Phoenix (Star Trek)
| Star Trek: First Contact | |
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Theatrical release poster
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| Directed by | Jonathan Frakes |
| Produced by | |
| Screenplay by | |
| Story by |
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| Based on |
Star Trek by Gene Roddenberry |
| Starring | |
| Music by | |
| Cinematography | Matthew F. Leonetti |
| Edited by |
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| Distributed by | Paramount Pictures |
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Release date
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Running time
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111 minutes |
| Country | United States |
| Language | English |
| Budget | $45 million |
| Box office | $146 million |
Star Trek: First Contact is a 1996 American science fiction film released by Paramount Pictures. It is the eighth feature film in the Star Trek film franchise, and the second film in the series to star the cast of the television series Star Trek: The Next Generation. In the film's plot, the crew of the Starship USS Enterprise-E travel back in time to the mid-21st century to stop the cybernetic Borg from conquering Earth by changing the past.
After the release of the seventh film, Star Trek Generations (1994), Paramount tasked writers Brannon Braga and Ronald D. Moore with developing a sequel. Braga and Moore wanted to feature the Borg in the plot, while producer Rick Berman wanted a story involving time travel. The writers combined the two ideas; they initially set the film during the European Renaissance, but changed the time period the Borg corrupted to the mid-21st century after fearing the Renaissance idea would be too kitsch. After two better-known directors turned down the job, cast member Jonathan Frakes was chosen to direct, to make sure the task fell to someone who understood Star Trek. It was Frakes' first theatrical film.
The script required the creation of new starship designs, including a new USS Enterprise. Production designer Herman Zimmerman and illustrator John Eaves collaborated to make a sleeker ship than its predecessor. Principal photography began with weeks of location shooting in Arizona and California before production moved to new sets for the ship-based scenes. The Borg were redesigned to appear as though they were converted into machine beings from the inside-out; the new makeup sessions took four times as long as their appearances on the television series. Effects company Industrial Light & Magic rushed to complete the film's special effects in less than five months. Traditional optical effects techniques were supplemented with computer-generated imagery. Jerry Goldsmith and his son Joel collaborated to produce the film's score.
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