"A title that a lot of people called "Broken Bow"." "Yeah, a lot of confusion about that." "The concept of Enterprise... came about actually several years ago." "Rick Berman came up with the idea... for doing a prequel... and called me on the phone and said, "What do you think about this idea"..." ""of doing this Star Trek show that takes place 100 years before Capt. Kirk?"" "I just thought it sounded like... the perfect idea for a new Star Trek show." "The feeling was that... going forward, doing a fourth series, for us... after Next Generation, Deep Space Nine and Voyager... going forward didn't offer us that much." "Going back would allow us... to show the audience where it all began." "Sort of The Right Stuffof Star Trek." "It was very hard to find these corn fields... in the month we were shooting." "We found some" "They grew this corn for us." "In fact, it was too tall." "We actually got a farmer to... supply us with corn." "We wanted to start this pilot on Earth." "Just to set it apart from the other Star Trek shows." "There's a lot we wanted to do to give it a more Earth-bound feeling." "We thought there's something wonderfully incongruous... about a Klingon running through corn fields." "And this was our first introduction of a new race... which was the Suliban who were going to be our villains." "The shape shifting that's demonstrated here... was some terrific visual effects that Dan Curry did." "That was one of the major elements of what these guys were all about." "The concept of the prequel...." "Here's a great explosion." "Not a CGI effect, an actual explosion." "In fact, if you watch the DVD carefully... you can see shockwaves rippling through the corn." "Nothing like a good, old-fashioned, real fireball." "The concept of this prequel... was in development for a very long time." "Deciding exactly what year and how far back would it go, would it be before they had ships?" "Would they have a fleet of ships?" "And we decided to make it... the first Warp Five starship." "Here are the credits, do you want to talk about the development... of this little...." "Our controversial opening." "It's controversial because historically Star Trek credits... were always without lyrics." "They were always optical sequences taking place in space." "And, again, we wanted to do something different." "The idea was to do a compilation of shots showing... from the very earliest Enterprises which were sailing ships...." "That was Chuck Yeager." "There's Alan Shepard." "Just show the history of the... world of transportation...." "That was Goddard, one of the great scientists." "Exploration from the sailing days through airplanes and then" "That little rover was kind of prophetic... because it was before the Mars rovers." "One could interpret that as being one of those little Mars rovers right now." "And then, of course, we went into futuristic stuff... including Zefram Cochrane's ship and then a couple of final stages." "And we also got Diane Warren, a major song writer... to sort of revamp Faith of the Heart, a song... and to put lyrics, which had never been done before." "and to put lyrics, which had never been done before." "The lyrics seemed perfect for the spirit of what we were trying to do." "The song was not everybody's cup of tea... and a lot of fans were up in arms." "But Rick and I stand by it... and are very fond of the opening credits... and, obviously, the visuals are stunning." "If you look at some of these characters in the credits..." "John Fleck, somebody that has been used numerous times... during the course of Next Generation... and Deep Space Nine." "When we find actors, even Jamie Cromwell, over the years... we like to keep using them." "Vaughn Armstrong has been in many, many episodes of Star Trek." "More than anybody." "Probably." "Gary Graham as well." "We add a lot of touches... that are different from the other Star Trek shows." "The baseball caps and the tennis shoes." "We wanted these characters... both in the way they looked and behaved... to be more like you and me." "More people who weren't as accustomed... to the sights and sounds they would encounter in deep space." "More accessible characters, characters that were closer... in time period to the beginning of the 21st century." "And we also made a conscious decision early on... for better or worse... that this would be a much more character-driven show." "We felt that we had done many years and many episodes... of more plot-driven, science-fictiony type Star Trek shows." "And we wanted to focus more on the people and their reactions to things." "And people who were not... tried and true space heroes like Jean-Luc Picard... or any of our other characters from previous shows." "These were people who were taking the first steps out into space... and they were unsure of themselves." "A different kind of hero." "You see the Vulcans here." "We very quickly introduce what we thought of... as our continuing antagonists on the show." "We're very happy with the way the Vulcans evolved... as part of the Enterprise series." "There were some very vocal fans who were not happy... with the way the Vulcans were depicted." ""These are not Vulcans that we're familiar with"... some people would say." ""They're too antagonistic." "They are not like Spock."" "And that's our point really." "When you set a show 100 years before... the Kirk show... you want to do things differently." "You want to revamp the Vulcans a little bit... and show that they evolved as well." "One of my favourite aspects of the pilot and the show... was the Vulcan element, personally." "We knew from the film First Contact... which took place about 100 years before this pilot... that a very troubled Earth made its first contact... with aliens, with Vulcans." "And we knew that 100 years later and the United Federation of Planets... and people flying around and feeling very comfortable in space." "So we wanted to go halfway in-between... and basically show a humanity who had not yet developed... the kind of warp power that could get them... way out into space... and that they were having to rely on the Vulcans." "And that the Vulcans were meting out information... to humanity in a very slow basis." "They felt that the humans were not in fact ready to go out into space." "So we gave a very specific attitude to the Vulcans in this series." "And again, these are not your typical..." "Gene Roddenberry humans." "They are not as highly evolved in their sensibilities... as the Capt. Picards and Capt. Kirks of the world." "Jonathan Archer is something... not a racist, but he definitely has... a tremendous amount of somewhat well-founded prejudice toward Vulcans." "And one of the arcs of the pilot is him coming to terms with the fact... that he's gonna have to live with one of these Vulcans... and try to set some of that stuff aside." "Archer is somewhere between you and me and Picard." "And that's another thing that's really interesting... about the concept of the show." "And we see in this sequence that is filled with... the conflict of what went on in the opening." "We're introduced to two characters... that we don't yet know are going to be regulars... which is T'Pol who's in the background and very quiet in this sequence... and also our Dr. Phlox... who is about to be asked to come on our journey with us." "Little did we know that this character..." "Admiral Forrest and the Vulcan Soval character played by Gary Graham... would become very strong recurring characters for us... throughout the series." "Of course there's Scott Bakula, and Scott Bakula... was an actor who was pretty much the actor... who we had in mind all along for the role." "who we had in mind all along for the role." "We sort of thought of a Han Solo type... a younger Harrison Ford." "Somebody with a sense of humour... and somebody who, again, was very human and very accessible, and when... we found out that Scott was interested, it was very exciting for all of us." "Dominic Keating who we see here... is an actor who came in... to read for an episode of Voyager... and we were in the very early stages of development on this script... and we didn't give him the role." "And I took his picture and résumé and put it on my desk... and I said to Brannon, "I saw the guy." ""I saw the guy to play Malcolm Reed."" "He was the first person who came in to read for us when it was time to cast... the role of Reed and he was perfect for it." "Same with John Billingsley." "John Billingsley came in... and read and just blew us away in the reading." "Back to Scott Bakula... we actually had a meeting with Scott to discuss the script and the character... and he just seemed so perfect." "He seemed like he really was Jonathan Archer." "He was not your typical spit-and-polish captain." "He was more of an everyday guy... with some extraordinary abilities who was perfect." "And people kind of knew who...." "Kind of, people knew Scott Bakula." "You felt like you kind of knew the guy already." "So, in every regard, Scott was just perfect in the role." "He's also a very intelligent and very gracious man... very much like the Jonathan Archer character." "Now, here we have, I think... maybe my favourite actor of all time on Star Trek... our character "Trip" Tucker, our engineer." "Connor Trinneer is another actor... that the minute we saw him, we fell in love with him... and as the years went by, he just got better and better." "Originally, we named the character Spike... and up until the very end he was named Spike until we realised... there was a character on Buffy the Vampire Slayer named Spike... and we changed it." "It's interesting, four years later... the characters all pretty much look the same." "the characters all pretty much look the same." "They haven't changed." "It's disturbing." "There's always little changes in here." "Again, we wanted an Asian woman obviously to play Hoshi Sato... and when Linda came along... she just knocked us out." "She was perfect for our communications person... and our linguist." "This sequence was all shot in a little arboretum in Malibu." "Again, the idea that they don't have a universal translator... on Enterprise and need it and have problems with language... was, I thought, a nifty part of the pilot." "And we got a lot of mileage out of it." "I was worried that it would very quickly get old." "But I think we got a lot out of it over the years." "Yeah, I mean, all the way through Season 4... we've managed to continue to need Hoshi... and to get a lot of story material and also a lot of humour... out of the fact that we need her... to help us translate." "Hoshi's a very feisty character here." "Once she got on board and essentially became terrified... with everything that was happening, she lost a bit of her edge... as the episodes went by." "I think we envisioned her... as a bit more feisty than she ended up becoming." "But in our minds, especially initially, we saw..." "Hoshi as a real point-of-view character." "She's not a Starfleet person." "She is a teacher... and a gifted, extraordinary linguist." "But she's not one of the others... and we wanted to show... what would it be like when you go to warp and the ship rumbles... and if you're a white-knuckle flyer like Hoshi, what would that be like?" "There were some scenes cut out of the pilot for time... involving Hoshi being kind of freaked out." "Now here's a look at our bridge." "A brief one." "And here we are in the Captain's ready room." "We purposely made the ready room with low ceilings and beams... you had to duck to get under... because we wanted the ship to be a little bit more like a submarine." "In fact, Brannon and Herman Zimmerman and I... went down to San Diego... and we went aboard a couple of nuclear submarines... just to get a feeling of what it's like to be on a cramped ship." "We wanted this ship to not have that luxury... of the Enterprises of Kirk or Picard." "A lot of source lighting on the ship." "You know where the light's coming from." "This was our director of photography Marvin Rush... coming up again with a different look, a darker, more militaristic kind of feel... to the ship." "Of course, you glimpse Porthos there, a character, so to speak... that we always wanted to do, a dog." "We were very worried that there might be a backlash." "But I don't think there's anybody that doesn't like Porthos." "I think probably the most... fun of all the casting sessions for us was the dog casting." "Right." "All those dogs." "Yeah, they brought in dozens of breeds of dogs... and we ended up falling in love... with these 13-inch beagles." "Yeah, we saw bulldogs and all sorts of varieties." "The casting of Jolene as T'Pol was difficult." "It's always tough to find beautiful women... who are good actors... and who are willing to commit to years for the television series." "And she was one of the last people that we saw." "And she came in in no makeup... but we looked at some footage of some things she had done... and we thought, "Wow!"" "and we thought, "Wow!"" "She's a very talented actress." "Here's the "where no man has gone before" speech." "We knew we were going to take... the Kirk wording... from the original series credits... and have Zefram Cochrane and kind of imagine that Zefram Cochrane... had given that speech and that's where Kirk got it." "Some of these people you see in the crowds... have been optically put in." "There were not quite as many extras as there appear." "We always imagined a stadium full of people... but you never quite end up with as much as you want." "It was interesting to get Jamie Cromwell." "From when we used him in First Contact until this point... he had become a pretty big movie star." "And we had to do a little arm-twisting to get him to appear in our pilot." "But he was very gracious and did it." "A lot of discussion obviously goes into... what a Star Trek bridge is gonna look like." "This one..." "Herman Zimmerman just did a brilliant job of creating a retro look... but of course it's not nearly as retro as the original series... which is supposed to take place 100 years after this show." "And you really just have to ignore that." "It was always a huge challenge for us..." "It was always a huge challenge for us... because we wanted to develop, like for instance, a computer." "We wanted the computer to be less advanced... than in Capt. Kirk's day and the problem was... that the computers today are more advanced and streamlined... than they were in the 1960s television show." "So we had to split the difference." "The design of the ship, the same thing." "We worked with Herman Zimmerman to try to find a ship that would look... believable, but not as developed as Capt. Kirk's Enterprise." "Rather than models, this was the first Star Trek series... where we never really built a model." "The ship is exclusively done digitally." "Here's the...." "Remember this?" "The reverse echo effect?" "This was a great idea, to do a reverse echo." "We eventually dropped it from this chamber... over the course of the series because it was so expensive... and you couldn't hear what people were saying all that well." "And this introduced for us... the whole concept of the Temporal Cold War... which was a phrase we stumbled on in the early development stages... and were fascinated by the fact... that there was... this time-travelling group of people from the distant future... who were tampering with things." "Here's some more great visual effects." "This was the first introduction to the fact... that our Dr. Phlox loved to have a bunch of strange creatures in his sickbay." "We spent a lot of time discussing Phlox... and how he would be different than the other Star Trek doctors." "And it was challenging to figure it out." "But ultimately, I think Phlox is one of our more distinctive doctors." "He kind of goes for alternative medicine to the extreme... in that, he draws the best medicine... from all different kinds of alien cultures." "And a lot of this, we have to give... a tremendous amount of credit to John Billingsley... who's one of these actors you want to keep writing for... because he's remarkably talented." "We wanted sickbay to look different." "We remembered seeing some set designs from various films..." "Like the sickbay in Alien... or some of the sets from a movie called Outland, that were... kind of white, beige... and kind of austere looking... and we'd never really seen a set like that on Star Trek... so we asked Herman to think about something... a little brighter and...." "Now that was wonderful." "The smile was something that we again asked Dan Curry and Peter Lauritson..." "The smile was something that we again asked Dan Curry and Peter Lauritson... to give us a digitally-assisted smile." "Here we have a little place we call the sweet spot... that's in the ship, where the gravity doesn't really work." "The sweet spot would only be seen one other time on the show." "I don't know about you, Rick... but I always thought we'd use the sweet spot a lot..." "Like it's a place that we'd go and hang out." "But it was so hard to shoot... you just kind of realised, easier to put them in the mess hall." "Exactly." "And it's funny, the next time we used it, we also had Mayweather." "Oh, right, his father had died." "At the death of his father." "This sequence involved some very tricky camerawork... on the part of Marvin Rush... and our wonderful director, Jimmy." "There was a lot of cable work and wire removal involved... in having Trip do his little flips here." "Very...." "I always thought, an interesting concept... for Mayweather being a space boomer, as the first generation of humans... to actually be born and raised on a space colony or a ship." "He would have a different perspective on life... and know quirks of starships that even Trip wouldn't know." "And we really ran with the space boomer concept for a long time... until it started to become kind of a one-note thing for Mayweather... and we decided we needed to explore some other aspects of him... in the second season." "We like the idea that he was brought up on..." "I guess you could refer to as like a merchant vessel, not a Starfleet." "Cargo ship, yeah." "This is the Captain's private mess... which was an idea that had never been used before... and we thought it was a lot of fun." "And we managed to have a very small set... off the main mess hall that..." "I think we've gotten a great deal of mileage out of." "You can have as many as four or five people sitting at the table." "It's a great place to have small meetings of our senior crew." "And it captured again, the essence of Enterprise... at least how we conceived it for the first couple of years... that this would be a show, really, more about the people." "And the Captain's mess, the idea that our triumvirate... our Captain, our First Officer, and Chief Engineer... would have a lot of scenes here where they would discuss problems... would have a lot of scenes here where they would discuss problems... both interpersonal and plot... was something we successfully pulled off." "It was also something that we learned on the submarine." "There was a tiny Captain's mess on the submarine... that was 6 feet squared... but it gave us a good jumping off point." "We had to do a lot of takes of sawing a breadstick." "It kept crumbling." "This is another scene... that helps reflect the idea of the conflict between humanity and the Vulcans." "This is what Brannon was talking about..." "Hoshi being uncomfortable." "She's a white-knuckle flyer." "That was Vulcan for "go to hell."" "And this was always a tightrope that we had...." "Archer's line just struck me there about..." ""should be old hat in a week's time."" "The idea that these characters take nothing for granted... and everything is new for them was a tightrope that we had to walk... because we didn't want it to become old hat... and yet it naturally probably would for them." "Also you want them to not really have... a lot of the things that Kirk and Picard had... and yet you want them to have certain things." "So how far do you take it, you know?" "And it was a constant again, a kind of tightrope walk... to not fall into familiar rhythms that we fell into on the other shows." "And it was a real challenge." "We had to make a lot of creative decisions early on." "Do they have phasers, do they have tricorders, do they have shields?" "Do they have transporters that they're comfortable with?" "We decided that the transporters were something... that were just basically used for innate material, equipment... that humans were very nervous about using them." "But, unfortunately, we could only do that for a while before people became... at least a bit comfortable about using transporters." "The characters started to look too neurotic and ridiculous... and it just got to the point where we needed to get the stories told." "So, after a couple of years, they just started using the transporter." "There's a great deal of visual effects obviously in that sequence." "People crawling on the walls... the Suliban having this chameleon-like quality." "In the pilot and in the first series of episodes... we also wanted to make the show... spookier and more terrifying... than perhaps your average Star Trek episode." "And I think the Suliban were very creepy." "I also love the fact that Klingons are scared of the Suliban..." ""cause we all know the Klingons aren't scared of very much." "Although the Suliban were just really great villains...." "Every time you see them, they were kind of a chore to produce... because they have these bizarre abilities that are not easy to pull off." "And expensive." "The basic plot of the pilot was always... take the Klingon back to his homeworld... so humanity can prove that they've got what it takes." "But along the way... things go terribly wrong." "I don't know if it's appropriate to bring up Scott's hair... but we shot for several days with a different hairstyle." "His hair was more as it appears now, combed forward... but the studio wanted us to change the hairdo." "Also, we went through a lot of hair changes with Jolene, T'Pol." "Also, we went through a lot of hair changes with Jolene, T'Pol." "It's remarkable if you look at Jolene now... how different she appears." "The uniforms are interesting." "We wanted to come up with a series of Starfleet uniforms that obviously were... an earlier version of what we would see with Kirk and later with Picard." "We did keep the idea of the blue, gold, and red... changes in terms of the different departments." "We switched them around a bit because they were switched between... the original series and Next Generation as well." "Command here is gold, as we see with Archer." "And then the blue." "And the teal blue and the red for the other disciplines." "And those are lovely sketches... that are on the walls behind Archer in his ready room that show... four different generations of ships that were called Enterprise." "This pilot was directed by Jim Conway... who was one of our ace directors... back on Next Generation." "He might have done a Deep Space Nine or two." "We always wanted to work with him again... and finally got the chance on this pilot." "He did a remarkable job, I think... and tremendously easy and fun to work with." "It's amazing how you're allowed to show gore when it's an alien." "This is a pretty disgusting scene." "This introduces the whole idea of genetic enhancement... which, we are going to learn... the Suliban get in payment... for their various mischievous activities." "And they're given this by... some strange group of futuristic aliens that are using them... that are part of what we'll learn is the Temporal Cold War." "You know, it's worth mentioning... that shadowy figure that we saw in the Suliban chamber... who we always refer to as "future guy"... and we always anticipated revealing who this guy was." "Not that we knew who he was." "We've played around with various ideas... and I'm starting to doubt if we're ever gonna reveal who this guy is." "Well, the whole Temporal Cold War slowly begins to... wear itself thin as the years go by." "We like the fact that there aren't elevators." "There are steps and stairways... and chain-railings and things like that here in Engineering... and a number of other sets." "The Temporal Cold War..." "I personally felt was always a very cool concept... that probably could have been its own TV show if you decided to do it." "The whole idea... that someone invents time-travel... and then another nation invents it and another nation and another world... and everyone decides to sign a treaty... not to travel back in time and screw with history... but they would also send back spies... to make sure that nobody's doing it, and this whole cold war begins... except instead of sending spies to different countries... you're sending them to different centuries and different decades... is a really cool idea... that we layered kind of into the show." "We always planned, and did... only hit the Temporal Cold War two or three times a year." "There was something fascinating about the idea... that these characters from the distant future... had some reason to be messing with Archer and Enterprise... and not knowing why." "The strange, spooky mystery that this ship and these people... in some way, were going to affect history... in such a strong manner that there'd be people... willing to go back and mess with what they're doing." "Now see, they use the subtitles here... and, again, something we don't typically do on Star Trek, discuss the...." "There are a lot of subtle touches... that we put throughout this series to set it apart." "John Fleck is a wonderful actor that we've used many times." "He was perfect for Silik." "Suliban makeup job is one of the more ambitious makeup jobs... maybe even deceptively complex." "It took a long time to... apply the thin layer of skin over the regular skin of those actors." "Now here, we're arriving at Rigel Ten... which, of course, is an original series reference." "This is the launch bay... which has a control booth behind glass... and then, two shuttles, and unlike... previous series that take place in the 24th century... there's gangplanks, and you gotta climb into these shuttles from above." "It's difficult, and they're cramped inside... and again, a good element of the prequel." "There was a lot of controversy." "There were some people at the studio who didn't like these jackets... the quilting elements of the jackets." "So the next time they appeared... they lacked the quilting." "This was a great sequence of going through the snow... and landing at this base." "We ended up building a huge set..." "We ended up building a huge set... for the action sequence that's gonna take place in a little while." "The interiors we shot in two different locations." "One of them was...." "The sewage processing plant." "A huge sewage processing plant in Redondo Beach, California." "Our set decoration people, Jimmy Mees and Herman Zimmerman went in... and turned this into a very spooky and fascinating alien base." "This is a great sequence... where there's some strange sexual thing going on behind the glass." "They actually used Linda Park's screams." "There was a scene where she was screaming." "I can't remember what the scene was." "This is the famous butterfly girls." "This was a sequence that got a little controversy." "These women are basically totally naked." "They're covered with latex." "And they're twins." "For those who might not know... these twins went on to become very famous in a certain beer commercial." "The whole idea that they had these three-foot tongues... and that they would eat butterflies." "The latex kept coming off... and they had to be repainted during the course of the day." "Obviously, this was a day... when a lot of people chose to visit the set who normally don't." "This little merchant guy... this was a great idea... about a guy who leads them into the red light district." "We weren't entirely happy with how this little character turned out." "Actually, there's a longer little through line to the story... that we trimmed out to some degree." "This was a bureaucratic office... where people are sitting around and waiting, and Trip has joined them." "There's something in the box this woman is holding, it's freaking Trip out." "We really wanted to...." "This was...." "We wanted to show... how weird this would all be to someone like you or me through Trip's eyes... which was not an easy thing to do... given how many episodes of Star Trek there'd already been... where characters take everything for granted." "The only thing that disappointed me, Rick, in this whole sequence was..." "I thought this kid looked a little too quaffed and Americana." "That's true." "But it was a wonderful concept that Trip gets all pissed off... because the kid is being seemingly tortured by his mother... where in fact she's in the process of weaning him." "You see there's many different things going on at once here... to forward the plot and forward the character of Trip." "A little hint at the Prime Directive there... that will one day be formed and explored to some degree... in some episodes of Enterprise." "This great location." "I wish I could say we built some of those weird machines." "I don't know what they do, but they were" "They were all there." "This was pretty much just like it is." "We put the steam in." "Quick view of a couple of distant Klingons." "It was a spooky scene and it worked out beautifully." "The communicator...." "Again, just like we were talking before... the communicators of Capt. Kirk... which, 100 years later, were more clumsy than a cell phone is today." "So, we had to, sort of, split the difference." "Same with the phase...." "We call these, in scripts, phase pistols... rather than phasers and they look more like...." "Actually, that's not a phase pistol, that was a pulse gun." "They're replaced by phase pistols later." "I always kind of thought that pulse guns looked even better." "I wish we'd stuck with those." "We had a brand-new stunt coordinator on Enterprise." "Vince Deadrick who just blew us away." "From beginning to end, he's been a delight to work with." "The stunt work throughout all the episodes has been terrific." "These little arches of light that seem imprisoning the three of them... were one of the only additions we made to this area... up to all the cloth hanging in this little seduction scene we're about to see." "This actress is a woman named Melinda Clarke... who has gone on to become one of the stars of The O.C." "And who's that?" "You were mentioning that...." "The fellow who plays the father in the flashbacks... who plays Scott's father... when he was a little boy is the kind of evil character... on the TV series Desperate Housewives now." "We knew that we wanted Archer to be a little more Kirk-like... in that he would kiss the girl from time to time... but we didn't feel the circumstances were right for him to get lucky." "But we wanted something sexy." "So this was the kiss that's not a kiss." "She's doing it to get...." "And we're about to see that she's not quite as beautiful as...." "It's the opposite of kissing the frog and having it turn into a princess." "Exactly." "The Suliban costumes were something that went through... a lot of changes." "Bob Blackman was trying to design a costume... that was organic to some degree... because we wanted it to be able to change... very much like their chameleon-like skin changed... and we went through a number of evolutions." "And again, who's giving those orders... and what that distant future is, we've yet to reveal." "I think that even by the time you might be watching and listening to this...." "A lot of practical effects here." "Obviously, all the phaser shots... and weapons are optical, but all the sparks you see... are things that were done practically on the set and down in this... sewer processing plant." "was all done on Stage 9 of Paramount... where we built this very, very large snowy rooftop... and it's a pretty amazing set." "Yeah, it was the most elaborate action sequence of the pilot... and one of the most elaborately ever done on any of the Star Trek shows." "Producing these Star Trek shows has actually gotten easy." "A lot of the aspects have gotten a lot easier, thanks to... computer-generated effects." "Even when you saw this character Sarin here get shot... a little wisp of smoke was coming out of her wound." "It's real easy to just put that in." "We could never build that set." "On the days of Next Generation... a shot like that would have been utterly inconceivable." "The concept of digital compositing... is something that, when we were doing Next Generation... or even in the early years of doing Voyager... it was just out of the question." "You could maybe afford to do one or two shots, per episode." "That's why we did a lot of our space shots with models... as opposed to digitally compositing them." "But that's all changed now." "Here we are on Stage 9 with this huge rooftop." "Dozens of snowbirds, what they're called, up above... that were dropping snow onto the whole set." "that were dropping snow onto the whole set." "That's all practical, it's not optical." "There were places we had to add optical snow here... to match sequences." "Kind of hard to tell the Suliban apart." "I remember worrying about knowing... that one of them was Silik... and being able to tell which one was Silik." "It's often the case with our aliens." "Here you get a good idea of what a cramped look we have... inside our shuttle unlike the somewhat comfortable shuttles... inside our shuttle unlike the somewhat comfortable shuttles... that existed for Jean-Luc Picard and even for Capt. Kirk." "Here's a shot that composites live-action sequences on the stage... with optical matte work." "I had to take a big cable that was removed optically... to drag Jolene across the stage." "We haven't seen this pilot... in several years." "I'm kind of getting into the action sequence." "You get very spoiled when you're producing a pilot..." ""cause you have about... maybe three times as much money per minute... as you have when you're doing episodic television." "So it's kind of halfway towards making a feature film." "Scott Bakula loves to get shot." "He loves to get beat up." "One thing we've learned about Scott over the years is... if there's an opportunity for him to get bloodied or dirty... he'll take it." "Very rugged captain." "There have been a couple of times... when he was supposed to have been interrogated by an alien... a little roughed up." "We'd get approval sent to us for photos... and he looked like Rocky Balboa at the end of the climactic match... and thought we'd have to pull it back a little bit." "A pivotal moment here, then we go back... to the little stuff with the flashbacks." "And, of course, we did these flashbacks... to show the relationship between the father...." "Archer and his father." "And his father, of course, created the Warp Five engine." "And that helped motivate Archer's resentment toward the Vulcans... and why he became a captain and all of this stuff." "This was all shot at Point Dume in Malibu... on a very beautiful summer day." "The stuff with the father did not play as big a role... in the series as we thought it might." "This has got to be... the most controversial scene in the entire pilot... if not the series." "This particular series and this is... what I'm sure what the viewers also will think of as the decon chamber scene... which is, we knew that we also wanted Enterprise to be a little... saucier and a little sexier." "This being before the Janet Jackson scandal." "And this is pretty...." "It is indeed pretty saucy for Star Trek." "The whole idea was that we didn't have the bio-filters... that exist in later Star Trek series... where when you come aboard, you're instantly cleansed by the transporter." "We wanted them to have go through a strange ritual... of having to cleanse themselves of alien bacteria... before they could come into the ship... and that gave us an opportunity to do a very sexy scene here." "You have two characters talking about some very unsexy stuff... that deals with our plot... and simultaneously they are getting involved in something that obviously... people would find rather hot." "And it foreshadowed to some degree the relationship that was going to... slowly take place between these two characters... over the course of the series." "There were a lot of fans that criticised this... for getting a little bit too gratuitously sexy... but I think it's a great scene." "Yeah, and God forbid, people talk about a scene." "Whether they liked it or not, this was discussed a lot." "It was fun and we got a lot of mileage out of the decon chamber scene." "It never really achieved this level of sexiness... nor did we necessarily want it to but...." "The idea that you have to spread... some kind of anti-bacterial goo all over yourself... before you'll be allowed into the public area of the ship... is another element of trying to make this Enterprise... far more primitive than the future ones." "Jolene's figure didn't hurt, either." "Jolene's figure didn't hurt, either." "This is the blue underwear that would be a recurring... thing through the series." "It was a running joke for a while... that Trip was always in his underwear." "And, indeed, he was in his underwear for a lot of episodes." "We have a sexy lady onboard and some sexy guys, too." "We also made a decision to broadcast Enterprise... in the letterbox format to give it a more cinematic feel." "And again, every step of the way, there was a lot of discussion... and to some degree, resistance to some of the changes... we were making to Star Trek." "But we really felt that we couldn't just put another show on the air... about a group of people on a ship... about a group of people on a ship... this time called the Intrepid and they're running around... in Picards time with the same basic stuff, with the same basic look." "We really wanted to try some stuff that was different." "In a lot of people's mind, it wasn't different enough." "In some, it was too different." "That's one of the interesting things about Star Trek." "You can't please all the fans... all at once." "It's a very contentious group of people." "For any fan who liked the idea that we went back in time... there was at least one another fan who said... we should have gone further forward in time." "I always saw Archer and Trip as being long-time buddies... and colleagues and that is a dynamic that worked beautifully." "Creating a relationship that we felt would be somewhat similar... to the relationship between Kirk and Bones." "That little statue you see of a man with his hand raised... is actually a statue of Zefram Cochrane that the art department made up." "It's referenced in the movie First Contact... that there was a statue of Cochrane... and I guess they imagined that was the statue... and Archer's got a little copy of it there." "I don't know if anyone's ever revealed that." "Geordi La Forge tells him that in the future... there's gonna be a statue of him in some town square." "Of course, a little titbit about Porthos is that..." "Porthos, the dog in real life... which is named Prada, is a little girl, not a boy dog." "Also, Prada was the name of Porthos in the first season... and subsequent seasons, we had many different dogs." "Yeah, you're right." "And there's a water polo ball... that yellow ball you see perched in the background." "My son Eddie is a water polo player... and we developed that Archer had played water polo... and we got some mileage out of that in the first couple of seasons, too." "Here again on this bridge, we see an example of a bridge... that's much more militaristic, much more metallic... and not having any of the luxuries and the wood... and the pretty colours that existed on Picard's bridge or even Kirk's bridge." "It's the moment when the two start working together for the first time." "We tried to keep the techno babble down... in this series as well... and certainly in the pilot." "This is probably the most technical of the scenes... where they put together all these sensor ratings." "But we really wanted to cut down on using techno babble so much...." "When you're doing science fiction... you have to get involved with some science fact... and you've gotta get involved with astronomy and astrophysics... to some degree and it's very tempting for all of the writers... to throw in what has been warmly referred to as... techno babble, but we felt that there had been far too much of it... and I think in the course of the years of the episodes of Enterprise... we've managed to hold it down to a minimum." "And we can't say that we haven't fallen into some traps... because there are some episodes... where it starts to take on a somewhat familiar feel... which I supposed was inevitable." "But for the most part," "But for the most part, I think we kept it pretty fresh." "Here's "future guy" again." "We've thrown out so many ideas for "future guy"..." "I think at one point, we thought it might be Capt. Archer himself... or maybe a Borg or...." "We've had all sorts of crazy ideas about who he is... but we always kept it open because we weren't sure who we wanted it to be." "And we may never reveal who he is... because as we're recording this, we're very deep into Season 4 of the show." "We're pretty much done with the Temporal Cold War." "I remember at one of the wrap parties... an actor walked up to me, I didn't even know he was an actor." "He introduced himself and I had no idea who it was." "Somebody told me it was the guy who plays "future guy."" "We had cast him years before and you never really see him." "He's just like a shadow." "He was proud to be "future guy."" "That viewer that T'Pol was looking into... was a little homage to the viewer... that Spock will have in 100 years." "So here they are between the gas layers... searching for the Suliban Helix." "The idea of a modular space station... made up of hundreds of Suliban ships... was, I think, a fresh and unique take on... where a group of bad guys... would be hanging out in the atmospheric layers of a...." "What was it?" "A red giant?" "A gas giant." "Of course, the ship shakes never change... no matter what era you're in." "There's always discussion about putting the bridge on a gimbal... or trying to make the shakes different... but that's too complicated and so... it's one thing that remains consistent to this day on Star Trek." "it's one thing that remains consistent to this day on Star Trek." "Here's a little techno babble for you." "At least you could kind of follow it." "I remember when we were conceiving the pilot story... it was effortless." "We had a great time doing it... but this was a point in the story where we ran into our first plot trouble." "And we really struggled to figure out how..." "Archer was gonna get Klaang off of the Helix." "And so many of the roads we went down... felt very familiar and Next Generation-like." "For some reason, it took us a long time to figure out...." "Why doesn't he just steal the Suliban ship and go in... and do it Han Solo style?" "The reason was because we weren't...." "We didn't really do stuff like that that was a little more brazen... and a little more Buck Rogerish... on the other shows." "And we had to modify our sensibilities to some degree and say:" ""This is what Archer would do." "It could be construed as silly."" "Here's the grappler... which was an idea that had never been used before... that seemed kind of primitive and fun that we could fire out... these magnetic devices to capture things that were going by... and we've managed to get mileage out of that over the years." "Grappler's been great." "Incredible plasma screen displays on the bridge." "There's something like 82 plasma screens on them... on the set of the bridge, ranging from 42 inch... down to 4 inch." "And actually, a really expensive aspect... of our set-dressing budget." "I remember, we started out with a much larger number and had to scale it down." "And there are three to four people who do nothing... but programme material that are gonna go on to those screens... and then sit in a room full of playback decks... to have the right stuff on the right screens at the right time." "Michael and Denise Okuda being two of the lead people on that." "That was a line that kind of captured the essence of Enterprise." "This was a scene that I think, Rick, you came up with, very early on... when we were talking about the series." "The little scene where Reed comes in with the phase pistols." "It's always fun to set up things that you know are gonna be... classic elements in future days." "We knew that would be a fun little part of the show." "Concept of an armoury officer is something that was... never done before on any of the...." "The armoury set." "Is that in the pilot?" "I can't remember, with all the torpedoes and stuff." "I say yes, I think it is." "We'll see." "The depth...." "The Suliban depth charges." "Peter Lauritson, our postproduction producer... and Dan Curry, who runs our visual effects... they really did some great turns... in creating this world inside these gas layers." "This is a Han Solo type scene, if there ever was one." "I'd say 9.9 out of 10 times on the other Star Trek shows... when our characters went aboard an alien shuttle or something... for some reason, they knew how to do everything." "It's just not how it would be." "So we tried not to take anything for granted on this show." "We had a couple more opticals in here than we could afford." "Yeah." "Here you can see the module elements of this thing." "It's the second time." "But we did manage to set up the warm relationship... between these two guys in the pilot that definitely continue...." "The conflict between Hoshi...." "The abrasiveness between Hoshi and T'Pol... so much of the things we set up in this pilot... would naturally evolve quite nicely." "It's interesting to see the show... in film, as it looks shot on 35 mm again... because we've been working with hi-def all season long on Season 4." "because we've been working with hi-def all season long on Season 4." "Unlike Next Generation, Deep Space Nine or Voyager... this series from day one was finished on hi-def... even though it wasn't broadcast on hi-def, we have it on hi-def." "And I'm sure in future, when hi-def becomes... a regular thing in terms of broadcast, we'll be able... to broadcast the first three seasons." "I thought you used a great analogy... for justifying the reason that we did that... was that a lot of TV shows that were aired... predominantly in black and white, were actually being shot in colour..." ""cause the people producing them were quite visionary in thinking... one day there'll be colour television and we can sell this stuff... more easily in syndication if it's in colour." "Same thing here with hi-def." "It was so much fun that they were coming here to rescue somebody... who has absolutely no interest in being rescued by them." "This actor's name was Tiny." "He was about 6"1 1", I think." "A lot of discussion went on... that kind of continues to this day about... the music and style of orchestration... the music and style of orchestration... and trying to keep that different as well." "We asked, in the case of the pilot... for Dennis McCarthy to come up with something more percussive... and harder-edged." "There are some episodes where maybe it errs a little too far in the direction... of the way it sounded on the other series." "Usually, it's pretty good." "No detail kind of went unexamined." "This is another great example of something... that there's no way we could've afforded a few years ago." "This is all done in computers... with many digital layers to give that look... of 1 ,000 different modules separating from one another." "Rick and I, when we were taking a break from this... a minute ago we were talking about how we haven't seen this in a while." "We're really proud of this script." "There's a little homage to Uhura..." "Uhuro." "..." "Uhuro... from the original series." "I can never pronounce that name." "The little earpiece." "But this was the first script Rick and I wrote together." "And we would end up writing many scripts together." "The way Rick and I work is... we really just sit in a room and come up with a story... break the story down into scenes... and then write the script sitting together... in the room and write the dialogue." "A lot of people wonder, do we break it up... do each of us write certain scenes or characters?" "We find the best way to do it is to just sit down... and hash it out." "It's I think undoubtedly the most... creative and the most rewarding element of what we do... along with all of the production and postproduction aspects... of producing a television show." "I'm honestly not sure... if they're including any deleted scenes... on this DVD... but I know there were some scenes that we had to lose mainly for time." "I think the pilot was fairly long, wasn't it?" "It was a bit long." "Luckily, there was very little we had to lose because it didn't work out." "And the scenes we lost, I do believe we were happy to lose." "Here again, here's this kind of reverse echo effect... where things happen before you do them." "You take the tape, you reverse it, and you put echo on it." "And then, when you run it back in the right direction... the echo precedes the sound." "We did something very similar visually here." "We could not continue to do this in specific episodes... because it was a very expensive process." "Here we have the two people who both kind of see themselves... as the number two on the ship... who are in a lot of conflict, continued to be so until they became lovers... who are in a lot of conflict, continued to be so until they became lovers... a couple seasons later." "Exactly." "But, you know, it's not until you cast these people... that you really see who clicks and who doesn't." "Very often, the actors bring something ineffable to the character." "In the case of Dominic Keating... he has kind of an edgy, cynical quality... to his personality." "Charming as well." "to his personality." "Charming as well." "But I don't think we quite got that in the Reed character." "A lot of what Reed is as a character is Dominic." "Although I've heard Dominic mention how different he feels... his character is from himself." "I beg to differ." "You write a character... and you can do all you can, but the actor brings a huge amount to it." "And I must say, having been involved with casting three Star Trek series... prior to this..." "I believe I'm more proud of this cast than any of the others." "I think this is just a really terrific group of actors." "It really is." "And it's weird when you're writing the pilot... you haven't cast it." "So you have...." "You really... don't have an image in your mind." "You might have a prototype in your mind." "When we were writing the script, I don't know about you, Rick... but I saw Archer as Tom Skerritt." "That's the image, the face I saw in mind." "John Fleck has such a wonderful voice." "He's a performance artist who does one-man shows... in New York, Chicago, L.A. and London." "He's a very talented guy." "I love his voice." "The most difficult gag to pull off in this entire pilot... and the one that I'm not entirely sure is clear... is when Silik fires the gun the idea is that..." "Archer sees the pre-echo... of it which tells him to dive out of the way... which is a great idea on paper, but does it work?" "We decided to do it in slow motion." "So he sees the echo... here comes the ray." "This is the real bullet and he manages to duck around it." "And I hope... that was clear to people." "Shock wave comes back and gets Silik." "Another little thing I don't think we necessarily should be proud of... but there's profanity in the show." "That's never...." "You know, I think "son of a bitch" and "ass" is used... in the pilot." "Again, we talked a lot about it." "Should we have some off-colour language?" "And it just felt organic, it didn't seem conspicuous." "I don't think anyone really complained about it." "But that was a big first, the way the characters speak... and interact, it's all just a little bit looser." "Enterprise... would change as the years went on." "The first two seasons were more as we conceived the show originally." "And then, by the time the third season came, we felt... we in the studio and the network felt it was time... to change things a bit and juice things up." "And we did a seasonal arc and made the show more plot-driven." "And, of course, Season 4 was something altogether different as well." "And shows do evolve... and we're very proud of what we did with Enterprise in the first two years." "But there's no doubt that it was different... and it may not have been everybody's cup of tea." "That's another great little Suliban trick there... turning his wrist 180 degrees." "And then, of course, the first beam." "It's Archer's first time through a transporter and he's a little freaked." "Some wonderful opticals here." "There's the Klingon homeworld." "We wanted to create a Klingon homeworld... that was a little more primitive." "We even talk about the fact that... these Klingons sharpen their teeth which is something that they didn't do... in the era of Kirk and certainly not in the era of Picard." "More rustic Klingons, but to be honest, Rick..." "I wonder if they look any different." "How do you make a Klingon more Klingony?" "I think it was great in concept, I'm not sure... that the Klingons were ever more gnarly." "But I love this scene." "I love that little Hoshi is there... and she is having to translate." "It just gives the scene a different spin." "This is where we learn that the secret message... that the whole story has been about... was carried in this Klingon... who we have just rescued, in his DNA." "Challenging to convey in a series of graphics... but seems to come off pretty well." "but seems to come off pretty well." "Don't Klingons have pink blood?" "It's purplish pink, I think... in Star Trek VI:" "The Undiscovered Country." "Like a Pepto-Bismol kind of blood." "Klaang's blood here was kind of a human colour." "So their mission is complete." "The triumvirate is back together again." "The fourth musketeer here being Porthos which is ironic... because that's where we got the name Porthos." "Brannon decided to choose one of The Three Musketeers." "Actually, my nephew Eric... had named his dog Porthos." "I think that that's where I was inspired by that." "Prophetic little irony there." "Yeah." "I always liked this scene... and this whole arc with Archer." "I remember when Rick and I were writing the pilot... talking to my girlfriend at the time about the story... how excited I got just talking about a captain... with foibles and psychological complexity... and more like a regular person with prejudices and so forth... was really something very interesting that Star Trek had not done... although we were inspired to some degree by Nick Myers..." "Star Trek VI which we just mentioned." "Kirk hated Klingons... and he was very much an out-and-out racist in that film." "Also because they were responsible for killing his son." "His son, right." "And in this case... the Vulcans stop Archer's father... from realising his dream." "And here we have the inevitable bridge scene... that ends every great Star Trek adventure." "We always...." "Whether it is with Janeway... or I'm sure you did with Cisco or whatever... you look for that little, "Are we gonna give the captain a tagline?"" "I guess Janeway's was "Do it"... which sounded too much like the Nike thing." "I don't know which came first." "I don't think we had one for Archer, did we?" "Nope." "We tie this back into his boyhood dreams." "We talked a lot about: "We've got to end the show on the ship..."" ""going to warp." But it seemed more interesting... to end it right here on a quieter moment." "And that is essentially it." "Thank you for listening." "All the great names." "The people we've been working with for so many years."