Posted:
08:57:13 on September 05 2001
By: Steve Krutzler
Dept: TrekWeb Features
THE EVOLUTION OF STAR TREK: GENERATIONS
An Analysis by Bill Williams, Edited by Steve Krutzler
For every film and television series that goes through production one prevalent factor is that each project must go through development from script to work-in-progress to final product. In many cases scores of scenes are summarily edited from the production due to lack of story progression or heightened story action, and as a result are revised, rewritten, and re-shot to achieve a better end result.
Such is the case with STAR TREK: GENERATIONS. From the start of production in March 1994 to its theatrical release on November 18, 1994, the film would evolve from a large tapestry to a web of controversy surrounding the film’s central event: the death of Captain Kirk. As with any film, GENERATIONS endured its share of cuts, re-edits, rewrites and re-filmed scenes during its rushed production, changing the story through its development to the final released product. Kirk’s death was changed because of preview audience reactions of it being anti-climactic, and non-heroic as would befit the character. This forced producer Rick Berman, director David Carson, and writers Brannon Braga and Ronald D. Moore to create an entirely new ending to the film in which Kirk’s death becomes more heroic and self-sacrificing.
Documentation of the film’s original ending appeared in the form of photographs in the Starlog magazine publication devoted to the film, in Cinefantastique magazine, in the large coffee table books The Art of Star Trek and The Continuing Mission – Star Trek: The Next Generation 10th Anniversary, in the SkyBox trading card series, and in the film’s hardcover novelization by Jeanne Dillard.
One question, however, has remained: what happened to the film’s original ending, along with all of the cut scenes and alternate takes? Many fans believe the footage to be in existence in a Paramount film vault, while some believe the footage may have been destroyed altogether. With the progression of DVD technology, many films have seen scores of deleted scenes and alternate versions of scenes preserved for future viewings by film buffs.
Thanks to two recently unearthed work prints of the film that have surfaced through an anonymous source, I have analyzed the evolution of GENERATIONS from its early work-in-progress form, to its nearly completed preview form, to the final product. These prints reveal a differently woven, yet similarly produced, tapestry of events that unfold through the course of the story. This analysis will attempt to break down the complete filmed product of GENERATIONS and compare and contrast scores of scenes that survived from the initial work print, to the preview print, to the final version. To better understand the various editions of STAR TREK: GENERATIONS, I have assigned the following codes:
The first work print, or 1.0, is the earliest assembly of footage from the film, dated June 22, 1994, and running 145 minutes in length. In this early form are almost all of the scenes complete and uncut as filmed by director David Carson and the late photographer John Alonzo. Only a few effects shots are present in this version of the film, except for stock shots, test effects shots, and incomplete visual effects. Except for two brief scenes through the entire assembly, the film is virtually without music, and the title credits are not finalized at this point.
The second work print version, or 2.0, refers to the test preview version shown in August 1994, and running 115 minutes in length. This version is closer in form to the final release version but with a number of differences, among them a temporary music score in place to guide composer Dennis McCarthy through the scoring process. Temporary music cues from TNG, “Star Trek V”, and “Star Trek VI” are utilized, along with cues from “Aliens”, “Dances With Wolves”, and “JFK”. Some visual effects sequences are incomplete, and the end credits sequence is not present here.
The third version, or 3.0, refers to the final released product as of November 18, 1994, at a running length of 118 minutes. Some scenes are present only in the 3.0 and not in either work print assembly, including effects visuals and end credits, while other scenes are completely edited or re-filmed from the earlier assemblies. This is the version audiences have seen to date.
Many Star Trek fans have wanted to see many of these lost scenes, among them:
- Kirk’s orbital skydive from the beginning of the film.
- The complete middle sequence of Geordi LaForge’s torture by Soran.
- The original unseen ending of the film.
Whether these and other lost scenes will be restored for a future special edition of STAR TREK: GENERATIONS remains to be seen; for now, let’s see exactly where each of the various pieces fits into place in the GENERATIONS tapestry.
THE BREAKDOWN OF FOOTAGE FROM STAR TREK: GENERATIONS
0:00:00 – 0:02:13 – Prologue: Kirk’s orbital skydive; Chekov and Scotty remind him of the christening of the Enterprise-B (1.0)
This sequence as originally assembled was intended to be intercut with the main title credits superimposed over the wine bottle in space. A nicely acted sequence that shows Kirk’s continuing physical prowess after retirement, this scene would not survive the editor’s blade beyond the 1.0. Clips from this lost sequence were reportedly telecast on “Entertainment Tonight” in 1994. This would have made the fourth on-screen prologue to a “Star Trek” film (III, the European cut of IV, and V are the only other films to feature such on-screen prologues) and should have remained in the final film.
0:02:13 – 0:04:59 – Opening credits; wine bottle in space; the christening of the Enterprise-B (1.0, 2.0, 3.0)
When the main title credits were assembled, obvious cuts to the film were noticeable due to the removal of the orbital skydive sequence. The credits were then spliced together in an abrupt fashion to indicate to the audience how producer Rick Berman and director David Carson wanted to present the film’s credits on screen. In the 1.0 an additional six-second on-screen shot of two Starfleet admirals is included just before the first full appearance of the Enterprise-B. This brief clip never survives the 1.0 work in progress. The 2.0 used temporary music from “Star Trek V”, “Star Trek VI” (with a never before released alternate version of the cue “Sign Off”), and two “Next Generation” episodes to accompany the credits. McCarthy’s final music for the scene begins dark, almost mysterious, then builds to a bold new version of the original Alexander Courage “Star Trek” theme.
0:04:59 – 0:09:11 – Kirk, Chekov, and Scotty interviewed by reporters; introduction of Captain John Harriman; Kirk surveys the bridge, meets Ensign Demora Sulu; leaving spacedock (1.0, 2.0, 3.0)
The approach of this scene as seen in the 1.0 is slightly longer and different from what is used in the 2.0 and 3.0 versions. In the 1.0, after Harriman informs Kirk, “I remember reading about your missions when I was in grade school,” Harriman nervously laughs before Kirk replies, “Oh, really?” The order of these two scenes is reversed in both the 2.0 and 3.0. There is an additional piece of dialog in which Ensign Sulu asks Chekov to look at the new navigational sensors. The 1.0 version also features an insert shot of Ensign Sulu greeting a fellow crewman; this is replaced in the 2.0 with a short clip of Sulu sitting at her post.
A significant dialog change occurs from the 2.0 to the 3.0. Scotty’s line, “So that’s why you’re running around the galaxy like an 18-year-old…” is re-voiced in the final version to “So that’s why you’re feeling so restless…” The original line complements the original skydiving prologue but is lost in the meaning in the 2.0. In the 1.0 Kirk puts on his best polite smile before considering that Scotty “…would have made a lousy psychiatrist.”
Once Kirk gives the order to depart, an alternate version of the scene where Chekov and Scotty kid Kirk about his order is used in the 1.0, replaced by a close-up of the actors in the 2.0 and 3.0. The departure of the Enterprise-B from Spacedock is unfinished in the 1.0, lacking the background plate of Earth, yet is seen complete in the 2.0 and 3.0 versions. An additional, unfinished shot is used in the 1.0 of the docking clamps being cleared from the starship.
0:09:11 – 0:11:06 – Kirk returns to the bridge; distress call from the Lakul; setting course; sitting in the wrong chair (1.0, 2.0, 3.0)
The editing and pacing of this sequence is consistent in all versions of the film. Two brief additional exchanges between Kirk and Harriman are seen in the 1.0 but are removed from the 2.0 and 3.0 versions.
0:11:06 – 0:11:08 – Enterprise-B warps through space (1.0, 2.0, 3.0)
To save money on many costly new effects, Berman and Carson utilized stock footage from “Star Trek VI” and “The Next Generation” in several scenes of “Generations”. The effect seen here is a stock shot of the Excelsior from “Star Trek VI”.
0:11:08 – 0:12:28 – approaching and intercepting the Nexus; spotting the transport ships; Harriman’s plan; transport explosion (1.0, 2.0, 3.0)
This scene is consistent through all versions of the final film except for five seconds trimmed from the scene by the 2.0. Visual effects completed for the scene appear in the 2.0 and 3.0 versions.
0:12:28 – 0:12:39 – reaction shots from Chekov, Scotty, Sulu, & Harriman (1.0, 2.0, 3.0)
The master version of this shot is seen in its complete form in the 1.0, yet Berman and Carson edited down into a voiceover for the 2.0 and 3.0 over the Harriman reaction shot, trimming the scene to four seconds. A brief portion of Scotty arising from his post is used in the film’s original theatrical teaser trailer.
0:12:39 – 0:13:21 – Kirk paces the bridge; Harriman asks for assistance; Kirk’s plan of action; “Turn that thing off!” (1.0, 2.0, 3.0)
This sequence of events is consistent in all versions of the film. The final portion of this scene, as Harriman turns back to the viewscreen, is deleted from the 2.0 and 3.0 versions.
0:13:21 – 0:13:27 – the Enterprise-B approaches the Nexus (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film. The majority of visual effects shots for the film are present only in the 2.0 and 3.0.
0:13:27 – 0:14:13 – Harriman orders the rescue; Chekov recruits two reporters as nurses; the Lakul passengers caught in temporal flux; Kirk orders their transport (1.0, 2.0, 3.0)
The 1.0 is the master for this sequence. Tim Russ’ appearance, as he reports the temporal flux, is substituted in the 1.0 with a pair of alternate scenes yet is included in the 2.0 and 3.0 versions complete. A brief order by Scotty to bypass the automatic systems is deleted after the 1.0 version.
0:14:13 – 0:14:18 – explosion of the Lakul (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
0:14:18 – 0:15:06 – Scotty reports 47 passengers survived the explosion; breakdown of the Enterprise bridge systems; Harriman orders a full reverse (1.0, 2.0, 3.0)
In the 3.0 an additional line of Scotty reporting, “Transport complete” is included in the final film. The 1.0 features two additional scenes: of Scotty taking the helm after a bridge explosion kills the Enterprise helmsman, and of Kirk ordering and overseeing the evacuation of the civilian reports from the bridge. These additional scenes were deleted from the second work print and final versions of the film.
0:15:06 – 0:15:12 – the Enterprise-B attempts to reverse course from the Nexus (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
0:15:12 – 0:17:17 – Chekov and the reporters tend to the injured survivors; Soran fights to return; Chekov and Guinan (1.0, 2.0, 3.0)
This sequence benefits from many significant edits for the sake of running time. The master version of this scene, used in the 1.0, spotlights all of the survivors of the explosion. An alternate version of Malcolm McDowell’s first on-screen appearance as Soran is used in the 1.0 but replaced with a different take in the 2.0 and 3.0. This sequence was heavily edited to a concise running time of 50 seconds for the second and third versions.
0:17:17 – 0:20:26 – Kirk to Harriman: “Let’s try to cheat death together”; Scotty’s plan; Kirk runs to the deflector control room to reprogram computer; Harriman: “Activate main deflector!” (1.0, 2.0, 3.0)
The complete master of these scenes would be tweaked and edited for the 2.0 and 3.0 versions. The first 19 seconds of this scene spotlights Harriman’s concern about disaster on his first day on the job. Kirk reassures the young officer that they will cheat death together. 
This introduction was removed after the 1.0 and replaced with reaction shots from Harriman and Sulu, but the scene with Kirk’s line of dialog would be used for the theatrical and television preview trailers. In the 2.0 and 3.0 versions an additional insert shot of Kirk assuming the captain’s chair is included but left out here. There is also an additional scene of Kirk installing other equipment in the deflector control room.
0:20:26 – 0:20:30 – Enterprise deflector fires a simulated photon burst into the Nexus (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
0:20:30 – 0:20:39 – Scotty: “We’re breaking free!” (1.0, 2.0, 3.0)
The master shot for this scene, briefly tweaked in the 2.0 and 3.0 versions.
0:20:39 – 0:20:44 – Enterprise pulls away but is hit by the Nexus (2.0, 3.0)
Visual effects sequence used in the 2.0 and 3.0 versions of the film.
0:20:44 – 0:22:24 – shakeup on the bridge; re-establishing control; damage report; Scotty, Harriman, and Chekov head to Deck 15 to view the damage (1.0, 2.0, 3.0)
In the 1.0 version of this sequence, a series of alternate takes are shown, which would be later replaced with the final angles of the scene in the 2.0 and 3.0 versions. In the original take, actor Alan Ruck does a lot of unnecessary shouting, but his performance is more subdued in the 2.0 and 3.0 versions. An additional line of dialog is looped into the final cut, as Ensign Sulu reports that she is increasing power to compensate for the damage. As Harriman and Scotty head to Deck 15, an additional, unused shot of Chekov running through the corridors is included in the 1.0 work print but deleted after this version. In the second version an additional visual effects shot of the emergency force fields is included, but for some reason it is not present in the final version.
0:22:24 – 0:22:49 – exterior shot of the Enterprise-B; emphasis on the damage (1.0, 2.0, 3.0)
In the original 1.0 work print a temporary version of the visual effects shot is used, which would be later replaced with the final version as appears in the 2.0 and 3.0 versions of the film.
0:22:49 – 0:23:49 – no trace of Kirk; Chekov and Scotty mourn Kirk’s death; setting course for home; temporary effects shot of Enterprise-B; end of 23rd century scenes (1.0)
This sequence was filmed and deemed unnecessary and later removed from the film in the second work print. Despite excellent performances from James Doohan and Walter Koenig, including what would have been Koenig’s first conveyance of grief and sadness in any “Star Trek” adventure, this scene never survived beyond the first work print.
0:23:49 – 0:32:11 – 78 Years Later: TNG crew aboard ancient sailing schooner on the holodeck for Worf’s promotion to lieutenant commander; taking a dive; Data pushes Beverly into the water; Picard receives a distressing message; incoming message; Riker: “Red alert!” (1.0, 2.0, 3.0)
The master version of this scene runs much longer than in the second and final versions of the film and contains additional pieces of information. As Riker reads the “charges” against Worf, he notes that one of the charges is that Worf has served dutifully for one score less 12 years. This line of dialog is removed from the second work print and final versions. Another interesting scene occurs after Worf and Beverly emerge from the water. Worf gives Picard and Riker the stink-eye, while Beverly treats Data coldly and denies any assistance in coming aboard the ship. A third scene of interest occurs as Deanna takes the wheel of the ship, a foretelling of the later scene of her taking the helm of the Enterprise-D once the renegade Klingons begin their attack. This lengthy scene benefits from the usual editing of nips and tucks throughout, as well as alternate angles that later appear in the 2.0 and 3.0 versions.
0:32:11 – 0:32:17 – the Enterprise-D arrives at Amargosa (2.0, 3.0)
Visual effects sequence used in the 2.0 and 3.0 versions of the film.
0:32:17 – 0:41:34 – bridge of the Enterprise-D; Picard orders an away team to investigate station damage; exploring the Amargosa observatory; finding Soran; Data, Geordi, and the emotion chip; Riker’s report to Picard; the Ten-Forward scenes; Riker and Worf in Engineering (1.0, 2.0, 3.0)
These six sequences appear remarkably intact from the initial 1.0 work print all the way to the final release. Two visual effects sequences of the Amargosa observatory and the new 3-D transporter effect appear in the 2.0 and 3.0 versions. Berman and Carson made minor edits to some of the scenes. Two edits occur in the scene of the observatory exploration, as Riker orders the away team to split up, and as an unknown person drags a corpse across the floor above Riker and Worf. A shot of Beverly investigating the station is removed after the 2.0 work print yet is utilized in the film’s original theatrical teaser trailer. The last five seconds of Geordi and Data’s dialog in Ten-Forward is excised to remove a needless continuation of the joke of Data’s pleasure in finding a drink distasteful – this is a good editing call by Berman, Carson, and Berger. Minor edits are made to the scene of Picard and Soran’s conversation, and to the scene of Riker and Worf in Engineering. Like the first scene set in the 24th century, this series of scenes benefits from the usual editing of minor nips and tucks throughout, and nothing significant is removed from the context of the film.
0:41:31 – 0:47:11 – Geordi and Data on the observatory; Data’s humor; finding the solar probe; Data’s emotion chip goes out of control; Soran knocks Geordi unconscious and holds Data at gunpoint (1.0, 2.0, 3.0)
This sequence greatly benefited from the most edits from the 1.0 that greatly detracted from the narrative pacing of the scene. As they continue to explore the observatory, Data stops laughing upon seeing Geordi’s displeasure to the android’s humor. An additional insert shot of Data activating a magnetic sensor in his arm is included in the 2.0 and 3.0 versions but is not present in the initial 1.0 work print. The most significant change to the scene occurs as Data’s emotion chip goes out of control. He experiences emotions ranging from stress to anger to extremely overt sexual pleasure before falling unconscious. Berman, Carson, and Berger made excellent decisions in removing these scenes from the film, as they were completely unnecessary even in a “Star Trek” adventure. Later, as Soran holds Data at gunpoint, the android experiences fear and starts to cry as he pleads for his life. This last moment would be pared down somewhat in the 2.0 and then completely removed in the final version.
0:47:11 – 0:52:34 – Picard grieves over the deaths of his brother and nephew; explosion of the Amargosa star; monitoring the explosion from the bridge (1.0, 2.0, 3.0)
A short series of dramatic moments survive virtually intact from the 1.0 work print to the final version. A pair of alternate angles are used in the 1.0 version only and later replaced in the 2.0 work print, and a pair of additional lines of dialog between Patrick Stewart and Marina Sirtis about Picard’s career are deleted after the 1.0. An additional angle of Picard watching the Amargosa star explosion from his quarters is included only in the final release, and the end of the scene, as Picard and Deanna leave his quarters, is removed from the film after the 1.0. The scene on the bridge is identical to the final version, as the visual effect of the explosion is included in the 2.0 and 3.0 versions. The temporary musical score for this scene and the following one is a mixture of the cues “An Incident” and “Surrender For Peace” from Cliff Eidelman’s “Star Trek VI” score, along with music from different “Next Generation” episodes.
0:52:34 – 0:52:41 – ext. space: shockwave from the explosion (2.0, 3.0)
In the 2.0 work print only the shockwave from the explosion is seen in the clip, indicating this to be a temporary version of this visual effects scene. The clip as seen in the final film shows the shockwave approaching the Enterprise and the observatory.
0:52:41 – 0:53:47 – Soran monitors the arrival of a Klingon Bird of Prey, attacks Riker and Worf; Enterprise reports the arrival of the Klingons in the area (1.0, 2.0, 3.0)
This pair of scenes runs slightly longer in the original work print and benefits from minor trims throughout to tighten the pace of the action.
0:53:47 – 0:53:53 – a Bird of Prey decloaks and arrives at the station (2.0, 3.0)
In the 1.0 version temporary footage from “Star Trek III” of a de-cloaking Bird of Prey is utilized at this point. Whether Berman and Carson intended to borrow the clip from the film, or whether it was used as a temporary basis for the finished visual effects in the 2.0 and 3.0 versions, remains unclear.
0:53:53 – 0:55:03 – Soran continues to fire upon Riker and Worf; Data is unable to assist in rescuing Geordi; Soran transports himself and Geordi away from the station (1.0, 2.0, 3.0)
The master version of this scene in the 1.0 contains some additional, yet superfluous, moments contributing a few additional bits of information. Data attempts to escape from the phaser fire exchange but expresses his fear to Riker. Once Soran and Geordi are transported from the station, Riker and Worf sigh in disgust because of the failure of their mission. These additional moments slow down the obvious fast pacing of the scene.
0:55:03 – 0:55:22 – the Bird of Prey disappears; Picard orders the Enterprise to speed away as the station explodes (2.0, 3.0)
In the 1.0 work print a blue screen effect of the Bird of Prey is used; this is replaced in the 2.0 and 3.0 with a borrowed effects scene from “Star Trek VI”. The 2.0 and 3.0 versions of the film contain the complete clip of Picard ordering “Engage!” In the 1.0 there is no mention of Riker’s team returning to the ship. A temporary computer-generated scene of the Enterprise speeding away is used in the 2.0, as the warp drive effect and the explosion of the station are incomplete. The final version of this scene is used in the 3.0.
0:55:22 – 0:57:25 – Soran aboard the Bird of Prey; setting course for Veridian; Soran’s plans for Geordi (1.0, 2.0, 3.0)
This scene survives virtually intact from the initial work print to the final release except for the final 22 seconds of the scene. In the 1.0 version the scene continues, as Soran orders Geordi to be brought to an interrogation room. This sets up the later interrogation scene.
0:57:25 – 0:59:15 – Worf’s report to Riker on the Bird of Prey belonging to the sisters of Duras; Beverly checks on Data; computer readout on Soran (1.0, 2.0, 3.0)
This scene is one of the most heavily edited scenes of the entire film, as almost two-thirds of the sequence is lost after the 1.0 work print. In this version Worf and Riker share a lengthy conversation in the corridors about the Bird of Prey belonging to the sisters of Duras, Lursa and B’Etor. The scene continues in Sickbay, as Beverly investigates the extent of the damage the emotion chip has caused to Data’s neural network. He expresses his worries over the apparent loss of Geordi, and Riker shares his concerns. Beverly’s dialog in this scene is given to Picard in a later scene in the second and third versions of the film. Only the final third of the scene, Beverly’s computer readout on Soran, is used in the 2.0 and 3.0, with parts of her dialog overlapping the previous scene aboard the Bird of Prey and the following scene with Picard and Guinan as a voiceover. The final running length of the scene in the 2.0 and 3.0 comes to a brief 23 seconds. This is one sequence that should have been left completely intact in the film.
0:59:15 – 1:02:01 – Picard and Guinan discuss the Nexus (1.0, 2.0, 3.0)
This scene survives almost completely intact from the initial work print through to the final release. Only a few frames of footage are removed from the overall scene.
1:02:01 – 1:06:18 – Soran interrogates and tortures Geordi (1.0, 2.0, 3.0)
This is one of the most heavily edited scenes that loses much of its narrative content and later repercussions in the final film. In the original 1.0 work print, Soran not only interrogates Geordi, he tortures the engineer. Soran comments that he has injected a nanoprobe into Geordi’s bloodstream, a piece of equipment courtesy of the Borg. Geordi is reluctant to divulge any information to the scientist and remarks, “Well, I guess you’ll just have to kill me.” Soran then continues his torture of the engineer and increases the pain to Geordi’s heart. A third of this scene is lost in the 2.0, as it ends with Soran beginning to torture the engineer, bringing the running time to 2:33 in length. The entire torture scene is completely removed from the final film, leaving viewers with the impression that Soran simply interrogates Geordi. The scene in the final version runs 1:09 in length. What the reasons are for the removal of much of this scene, they remain unknown to date. Nevertheless, this is one sequence that deserved to remain intact in the final film for narrative content.
1:06:18 – 1:06:35 – Captain’s Log, stardate 48632.4; Enterprise in space (2.0, 3.0)
Stock footage from the “Next Generation” series is used in this brief sequence in the second work print and final release versions. Here, Picard’s log entry replaces the dialog spoken by Beverly in Sickbay.
1:06:35 – 1:12:13 – Picard and Data in Stellar Cartography; plotting the course of the Nexus (1.0, 2.0, 3.0)
This lengthy two-character sequence survives completely intact from the 1.0 work print to the final version. The 2.0 and 3.0 versions contain the full computer graphics for the scene.
1:12:13 – 1:12:19 – Enterprise goes to warp speed, heads for Veridian III (2.0, 3.0)
The 1.0 work print uses a temporary visual effects shot of the Enterprise-A borrowed from “Star Trek VI” to indicate placement of an effects shot in the film at this point. In the 2.0 work print a temporary version of the visual effects scene is used, as the warp drive had not been finalized. The completed visual effects are shown in the final release.
1:12:19 – 1:14:04 – Bird of Prey: Soran makes adjustments to Geordi’s visor; Soran and B’Etor’s deal; arrival of Enterprise at Veridian III (1.0, 2.0, 3.0)
This scene survives almost completely intact from the initial work print to the final film. Five seconds are removed from the film after the 1.0 work print, an extension of the clip of Soran looking at his pocket watch, for tightening of pacing of the story; otherwise, nothing is lost from the context of the story in this scene. In the 2.0 work print portions of the cue “The Battle For Peace”, from Cliff Eidelman’s “Star Trek VI” score, is used as a temporary music cue for this and the next two accompanying scenes. The visual effect of the approach of the Enterprise is included in the 2.0 and 3.0.
1:14:04 – 1:14:09 – Enterprise in orbit over Veridian III (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:14:09 – 1:16:34 – bridge of Enterprise; Bird of Prey de-cloaks; Picard agrees to transport to surface in exchange for Geordi’s return; Beverly runs medical scan on Geordi in the transporter room (1.0, 2.0, 3.0)
This sequence survives almost completely intact from the initial 1.0 work print to the final assembly in the film. A few frames of footage are removed for time considerations but do not detract from the overall context of the scenes. Visual effects are incorporated into the film in the 2.0 and 3.0 versions, and a three-second shot of the Enterprise viewer is removed from the film after the 1.0 work print.
1:16:34 – 1:18:02 – Picard is transported to Soran’s location, tries to break through force field but cannot (1.0, 2.0, 3.0)
Fifteen seconds from this master assembly of the scene would be removed from the film after the 1.0 work print. In the 1.0 Soran comments to Picard, “I want my triumph to be witnessed by someone intelligent and adventurous enough to appreciate it.” A two-second clip of Picard attempting to break through Soran’s force field is also deleted after the 1.0, and visual effects of the force field itself are included in the 2.0 and 3.0 versions.
1:18:02 – 1:19:06 – Klingons spy on Enterprise through Geordi’s visor; Beverly clears Geordi to return to duty; Data and Geordi (1.0, 2.0, 3.0)
This pair of scenes survives almost completely intact into the final version of the film. Visual effects are incorporated into the 2.0 and 3.0 to account for low-resolution video monitoring through Geordi’s visor, and very minor trims are made to the scenes.
1:19:06 – 1:21:19 – Picard attempts to dissuade Soran; “Nice try”; Soran’s new truth in the Nexus (1.0, 2.0, 3.0)
In the 1.0 and 2.0 work prints an alternate version of Soran saying “Nice try” is used, but it is replaced with the version seen in the final film. The scene continues in the 3.0 with additional dialog about Soran’s background and the desire that led him to seek out the Nexus. This second half of the sequence is found only in the 3.0. Visual effects for the missile’s de-cloaking are inserted into the 2.0 and 3.0 versions of the film.
1:21:19 – 1:21:44 – Klingons monitor Geordi’s movements (1.0)
This short humorous scene was intended to show Lursa and B’Etor observing Geordi in his quarters taking a bath. However, the footage for this scene of LeVar Burton had not been filmed at this point; therefore the sisters look at an empty blue screen – hence the humor of the moment! This scene would be edited from the film after the 1.0 work print.
1:21:44 – 1:22:16 – Klingons continue to monitor Geordi’s movements through the ship (1.0, 2.0, 3.0)
The master version of this scene runs a full 32 seconds but would be trimmed to 12 seconds for the 2.0 and 3.0 versions at the point where B’Etor says, “He must be the only engineer in Starfleet who doesn’t go to Engineering.” The rest of the scene shows the Klingon sisters sighing in disgust as they assume their stations, continuing the humor from the previous scene – a good editing call by Berman, Carson, and Berger.
1:22:16 – 1:22:53 – bridge of the Enterprise; the crew’s humorous reaction to Data’s song (1.0, 2.0, 3.0)
The humor of the moment is captured not only in the sound effects included in the 2.0 and 3.0 to Data’s navigational board but also in the added insert close-up of Riker in the 2.0. In the 1.0 work print this scene occurs before the previous scene; I have referred to its placement in the 2.0 work print and the final film.
1:22:53 – 1:23:58 – Klingons observe Geordi in Engineering; adjusting torpedo frequency to match the Enterprise shield frequency; Data reports an unusual power fluctuation (1.0, 2.0, 3.0)
This scene paces exactly in all versions of the film. Visual effects of Geordi in Engineering and the computer monitor are added to the Klingon monitor screen in the 2.0 and 3.0 versions. The last clip of this scene, an eight-second clip of Data reporting the power fluctuation to Riker, is removed from the film after the 1.0 work print.
1:23:58 – 1:24:03 – Bird of Prey fires on Enterprise (2.0, 3.0)
Visual effects sequence completed for the 2.0 work print and the final film.
1:24:03 – 1:24:09 – Riker orders return fire (1.0, 2.0, 3.0)
The close-up shot of Riker and Deanna is included in the 2.0 work print and the final film only.
1:24:09 – 1:24:13 – Enterprise fires phasers on the Bird of Prey but is hit again (2.0, 3.0)
Visual effects sequence completed for the 2.0 work print and the final film.
1:24:13 – 1:24:22 – explosions on the bridge; Deanna takes the helm; Data reports damage on Decks 31 through 35 (1.0, 2.0, 3.0)
An alternate angle of the scene of Deanna assuming the helm is used in the 1.0 work print only. The final version of the scene appears in the 2.0 and 3.0.
1:24:22 – 1:24:27 – Enterprise pulls away as the Bird of Prey fires, hits the warp nacelle (2.0, 3.0)
Visual effects sequence completed for the 2.0 work print and the final film.
1:24:27 – 1:25:52 – Worf reports to Riker on the condition of the Bird of Prey; explosion in Engineering; Data recommends to Riker activating a signal to transmit to the Bird of Prey; Klingons continue to fire on Enterprise; Worf arms torpedoes to fire (1.0, 2.0, 3.0)
In the original 1.0 work print, a series of alternate angles are used, focusing on the evacuation of injured personnel from the bridge, and on an alternate series of exchanges between Riker and Worf. The scene in Engineering has an additional line from Geordi looped into the final film, as Geordi reports, “We need to bypass main power through the secondary relays.” Another alternate angle between Riker and Data is found in the 1.0 work print only and replaced with the version as seen in the 2.0 and 3.0. Additional footage is found in the scene on the Bird of Prey, as one of the officers reports minor damage to one of the warp nacelles. These eight seconds of footage are removed from the film after the 1.0 work print. Once Riker gives the order to Worf to target the Klingon ship’s primary reactor, Riker comments, “With any luck, their warp core will implode.” This last moment is also removed from the film after the 1.0.
1:25:52 – 1:25:57 – Bird of Prey continues to fire upon Enterprise (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:25:57 – 1:26:23 – Data sends out sonic pulse to the Bird of Prey; explosions on the bridge; Klingon officers report the ship has cloaked and the shields have fallen (1.0, 2.0, 3.0)
Four seconds are removed from this series of scenes. Once the explosion on the bridge of the Enterprise sends a crewman over Worf’s post, Deanna turns back to the helm to continue piloting the ship away from the attack. The scenes otherwise appear intact in all versions of the film.
1:26:23 – 1:26:27 – Bird of Prey de-cloaks (1.0)
For some unknown reason the 1.0 work print uses borrowed footage from “Star Trek III” to indicate the Bird of Prey de-cloaking. This is inconsistent with the line in the previous scene that the ship was cloaking. A more effective way would have been for Berman and Carson to borrow footage from “Star Trek III” of the Bird of Prey cloaking (which, ironically, was lifted by Leonard Nimoy for usage in “Star Trek IV”) or to create an all-new visual effect shot for “Generations”. Whether the footage seen here was intended as a temporary effects concept or not, it remains unknown to date. In any event, the clip here was removed after the 1.0 work print, thereby tightening the action more – a good call by Berman, Carson, and Berger.
1:26:27 – 1:27:07 – Riker orders Worf to fire; torpedo shot; reaction on the bridge of the Bird of Prey; explosion in space; Data: “Yes!” (1.0, 2.0, 3.0)
This series of scenes appears as is in all versions of the film. Visual effects of the Enterprise firing a torpedo on the Bird of Prey are incorporated into the scene on the Klingon viewscreen. A borrowed effects sequence of the Bird of Prey exploding in space is lifted from “Star Trek VI”.
1:27:07 – 1:28:34 – Picard watches as Soran programs coordinates into the missile computer; finding a way through the shield; “Haven’t you got anything better to do?” (1.0, 2.0, 3.0)
This scene is actually comprised of two scenes that occur in the 1.0 work print at different moments in the film. The second half of the scene, in which Picard sits down and observes Soran programming the missile, occurs earlier in the 1.0 work print before the dogfight in space. Both halves of the scene feature alternate close-up angles of Picard as he watches Soran. The 1.0 work print also contains an alternate angle of Soran saying to Picard, “Haven’t you got anything better to do?” After the 1.0 work print was completed, Berman, Carson, and Berger decided to join these two scenes together into one complete scene that flows smoothly with comprehension – a good editorial decision here. Computer monitor effects are added to the scene in the 2.0 work print.
1:28:34 – 1:32:19 – coolant leak in Engineering results in evacuation; five minutes to a warp core breach; Riker orders the evacuation of ship’s company to the saucer section (1.0, 2.0, 3.0)
These scenes benefit from significant edits to tighten the urgency of the moment. The original assembly of these scenes in the 1.0 work print runs 3:45 in length altogether, which slows down the pace. Three seconds from the scene on the bridge are removed from the film after the 1.0 work print. The most edits occur throughout the evacuation. In the 1.0 assembly are more scenes of the ship’s company and families moving throughout various corridors of the ship. A series of extended scenes also features Beverly’s evacuation of Sickbay. When the ship’s company blocks the corridors, Beverly orders the patients to be carried by arm to the turbolifts. More emphasis is placed on the children during the evacuation scenes. The final assembly of these scenes in the 2.0 work print and the final film runs 90 seconds long – a good editorial decision here.
1:32:19 – 1:33:13 – Soran finalizes programming coordinates into the missile computer; “an appointment with eternity”; Soran begins to climb steps, as Picard begins to clear the rock formation (1.0, 2.0, 3.0)
Five seconds are removed from the scene after the 1.0 work print, a brief moment in which Soran looks back toward Picard one more time before climbing the steps. Computer screen effects are added to the scene in the 2.0 work print.
1:33:13 – 1:33:37 – Geordi and his assistant close the hatch, report all ship’s personnel are safely evacuated; beginning the saucer separation (1.0, 2.0, 3.0)
Six seconds from this sequence are removed from the film after the 1.0 work print. Once Geordi closes the hatch, he observes a group of children huddled in the turbo shaft and sighs. Two voiceovers are included in the film in the 2.0 work print, of Riker saying, “Core breach is accelerating! We’ve got to get out of here!” and of Worf saying, “Warp core is going critical!”
1:33:37 – 1:33:50 – saucer separation from the secondary drive (2.0, 3.0)
A temporary animated version of the scene is used in the 1.0 work print, but the complete visual effects appear in the 2.0 and 3.0. The first shot is lifted from stock footage from “The Next Generation” (either from “The Arsenal of Freedom” or “The Best of Both Worlds – Part II”).
1:33:50 – 1:33:59 – emphasis on Data and Deanna reporting the status of the saucer section (1.0, 2.0, 3.0)
Part of this scene, in which Data reports, “Ten seconds to warp core breach,” is removed from the film after the 1.0 work print yet is included in the film’s second theatrical trailer. (It is atypical for scenes in a film to appear in the theatrical trailers yet not in the final release, and “Star Trek: Generations” is no exception.) A line spoken in the 2.0 work print by an off-camera crewman, “Core breach in progress,” is given to Data in the final version of the film.
1:33:59 – 1:34:04 – secondary drive explodes; shockwave sends saucer section out of control (2.0, 3.0)
A temporary animated version of the scene is used as a guide in the 1.0 work print. The completed visual effects appear in the 2.0 and 3.0.
1:34:04 – 1:34:27 – bridge crew shaken by shockwave; “Helm controls are offline”; a memorable line from Data (1.0, 2.0, 3.0)
This scene appears the same in all versions of the film. The added visual effects of the planet as shown on the Enterprise monitor appear in the 2.0 work print and final film. A good borrowed musical cue is included in the 2.0 work print, as a portion of James Horner’s score from “Aliens” from that film’s climactic moments is used here.
1:34:27 – 1:35:43 – Picard clears away rocks, attempts to crawl through rock formation but is trapped; Soran fires upon rock formation in an attempt to kill Picard (1.0, 2.0, 3.0)
Over half of this scene is excised out of the film after the 1.0 work print. Once Soran fires upon the rock formation and Picard, he climbs back down to view his handiwork to see if in fact Picard is dead. These last 40 seconds slow down the pacing of the film and were wisely edited from the film. Visual effects of Soran’s phaser and the force field were added to the film in the 2.0 work print.
1:35:43 – 1:35:48 – Enterprise saucer plunges to planet’s surface (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film. The 2.0 uses a remixed version of the main title credits to Cliff Eidelman’s “Star Trek VI” score as a temporary musical score accompanying the scenes in which the saucer heads for a crash landing.
1:35:48 – 1:36:53 – bridge reaction shots; Geordi and Beverly escort passengers to safe areas in preparation for the crash (1.0, 2.0, 3.0)
The crash preparations scenes run much longer than in the 2.0 and 3.0 versions of the film. In the 1.0 assembly, extra scenes include shots of more passengers and crew running through the corridors, Geordi securing the safety of the children, Beverly overseeing the safety of her patients, scientists and crewmen preparing for the crash. These moments would be pared down to a brief 17 seconds in the final film.
1:36:53 – 1:36:58 – saucer enters planet atmosphere (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:36:58 – 1:37:11 – Data attempts to level the saucer’s descent; Riker: “All hands brace for impact!” (1.0, 2.0, 3.0)
The last four seconds of this scene, showing a blank blue screen intended to present visual effects of the Veridian III surface, were removed from the film after the 1.0 work print.
1:37:11 – 1:37:13 – saucer over mountains and hills (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film. In the 2.0 a brief part of the model rig is visible under the saucer section. This would be removed from the scene via computer graphics in the final film.
1:37:13 – 1:37:29 – Geordi and Beverly hold onto passengers in preparation for the crash (1.0, 2.0, 3.0)
This scene in the 1.0 assembly spotlights more of the passengers covering for protection from the saucer crash. It would be pared down to a scant seven seconds in the 2.0 work print and the final film.
1:37:29 – 1:37:42 – saucer soars over the mountains; reaction shots from Deanna, Data, Riker, and Worf; first impact (2.0, 3.0)
In the 2.0 work print the saucer can be seen attached to cables on the model set. These cables would be removed from the scene by computer graphics in the final film. Visual effects are also added to both the view screen and the beginning of the crash sequence in the 2.0 and 3.0.
1:37:42 – 1:37:44 – bridge crew reaction to first impact (1.0, 2.0, 3.0)
A brief clip is removed from the film after the 1.0 work print of additional crew reactions to the crash impact. From the 1.0 and 2.0 work prints to the final release, the sequence would undergo revisions in terms of arrangement and removal of scenes. This became one of the most heavily edited scenes of the film. Here I will refer to the arrangement of the sequence as played out in the final release, with additional notes on deleted scenes.
1:37:44 – 1:37:45 – saucer scrapes off the side of a mountain (2.0, 3.0)
Visual effects sequence as completed for the 2.0 and 3.0 versions of the film.
1:37:45 – 1:37:49 – impact effect on Beverly and patients; collapse of storage equipment (1.0, 2.0, 3.0)
This clip is retained intact in all versions of the film.
1:37:49 – 1:37:51 – saucer hits side of mountain (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:37:51 – 1:37:54 – explosions rock the bridge; Deanna collapses from her post (1.0, 2.0, 3.0)
This part of the scene is complete in all versions of the film.
1:37:54 – 1:38:00 – saucer continues descent; reaction shot of Riker; saucer collides into hillside (2.0, 3.0)
This sequence is complete in both the 2.0 and 3.0 versions of the film in terms of live action and visual effects.
1:38:00 – 1:38:01 – explosion on the bridge; Data abandons his post (1.0, 2.0, 3.0)
This brief clip is retained in all versions of the film.
1:38:01 – 1:38:03 – saucer continues to plow through hillside (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:38:03 – 1:38:11 – explosions on the bridge throw Riker and Worf from their posts (1.0, 2.0, 3.0)
Slight editorial changes are made to the scene once Riker and Worf hit the floor of the bridge. In the 1.0 the camera pauses on Riker as he hits the floor’s stairway. This is intercut in the 2.0 with a brief insert clip of Worf lying semi-conscious on the floor. Both the camera pause and the insert clip are removed from the film in the 3.0.
1:38:11 – 1:38:14 – saucer continues to pummel through hills and mountains (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:38:14 – 1:38:18 – Riker and Worf recover and return to their posts (1.0, 2.0, 3.0)
This pair of shots is reversed in the 1.0 to feature Worf first, then Riker, but they are arranged in opposite order in the 2.0 work print and the final film.
1:38:18 – 1:38:20 – saucer gliding on planet surface (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:38:20 – 1:38:38 – Data helps Deanna up; Worf pulls himself up; Beverly and patients tossed about (1.0, 2.0, 3.0)
This scene spends more time in the 1.0 work print focusing on Data assisting Deanna up and back to her post. The next shot of Worf climbing back up, while quick, is slow in comparison to the destruction going on around the set. In the 2.0 work print much of this sequence is deleted from the time Data assists Deanna to the brief moment of the medical staff and patients are tossed about. Only a brief portion of the scene of Data returning Deanna to her post is included in the 2.0 work print; this scene would be further revised for the final cut with the scene’s removal from the film. Interesting to note is how during filming of the saucer crash sequence, the filmmakers and stage crew destroyed the bridge set of the Enterprise-D, which conveys an added sense of realism to the entire sequence.
1:38:38 – 1:38:41 – saucer continues to plow through hillside (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:38:41 – 1:39:03 – explosions on the bridge and in the science lab (1.0, 2.0, 3.0)
The 1.0 work print reveals much more information that was edited out of the film in the 2.0 work print and final assembly. After the explosion at the turbolift, Worf reaches for a flashlight and tosses it to Data. Worf then picks up an injured crewman and places the crewman in Riker’s chair. Worf then takes a seat in Deanna’s chair. This sequence would be trimmed to five seconds in the final cut of the movie.
1:39:03 – 1:39:05 – saucer crashes through trees (2.0, 3.0)
An alternate version of this special effects shot, photographed from the left angle of the saucer, was used in the 2.0 work print. The effect as seen in the final release shows the saucer photographed from the right.
1:39:05 – 1:39:23 – explosions continue to shake the bridge; Data protects Deanna from the explosions; passengers hit with broken glass (1.0, 2.0, 3.0)
This series of clips as assembled in the 1.0 reveals two additional scenes. In the first clip, Geordi checks on the safety of the children under his charge. In the second, after the glass shatters upon the passengers, an additional clip inside Picard’s ready room is seen, as the impact from the saucer crash knocks over his fish bowl and his family album. These brief clips would be removed from the film after the 1.0 work print, and the sequence would be trimmed to four seconds in the 2.0 work print and the final film.
1:39:23 – 1:39:26 – saucer plows through trees and hillside (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:39:26 – 1:39:31 – Riker and Worf observe falling debris; Data protects Deanna from debris falling on the bridge (1.0, 2.0, 3.0)
Both clips would be utilized in all versions of the film from the 1.0 work print to the final film. The first clip of Riker and Worf would be edited from the film after the 1.0.
1:39:31 – 1:39:33 – saucer continues to plow through hillside (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:39:33 – 1:39:43 – reaction shot from Riker; Data holds on to Deanna, as Riker and Worf exchange looks (1.0, 2.0, 3.0)
This sequence would undergo revisions from the 1.0 work print to the final film. In the original version of this clip, Riker and Worf exchange glances between each other, as Worf looks at a saddened Deanna. The subtext in this scene refers to the relationship between Worf and Deanna in “The Next Generation”, revealing a hint of jealousy in Riker that the relationship may not be over. However, this subtext would be removed after the 1.0 work print and replaced with a brief clip of Riker observing the damage on the bridge. The effects of the relationship would be resolved in Peter David’s novel “Triangle: Imzadi II” and the repercussions felt with Worf’s comments in the DS9 episode “The Way of the Warrior” and with the renewal of the Riker-Deanna relationship in “Insurrection”.
1:39:43 – 1:39:45 – saucer continues to crash through trees (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:39:45 – 1:39:49 – reaction shots from Worf and Deanna (1.0, 2.0, 3.0)
Only the reaction shot of Deanna is seen in all versions of the film. The reaction shot of Worf is included in the film in the 2.0 work print. Both shots would be slightly tweaked in the final release.
1:39:49 – 1:39:51 – saucer slows down in crash (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:39:51 – 1:39:55 – reaction shot of Riker (1.0, 2.0, 3.0)
This clip would be tweaked in the 3.0; otherwise, it is visually complete in all versions of the film.
1:39:55 – 1:39:58 – saucer comes to a stop (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film.
1:39:58 – 1:40:04 – impact of the saucer crash throws bridge crew out of their seats (1.0, 2.0, 3.0)
The first portion of this clip as seen in the 1.0 work print is removed from the film. The various angles would be shuffled around in the 2.0 work print, and an alternate angle of the crew hitting one of the bulkheads is seen in the 1.0 work print but replaced with the final version as seen in the 2.0 work print and the final film.
1:40:04 – 1:40:17 – saucer at rest on the ground (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film. The clip cuts abruptly to the next scene in the 2.0 work print but dissolves smoothly into the next clip in the final version.
1:40:17 – 1:40:58 – bridge crew recovers from impact of crash; Riker looks up through broken overhead window (1.0, 2.0, 3.0)
This scene is utilized completely in all versions of the film. The computerized visual effects of the skyline and sunlight are included in the 2.0 and 3.0 versions.
1:40:58 – 1:41:14 – effects of damage of the saucer crash on the hillside (2.0, 3.0)
Visual effects sequence completed for the 2.0 and 3.0 versions of the film. This brings to a conclusion one of the most heavily re-edited sequences of the entire film.
1:41:14 – 1:44:06 – Soran and Picard approach each other on walkway and fight; Soran knocks Picard to the ground; missile launch into the sun; approach of the Nexus; Soran and Picard swept into the Nexus (1.0, 2.0, 3.0)
This sequence would undergo many numerous revisions from the 1.0 work print to the 2.0 work print to the 3.0, but there are interesting points to observe in this sequence. In the 2.0 and 3.0 versions the first 15 seconds focusing on Soran and Picard individually are utilized; there is no such approach present in the 1.0 work print, and both the 2.0 and 3.0 contain different versions of Soran’s close-up. Alternate versions of Soran and Picard’s encounter on the bridge are present in each version of the film. More exposition is seen in the 1.0 work print between Picard and Soran, and the scene is edited by 41 seconds to remove the additional angles – a good editing call from Berman, Carson, and Berger. The 2.0 work print uses portions of the selection “The Death of Timmons” from John Barry’s “Dances With Wolves” score as a temporary musical cue for Dennis McCarthy’s final cue. The music as heard in the final film is longer than on the GNP Crescendo soundtrack release. The visual effects of the Nexus are completed for the 2.0 and 3.0, and the 2.0 uses an alternate version of the Nexus approach that would be replaced in the final film. In the 2.0 work print, as Soran and Picard are pulled into the Nexus, the scene fades to black. This version of the scene would be used in the film’s second theatrical teaser trailer. However, in the final film, once the Nexus sweeps Picard and Soran away, the scene cuts abruptly to the next scene.
1:44:06 – 1:44:20 – ext. space: Nexus pulls away from Veridian III; shock wave results in the destruction of the Enterprise saucer, explosion of the planet; fade to black (3.0)
This effects sequence was prepared and seen only in the final release. The 1.0 work print shows a blank film screen, which meant that Berman and Carson had intended such an effect for the film, but in the 2.0 work print there is no such indication of an effect.
The next major sequence, of Picard’s Nexus dream, differs greatly from the 1.0 and 2.0 work prints and what is seen in the final film. This is one of two major scenes that were re-filmed for the movie prior to its November 1994 release. Here I will refer to the scene as originally intended for the film.
1:44:20 – 1:52:47 – Picard’s Nexus dream: the Picard family Christmas; children give him a sextant as a gift; Picard realizes that none of it is real; encounter with Guinan; Picard chooses to leave the Nexus and asks Guinan for help; “I’ll bet I know someone who can help.” (1.0, 2.0)
The original version of this scene greatly differs in content and approach. The elements of mystery, uncertainty, and surprise are absent in the first half of the scene. We are given instead a look at all of Picard’s children, including his nephew Robert who was killed in a fire in reality, as well as Picard’s wife. The scene is nicely photographed but has a feel similar to what would be present in many domestic scenes in any television series, including “The Next Generation”. The 2.0 work print contains the completed visual effects of the glowing ornaments that would be carried over into the final version of the film, as well as alternate angles of Picard walking through his study, looking out the window and saying, “This can’t be real.” However, at the 5:16 mark into the scene, footage filmed in the original version of the scene is used in the final film, with Picard encountering Guinan and discussing leaving the Nexus. The last three minutes and eleven seconds of the scene would be retained in the final assembly of the film. Upon viewing this scene, it clearly becomes obvious that this sequence needed to be re-filmed.
1:52:47 – 2:05:00 – Picard meets Kirk at mountain cabin, attempts to convince Kirk to return to Veridian III to stop Soran; Kirk and Picard’s horse ride; Kirk realizes that nothing is real; “Sounds like fun”; leaving the Nexus (1.0, 2.0, 3.0)
The major encounter of the film, in which Jean-Luc Picard meets James T. Kirk, occurs in a more subdued manner than was expected by many people. The original assembly of footage for this sequence in the 1.0 work print runs 12:13 in length and benefits from the usual nips and tucks throughout the scene. The first 36 seconds of the scene, in which Picard finds himself in the mountains and approaches Kirk’s cabin, are removed from the film after the 1.0 work print. The voiceover of Guinan used in the 2.0 work print is used to replace the introduction of the scene, yet it would be revised for the final film from the ambiguous “From your point of view, he just got here” to the clearer “From his point of view, he just got here, too.” This line was revised for the 3.0 when it presented a dilemma in story context, since Picard would have already known that Kirk had been in the Nexus for 80 years. The line revision was a good editing call by Berman and Carson.
Nineteen seconds of footage in which Kirk and Picard finally speak to each other are revised with different angles and the master shot in the 2.0 and 3.0 versions of the film. Once Picard informs Kirk that he is also captain of the Enterprise, a seven-second clip of acknowledgement between the two captains is removed for time considerations. Also, an interesting change in the script to the film occurs. Originally Kirk’s long-deceased Doberman was to have been named “Jake”; Kirk instead refers to him as “Butler”, in memory of William Shatner’s own Doberman named Butler who had also passed away some time before. Another six seconds of footage, in which Kirk looks at the horseshoe he had given to Antonia years before and comments, “I gave her this,” is also deleted from the film after the 1.0 work print. The master take of the scene in which Picard retrieves the dill weed from the kitchen cabinet and Kirk reaches for the dining tray is used in the 2.0 work print; the edit as seen in the 1.0 work print is utilized in the final cut of the film.
The horse-riding sequence also contains subtle differences and additions as well in the 1.0 work print. In both the 1.0 and 2.0 work prints Kirk mentions that his uncle’s barn is in Iowa; however, in the final version he mentions that it is located in Idaho. The first appearance of music in the 1.0 work print occurs as Kirk rides through the countryside. An unidentified selection of music underscores Kirk’s horse ride. In the 2.0 work print the alternate version of “Sign Off” (used to temporarily underscore the main title credits) is reprised here. Ten seconds of additional footage spotlighting Kirk’s horse ride are also removed after the 1.0 work print.
The final series of differences from the 1.0 work print to the 2.0 work print and final release occur in the final segment of the scene, Kirk and Picard’s conversation. Once Kirk realizes he is caught in a Nexus fantasy, he comments, “It’s kind of like orbital skydiving – exciting the first few minutes, but in the end, what have you done? You haven’t made a difference.” This line of dialog would be re-looped, and an alternate version of the scene in which Kirk circles his horse around Picard is used in the 2.0 work print and final release. Kirk’s line would be revised to, “Maybe it’s not about that empty house. Maybe it’s about that empty chair on the bridge of the Enterprise. Ever since I left Starfleet, I haven’t made a difference.” The original version of Picard asking Kirk to return with him to Veridian III is seen in the 1.0 work print, as Picard remarks, “You don’t have to be on the bridge of a starship.” Patrick Stewart speaks his next line, “Come back with me!” with overbearing authority to the point of overacting. This original take in the 1.0 work print would be replaced with the version as seen in the 2.0 and 3.0.
Another four seconds of footage are removed from the film after the 1.0 work print, including Kirk’s musing about Spock considering this an irrational idea, which he says, “And he’s right.” Throughout this entire sequence temporary music underscores the scene in the 2.0 work print. The cues “Dining on Ashes” and the beginning part of “Sign Off” from Cliff Eidelman’s “Star Trek VI” score underscores the scene to give Dennis McCarthy a basis for a quiet, reflective cue to be used in the final version. The final seven seconds of the scene are removed from the film after the 1.0 work print, and a visual effect of a flash, as Kirk and Picard leave the Nexus, is included in the final film.
For more images from the teaser trailer, check out this page. You can also download the trailers for the film here. Also, you may be able to "find" some of this missing GENERATIONS footage if you search the Internet thoroughly. Several months ago, many of the deleted scenes surfaced online...
Check back soon for PART II of this feature, including the development of the controversial endings to STAR TREK: GENERATIONS!
All images copyright © Paramount Pictures. All rights reserved.
