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Star Trek is a 2009 American science fiction action film directed by J. J. Abrams and written by Roberto Orci and Alex Kurtzman. It is the 11th film in the Star Trek franchise, and is also a reboot that features the main characters of the original Star Trek television series portrayed by a new cast, as the first in the rebooted film series.
May 8, 2009 · Star Trek: Directed by J.J. Abrams. With Chris Pine, Zachary Quinto, Leonard Nimoy, Eric Bana. The brash James T. Kirk tries to live up to his father's legacy with Mr. Spock keeping him in check as a vengeful Romulan from the future creates black holes to destroy the Federation one planet at a time.
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- Action, Adventure, Sci-Fi
- J.J. Abrams
- 2009-05-08
Star Trek (2009) cast and crew credits, including actors, actresses, directors, writers and more.
May 6, 2009 · The 2009 “Star Trek” film goes back eagerly to where “Star Trek” began, using time travel to explain a cast of mostly the same characters, only at a younger point in their lives, sailing the Starship Enterprise.
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is a 2009 science fiction film directed by J. J. Abrams, written by Roberto Orci and Alex Kurtzman, and distributed by Paramount Pictures. It is the eleventh film based on the Star Trek franchise and features the main characters of the original Star Trek television series, who are portrayed by a new cast. The film follows James T. Kirk (Chris Pine) and Spock (Zachary Quinto) before they unite aboard the USS Enterprise to combat Nero (Eric Bana), a Romulan from their future who threatens the United Federation of Planets. The story establishes an alternate reality through time-travel by both Nero and the original Spock (Leonard Nimoy), freeing the film and the franchise from established continuity constraints.
Development of the film began in 2005. Filming took place from November 2007 to March 2008 under intense secrecy. Midway through the shoot, Paramount chose to delay the release date from December 25, 2008 to May 2009, believing the film could reach a wider audience.
A cataclysm over 150 years into the future throws two ships into the 23rd century, altering the course of history. With a different life where he never knew his father, James T. Kirk becomes a brilliant yet cynical misfit who is finally convinced to join Starfleet by Captain Christopher Pike in 2255. Three years later, Kirk, Spock, and the young cr...
•Chris Pine as James T. Kirk. Pine described his first audition as awful, because he could not take himself seriously as a leader. Abrams did not see Pine's first audition, and it was only after Pine's agent met Abrams' wife that the director decided to give him another audition opposite Quinto. Quinto was supportive of Pine's casting because they knew each other as they worked out at the same gym. After getting the part, Pine sent William Shatner a letter and received a reply containing Shatner's approval. Pine watched classic episodes and read encyclopedias about the Star Trek universe, but stopped as he felt weighed down by the feeling he had to copy Shatner. Pine felt he had to show Kirk's "humor, arrogance and decisiveness," but not Shatner's speech pattern, which would have bordered on imitation. Pine said when watching the original series, he was also struck by how Shatner's performance was characterized by humor. Instead, Pine chose to incorporate elements of Tom Cruise from Top Gun and Harrison Ford's portrayals of Indiana Jones and Han Solo.
•Jimmy Bennett plays James Kirk as a boy.
•Zachary Quinto as Spock. Quinto expressed interest in the role because of the duality of Spock's half-human, half Vulcan heritage, and how "he is constantly exploring that notion of how to evolve in a responsible way and how to evolve in a respectful way. I think those are all things that we as a society, and certainly the world, could implement." He mentioned he heard about the new film and revealed his interest in the role in a December 2006 interview with the Pittsburgh Post-Gazette: the article was widely circulated and he attracted Abrams' interest. For the audition, Quinto wore a blue shirt and flattened his hair down to feel more like Spock. He bound his fingers to practice the Vulcan salute, shaved his eyebrows and grew and dyed his hair for the role. He conveyed many of Spock's attributes, such as his stillness and the way Nimoy would hold his hands behind his back. Quinto commented the physical transformation aided in portraying an alien, joking "I just felt like a nerd. I felt like I was 12 again. You look back at those pictures and you see the bowl cut. There's no question I was born to play the Spock role. I was sporting that look for a good four or five years." Adrien Brody had discussed playing the role with the director before Quinto was cast.
•Jacob Kogan plays Spock as a child.
•Leonard Nimoy reprises his role as the elder Spock (referred to in the movie as Ambassador Spock, and in the ending credits as Spock Prime), who has come from the future. Nimoy befriended Quinto after being cast in the role. Although Quinto watched some episodes of the show during breaks in filming, Nimoy was his main resource in playing Spock. Nimoy also chose the actor who portrayed his character "Spock" in the movie. Abrams and the writers met Nimoy at his house; writer Roberto Orci recalled the actor gave a Template:"'Who are you guys and what are you up to?' vibe" before being told how important he was to them. He was silent, and Nimoy's wife Susan Bay told the creative team he had remained in his chair after their conversation, emotionally overwhelmed by his decision after turning down many opportunities to revisit the role. Had Nimoy disliked the script, production would have been delayed for it to be rewritten. He was "genuinely excited" by the script's scope and its detailing of the characters' backstories, saying, "We have dealt with [Spock being half-human, half-Vulcan], but never with quite the overview that this script has of the entire history of the character, the growth of the character, the beginnings of the character and the arrival of the character into the Enterprise crew." Abrams said "it was surreal to direct him as Spock, because what the hell am I doing there? This guy has been doing it for forty years. It's like 'I think Spock would...Template:' "
•Karl Urban as Dr. Leonard "Bones" McCoy. Like Pine, Urban said of taking on the role that "it is a case of not doing some sort of facsimile or carbon copy, but really taking the very essence of what DeForest Kelley has done and honoring that and bringing something new to the table". Urban has been a fan of the show since he was seven years old and actively pursued the role after rediscovering the series on DVD with his son. Urban was cast at his first audition, which was two months after his initial meeting with Abrams. He said he was happy to play a role with lots of comedy, something he had not done since The Price of Milk, because he was tired of action-oriented roles. When asked why McCoy is so cantankerous, Urban joked the character might be a "little bipolar actually!" Orci and Kurtzman had collaborated with Urban on Xena: Warrior Princess, in which he played Cupid and Caesar.
Development
Template:Quote At the 1968 World Science Fiction Convention, Star Trek creator Gene Roddenberry declared he would make a film prequel to the television series. The prequel concept resurfaced in the late 1980s with Ralph Winter and Harve Bennett during development of the fourth and sixth films. For the latter, David Loughery wrote a script entitled The Academy Years, but it was shelved in light of objections from the original cast and the fan base. In February 2005, following the financial failure of the tenth film, Star Trek Nemesis (2002), and the cancellation of the television series Star Trek: Enterprise, the franchise's executive producer Rick Berman and screenwriter Erik Jendresen were developing a new film entitled Star Trek: The Beginning. It was to revolve around a new set of characters, led by Kirk's ancestor Tiberius Chase. It would take place after Enterprise but before the original series, during the Earth-Romulan War. In 2005, Viacom, which owned Paramount Pictures, split from CBS Corporation, which retained Paramount's television properties, including ownership of the Star Trek brand. Gail Berman, then president of Paramount, convinced CBS' chief executive, Leslie Moonves, to allow them eighteen months to develop a new Star Trek film before CBS would re-earn the rights to develop a new television series (in return, CBS would keep merchandising rights). Berman approached Mission: Impossible III writers Roberto Orci and Alex Kurtzman for ideas on the new film, and after the film had completed shooting she asked their director, J. J. Abrams, to produce it. Abrams, Orci and Kurtzman, plus producers Damon Lindelof and Bryan Burk, felt the franchise had explored enough of what took place after the series, Orci and Lindelof consider themselves trekkies, and feel some of the Star Trek novels have canonical value, although Gene Roddenberry never considered the novels to be canon. Kurtzman is a casual fan, while Burk was not. Abrams' company, Bad Robot Productions produced the film with Paramount, marking the first time another company had financed a Star Trek film. Bill Todman, Jr.'s Level 1 Entertainment also co-produced the film, but during 2008 Spyglass Entertainment replaced them as financial partner. Abrams had not seen Star Trek Nemesis because the franchise had "disconnected" for him, explaining that for him, Star Trek was about Kirk and Spock, and the other series were like "separate space adventure[s] with the name Star Trek". Abrams also preferred Star Wars as a child. He noted his general knowledge of Star Trek made him suitable to making a film to introduce the franchise to newcomers though, and being an optimistic person, he felt the optimistic nature of Star Trek would be a refreshing contrast to the likes of The Dark Knight. He continued that he loved the focus on exploration in Star Trek and the idea of the Prime Directive, which forbids Starfleet to interfere in the development of primitive worlds. However, Abrams disliked that the budgetary limitations of the original show meant they "never had the resources to actually show the adventure". He noted he only became involved with the project as producer initially because he wanted to help Orci, Kurtzman and Lindelof. On February 23, 2007, Abrams accepted Paramount's offer to direct the film, having been only attached as producer. After reading the script, he had decided "I would be so agonizingly envious of whoever stepped in and directed the movie." Orci and Kurtzman felt their aim had been to impress a casual fan like Abrams with their story. Even when filming, Abrams was nervous "with all these tattooed faces and pointy ears, bizarre weaponry and Romulan linguists, with dialogue about 'Neutral Zones' and 'Starfleet' [but] I knew this would work, because the script Alex and Bob wrote was so emotional and so relatable. I didn't love Kirk and Spock when I began this journey – but I love them now."
Writing
Template:Quote box Orci said creating a clean reboot would have been disrespectful, and getting Leonard Nimoy in the film was very important. "Having him sitting around a camp fire sharing his memories was never gonna cut it" though, and time travel was going to be included in the film from the beginning. Kurtzman added the time travel creates jeopardy, unlike other prequels where viewers "know how they all died". The writers acknowledged time travel had been overused in the other series, but it served a good purpose in creating a new set of adventures for the original characters before they could completely do away with it in other films. Abrams selected the Romulans as the villains because they had been featured less than the Klingons in the show, and thought it was "fun" to have them meet Kirk before he does in the show. Orci and Kurtzman noted it would feel backward to demonize the Klingons again after they had become heroes in later Star Trek series, and the Romulan presence continues Spock's story from his last chronological appearance in "Unification", an episode of Star Trek: The Next Generation set in 2368. The episode of the original continuity in which Kirk becomes the first human to ever see a Romulan, "Balance of Terror", served as one of the influences for the film. Orci said it was difficult giving a good explanation for the time travel without being gimmicky, like having Nero specifically seeking to assassinate Kirk. Orci noted while the time travel story allowed them to alter some backstory elements such as Kirk's first encounter with the Romulans, they could not use it as a crutch to change everything and they tried to approach the film as a prequel as much as possible. Kirk's service on the Farragut, a major backstory point to the original episode "Obsession", was left out because it was deemed irrelevant to the story of Kirk meeting Spock, although Orci felt nothing in his script precluded it from the new film's backstory. There was a scene involving Kirk meeting Carol Marcus, who becomes the mother of his son in Star Trek II: The Wrath of Khan, as a child, but it was dropped because the film needed more time to introduce the core characters. Figuring out ways to get the crew together required some contrivances, which Orci and Kurtzman wanted to explain from old Spock as a way of the timeline mending itself, highlighting the theme of destiny. The line was very difficult to write and was ultimately cut out. The filmmakers sought inspiration from novels such as Prime Directive, Spock's World, and Best Destiny to fill in gaps unexplained by canon; Best Destiny particularly explores Kirk's childhood and names his parents. One idea that was justified through information from the novels was having the Enterprise built on Earth, which was inspired by a piece of fan art of the Enterprise being built in a ship yard. Orci had sent the fan art to Abrams to show how realistic the film could be. Orci explained parts of the ship would have to be constructed on Earth because of the artificial gravity employed on the ship and its requirement for sustaining warp speed, and therefore the calibration of the ship's machinery would be best done in the exact gravity well which is to be simulated. They felt free to have the ship built in Iowa because canon is ambiguous as to whether it was built in San Francisco, but this is a result of the time travel rather than something intended to overlap with the original timeline. Abrams noted the continuity of the original show itself was inconsistent at times. Orci and Kurtzman said they wanted the general audience to like the film as much as the fans, by stripping away "Treknobabble", making it action-packed and giving it the simple title of Star Trek (to indicate to newcomers they would not need to watch any of the other films). Abrams saw humor and sex appeal as two integral and popular elements of the show that needed to be maintained. Orci stated being realistic and being serious were not the same thing. Abrams, Burk, Lindelof, Orci and Kurtzman were fans of The Wrath of Khan, and also cited The Next Generation episode "Yesterday's Enterprise" as an influence. Abrams's wife Katie was regularly consulted on the script, as were Orci, Kurtzman and Lindelof's wives, to make the female characters as strong as possible. Katie Abrams's approval of the strong female characters was partly why Abrams signed on to direct. Orci and Kurtzman read graduate school dissertations on the series for inspiration; they noted comparisons of Kirk, Spock and McCoy to Shakespearian archetypes, and Kirk and Spock's friendship echoing that of John Lennon and Paul McCartney. They also noted that, in the creation of this film, they were influenced by Star Wars, particularly in terms of pacing. "I want to feel the space, I want to feel speed and I want to feel all the things that can become a little bit lost when Star Trek becomes very stately" said Orci. Star Wars permeated in the way they wrote the action sequences, while Burk noted Kirk and Spock's initially cold relationship mirrors how "Han Solo wasn't friends with anyone when they started on their journey." Spock and Uhura were put in an actual relationship as a nod to early episodes highlighting her interest in him. Orci wanted to introduce strong Starfleet captains, concurring with an interviewer that most captains in other films were "patsies" included to make Kirk look greater by comparison. The USS Kelvin, the ship Kirk's father serves on, is named after J. J. Abrams' grandfather, as well as the physicist and engineer Lord Kelvin (William Thomson). The KelvinTemplate:'s captain, Richard Robau (Faran Tahir), is named after Orci's Cuban uncle: Orci theorized the fictional character was born in Cuba and grew up in the Middle East. Another reference to Abrams' previous works is Slusho, which Uhura orders at the bar where she meets Kirk. Abrams created the fictitious drink for Alias and it reappeared in viral marketing for Cloverfield. Its owners, Tagruato, is also from Cloverfield and appears on a building in San Francisco. The red matter in the film is in the shape of a red ball, an Abrams motif dating back to the pilot of Alias.
Design
The film was primarily designed by Ryan Church, Neville Page, the Cloverfield monster's creator, and Star Trek veteran John Eaves. Abrams stated the difficulty of depicting the future was that much of modern technology was inspired by the original show, and made it seem outdated. Thus the production design had to be consistent with the television series but also feel more advanced than the real world technology developed after it. "We all have the iPhone that does more than the communicator," said Abrams. "I feel like there's a certain thing that you can't really hold onto, which is kind of the kitschy quality. That must go if it's going to be something that you believe is real." Prop master Russell Bobbitt collaborated with Nokia on recreating the original communicator, creating a $50,000 prototype. Another prop recreated for the film was the tricorder. Bobbitt brought the original prop to the set, but the actors found it too large to carry when filming action scenes, so technical advisor Doug Brody redesigned it to be smaller. The phaser props were designed as spring-triggered barrels that revolve and glow as the setting switches from "stun" to "kill". An Aptera Typ-1 prototype car was used on location. Production designer Scott Chambliss maintained the layout of the original bridge, but aesthetically altered it with brighter colors to reflect the optimism of Star Trek. The viewscreen was made into a window that could have images projected on it to make the space environment palpable. Abrams compared the redesign to the sleek modernist work of Pierre Cardin and the sets from 2001: A Space Odyssey, which were from the 1960s. He joked the redesigned bridge made the Apple Store look "uncool". At the director's behest, more railings were added to the bridge to make it look safer, and the set was built on gimbals so its rocking motions when the ship accelerates and is attacked was more realistic. To emphasize the size of the ship, Abrams chose to give the engine room a highly industrial appearance: he explained to Simon Pegg that he was inspired by Template:RMS, a sleek ship in which there was an "incredible gut". Abrams selected Michael Kaplan to design the costumes because he had not seen any of the films, meaning he would approach the costumes with a new angle. For the Starfleet uniforms, Kaplan followed the show's original color coding, with dark gray (almost black) undershirts and pants and colored overshirts showing each crew member's position (command officers wear gold shirts, science and medical officers wear blue, and operations (technicians/engineers) and security personnel wear red). Kaplan wanted the shirts to be more sophisticated than the originals and selected to have the Starfleet symbol patterned on them. Kirk wears only the undershirt because he is a cadet. Kaplan modelled the uniforms on the Kelvin on science fiction films of the 1940s and 1950s, to contrast with the Enterprise-era uniforms based on the ones created in the 1960s. For Abrams, "The costumes were a microcosm of the entire project, which was how to take something that's kind of silly and make it feel real. But how do you make legitimate those near-primary color costumes?" Lindelof compared the film's Romulan faction to pirates with their bald, tattooed heads and disorganized costuming. Their ship, the Narada, is purely practical with visible mechanics as it is a "working ship", unlike the Enterprise crew who give a respectable presentation on behalf of the Federation. Chambliss was heavily influenced by the architecture of Antoni Gaudí for the Narada, who created buildings that appeared to be inside out: by making the ship's exposed wires appear like bones or ligaments, it would create a foreboding atmosphere. The ship's interior was made of six pieces that could be rearranged to create a different room. The Romulan actors spent two to four hours applying make-up:Template:Citation needed the actors had three prosthetics applied to their ears and foreheads, while Bana had a fourth prosthetic for the bitemark on his ear that extends to the back of his character's head. The film's Romulans lacked the 'V'-shaped ridges on the foreheads, which had been present in all of their depictions outside the original series. Neville Page wanted to honor that by having Nero's crew ritually scar themselves too, forming keloids reminiscent of the 'V'-ridges. It was abandoned as they did not pursue the idea enough. Kaplan wanted aged, worn and rugged clothes for the Romulans because of their mining backgrounds, and found some greasy looking fabrics at a flea market. Kaplan tracked down the makers of those clothes, who turned out to be based in Bali, and commissioned them to create his designs. Barney Burman supervised the makeup for the other aliens: his team had to rush the creation of many of the aliens, because originally the majority of them were to feature in one scene towards the end of filming. Abrams deemed the scene too similar to the cantina sequence in Star Wars, and decided to dot the designs around the film. A tribble was placed in the background of Scotty's introduction. Both digital and physical makeup was used for aliens.[100]
Music
Michael Giacchino, Abrams' most frequent collaborator, composed the music for Star Trek. He kept the original theme by Alexander Courage for the end credits, which Abrams said symbolized the momentum of the crew coming together. Giacchino admitted personal pressure in scoring the film, as "I grew up listening to all of that great [Trek] music, and that's part of what inspired me to do what I'm doing [...] You just go in scared. You just hope you do your best. It's one of those things where the film will tell me what to do."[126] Scoring took place at the Sony Scoring Stage with a 107-piece orchestra and 40-person choir. An erhu, performed by Karen Han, was used for the Vulcan themes. A distorted recording was used for the Romulans.[127] Varese Sarabande, the record label responsible for releasing albums of Giacchino's previous scores for Alias, Lost, Mission: Impossible III, and Speed Racer, released the soundtrack for the film on May 5.[128]
Sound effects
The sound effects were designed by Star Wars veteran Ben Burtt. Whereas the phaser blast noises from the television series were derived from The War of the Worlds (1953), Burtt made his phaser sounds more like his blasters from Star Wars, because Abrams' depiction of phasers were closer to the blasters' bullet-like fire, rather than the steady beams of energy in previous Star Trek films. Burtt reproduced the classic photon torpedo and warp drive sounds: he tapped a long spring against a contact microphone, and combined that with cannon fire. Burtt used a 1960s oscillator to create a musical and emotional hum to the warping and transporting sounds.[129]
In February 2008, Paramount announced they would move Star Trek from its December 25, 2008 release date to May 8, 2009, as the studio felt more people would see the film during summer than winter. The film was practically finished by the end of 2008.[130] Paramount's decision came about after visiting the set and watching dailies, as they realized the film could appeal to a much broader audience. Even though the filmmakers liked the Christmas release date, Damon Lindelof acknowledged it would allow more time to perfect the visual effects.[109] The months-long gap between the completion of the production and release meant Alan Dean Foster was allowed to watch the whole film before writing the novelization, although the novel would contain scenes absent from the final edit.[131] Quinto narrated the audiobook.[132]
A surprise public screening was held on April 6, 2009, at the Alamo Drafthouse theater in Austin, Texas, hosted by writers Robert Orci, Alex Kurtzman, and producer Damon Lindelof. The showing was publicized as a screening of Star Trek II: The Wrath of Khan, followed by a ten-minute preview of the new Star Trek film. A few minutes into Khan, the film appeared to melt and Leonard Nimoy appeared on stage with Orci, Kurtzman and Lindelof, asking the audience, "wouldn’t you rather see the new movie?"[133] Following the surprise screening in Texas, the first of many premieres across the world was held at the Sydney Opera House on April 7, 2009.[134] For almost two years, the town of Vulcan, Alberta had campaigned to have the film premiere there, but because it had no theater, Paramount arranged instead a lottery where 300 winning residents would be taken to a prerelease screening in Calgary.[135] The film was requested by astronaut Michael R. Barratt, before boarding the International Space Station. Paramount provided NASA with a copy that was uploaded to the International Space Station on May 14, 2009.[136]
The story of the film is completed by two comics books by IDW Publishing. The first one, titled Star Trek: Countdown, takes place in the Prime Star Trek universe, after the events of Nemesis and before the back story of Star Trek Online. The second one, Star Trek: Nero, covers the gap between the destruction of the USS Kelvin and the reappearance o...
The film's major cast members have signed on for two sequels.[174] Roberto Orci, Alex Kurtzman and Damon Lindelof began writing the script for a sequel in March 2009. J. J. Abrams and Bryan Burk will produce, although Abrams has not signed to direct.[175] When speaking on the alternate reality set up in Star Trek, Abrams commented that it would be "ridiculous to not be open" to ideas like resurrecting William Shatner's James T. Kirk or recasting Khan Noonien Singh. "The idea, now that we are in an independent timeline, allows us to use any of the ingredients from the past — or come up with brand-new ones — to make potential stories," he said. Orci and Kurtzman explained the dilemma for the sequel was whether to pit the crew against another villain, or to have an "exploration sci-fi plot where the unknown and nature itself is somehow an adversary." On recasting Khan, Orci questioned "why take the chance?"[176] Paramount is planning to release the sequel on June 29, 2012.[177][178]
In an interview with the BBC, Abrams confirmed that no script for a sequel yet exists as of March 5, 2010. He also acknowledged that both cast and director have yet to be confirmed.[179]
Jan 21, 2012 · A cataclysm in the 24th century throws two ships back in time to the 23rd century, altering the course of history. With a different life where he never knew his father, James T. Kirk becomes a brilliant yet cynical misfit who is finally convinced to join Starfleet by Captain...
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May 7, 2009 · Star Trek reignites a classic franchise with action, humor, a strong story, and brilliant visuals, and will please traditional Trekkies and new fans alike. Aboard the USS Enterprise, the most...
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