot 572 00:27:02.450 --> 00:27:05.280 in this beautiful cathedral church. 573 00:27:05.280 --> 00:27:07.290 We were on location for, you know, 574 00:27:07.290 --> 00:27:08.366 I think it was for a day or two 575 00:27:08.366 --> 00:27:12.390 where we had created this beautiful interior castle 576 00:27:12.390 --> 00:27:14.340 and we brought in all these medieval elements. 577 00:27:14.340 --> 00:27:16.407 I saw the cathedral kind of before it was all set up 578 00:27:16.407 --> 00:27:17.497 and then afterwards I was like, 579 00:27:17.497 --> 00:27:20.010 "Whoa, this is amazing, incredible!" 580 00:27:20.010 --> 00:27:22.410 This isn't a normal planet, Pike. 581 00:27:22.410 --> 00:27:26.160 Haven't you noticed how hard it is to think? 582 00:27:26.160 --> 00:27:26.993 [M'Benga] Captain? 583 00:27:26.993 --> 00:27:27.826 What are you doing? 584 00:27:27.826 --> 00:27:28.920 Zach, what are you doing? 585 00:27:28.920 --> 00:27:30.150 Zach, you're making a mistake! 586 00:27:30.150 --> 00:27:33.123 Rigel VII changes people. 587 00:27:34.230 --> 00:27:36.880 I'm gonna have fun watching it work its magic on you. 588 00:27:38.566 --> 00:27:42.243 The loss of memory, it's such an insidious nemesis. 589 00:27:43.260 --> 00:27:44.880 You wipe a slate, right? 590 00:27:44.880 --> 00:27:46.770 Like, because you don't know who you are, 591 00:27:46.770 --> 00:27:49.620 you don't know why you're there, how do you deal with that? 592 00:27:49.620 --> 00:27:51.420 So, it was a chance to play, it was a chance 593 00:27:51.420 --> 00:27:53.550 to ask certain questions, it was a chance 594 00:27:53.550 --> 00:27:56.640 to really work in each moment separately. 595 00:27:56.640 --> 00:28:01.640 This woman, she's my friend, I could feel it now. 596 00:28:02.760 --> 00:28:06.960 This show is not prepared like a typical television show. 597 00:28:06.960 --> 00:28:10.050 You know there's a kind of tradition in television 598 00:28:10.050 --> 00:28:12.180 which is like, "Well we'll wait till the script's done. 599 00:28:12.180 --> 00:28:13.470 We'll see what's really in the script. 600 00:28:13.470 --> 00:28:15.420 We'll do it when we get the script." 601 00:28:15.420 --> 00:28:17.610 I mean you'd shoot nothing on this show. 602 00:28:17.610 --> 00:28:19.767 New systems of functioning and preparedness 603 00:28:19.767 --> 00:28:23.340 are required because you can't wait for the script 604 00:28:23.340 --> 00:28:27.510 to be finished because an AR asset has a lot of lead time. 605 00:28:27.510 --> 00:28:30.390 With something like Rigel VII, we take the matte painting 606 00:28:30.390 --> 00:28:32.820 from The Original Series and then everybody 607 00:28:32.820 --> 00:28:35.100 in the art department and story and AR 608 00:28:35.100 --> 00:28:37.980 start building what's gonna happen 609 00:28:37.980 --> 00:28:40.530 inside and outside that object. 610 00:28:40.530 --> 00:28:42.060 And so we sort of built it out 611 00:28:42.060 --> 00:28:43.357 and then as we looked at it, we were like, 612 00:28:43.357 --> 00:28:45.330 "Yeah, we can't quite really do it 613 00:28:45.330 --> 00:28:48.390 exactly that way, the scale's off," 614 00:28:48.390 --> 00:28:51.960 and so we started evolving it and the world and the story 615 00:28:51.960 --> 00:28:55.793 all at once and ergo, the return to Rigel VII. 616 00:29:33.360 --> 00:29:35.220 My name is Wil Wheaton, I host the show. 617 00:29:35.220 --> 00:29:37.080 My name is Wil Wheaton, I host the show. 618 00:29:37.080 --> 00:29:38.970 My name is Wil Wheaton, I host the show. 619 00:29:38.970 --> 00:29:40.670 The Enterprise crew may have lost large amounts 620 00:29:40.670 --> 00:29:43.470 of of time because of weird radiation, but I haven't. 621 00:29:43.470 --> 00:29:44.940 I know it's time to share with you 622 00:29:44.940 --> 00:29:47.037 an exclusive clip from next week's episode 623 00:29:47.037 --> 00:29:49.137 of Star Trek: Strange New Worlds. 624 00:29:49.988 --> 00:29:53.163 They left behind quite a civilization. 625 00:29:54.660 --> 00:29:55.800 You got a theory about what happened to them? 626 00:29:55.800 --> 00:29:57.750 We are hoping the energy signature 627 00:29:57.750 --> 00:29:59.940 we detected might provide a new clue. 628 00:29:59.940 --> 00:30:01.710 [Computer] Energy anomaly detected. 629 00:30:01.710 --> 00:30:03.053 [Chapel] That's the signature? 630 00:30:04.740 --> 00:30:08.130 [Spock] Yes, the readings are unusual. 631 00:30:08.130 --> 00:30:10.330 It appears to be some sort of stable vortex. 632 00:30:11.370 --> 00:30:13.370 A rupture in space-time. 633 00:30:29.460 --> 00:30:31.440 Gravitational radiation is headed right for us. 634 00:30:31.440 --> 00:30:33.540 Maximum power to the forward shields. 635 00:30:33.540 --> 00:30:36.707 [Computer] Forward shields at maximum. 636 00:30:38.010 --> 00:30:38.970 My systems are crashing. 637 00:30:38.970 --> 00:30:40.200 Steering is compromised. 638 00:30:40.200 --> 00:30:42.090 How compromised? 639 00:30:42.090 --> 00:30:43.125 I'm turning into the skid 640 00:30:43.125 --> 00:30:46.371 and the skid is taking us into that. 641 00:31:01.181 --> 00:31:02.491 Spock. 642 00:31:07.830 --> 00:31:11.400 Mr. Spock, try to be still. 643 00:31:11.400 --> 00:31:13.050 You were in a shuttle accident. 644 00:31:14.640 --> 00:31:17.190 [Spock] I feel strange. 645 00:31:17.190 --> 00:31:18.810 [Pike] you were injured. 646 00:31:18.810 --> 00:31:20.550 What's happened to me? 647 00:31:20.550 --> 00:31:22.916 We don't exactly know. 648 00:31:27.019 --> 00:31:28.027 We crashed. 649 00:31:29.550 --> 00:31:32.943 I'm not gonna lie, that looks fascinating. 650 00:31:34.770 --> 00:31:36.870 It's been a pleasure to be with you again 651 00:31:36.870 --> 00:31:37.920 in The Ready Room. Thank you 652 00:31:37.920 --> 00:31:39.900 for letting me do dumb things like that. 653 00:31:39.900 --> 00:31:42.240 And a very special thank you to Anson Mount 654 00:31:42.240 --> 00:31:44.400 for beaming in and chatting with me today. 655 00:31:44.400 --> 00:31:47.640 Anson and Captain Pike, they embody the best 656 00:31:47.640 --> 00:31:49.560 of Star Trek and I know 'cause I've spent 657 00:31:49.560 --> 00:31:51.990 a lot of time around the best of Star Trek. 658 00:31:51.990 --> 00:31:54.270 Next week, Jess Bush, who plays Nurse Christine Chapel, 659 00:31:54.270 --> 00:31:56.130 will be here to help diagnose everything 660 00:31:56.130 --> 00:31:57.660 about Star Trek: Strange New Worlds 661 00:31:57.660 --> 00:32:00.570 Season 2, Episode 5, titled "Charades". 662 00:32:00.570 --> 00:32:04.820 Until then, I'm Wil Wheaton. Live long and prosper.