Imperial Cleaning

New York, I Love You

Millepied moved to Los Angeles in to found his company L. Ses valises prêtes et son billet de retour pour Londres en poche, elle décide de passer une dernière nuit à New York avec son meilleur pote.

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De plus, le tournage en Technicolor est assez contraignant [ 2 ]. AllMusic [ 5 ]. En , Frank Sinatra reprend la musique et modifie quelques paroles de la chanson pour son album Trilogy: Ce sera un énorme succès.

Après le succès de Taxi Driver , Martin Scorsese rencontre ici un échec au box-office. Le film ne rapporte que 16 millions de dollars aux États-Unis, pour un budget d'environ 14 millions de dollars [ 6 ].

Cet échec enfoncera davantage le réalisateur dans la dépression et la drogue [ 7 ]. Internet Movie Database [ 8 ]. Le premier montage durait près de 4 heures. Martin Scorsese raccourcit d'abord le film à minutes, puis minutes. En , certaines séquences dont Happy Endings sont restaurées et intégrées au film, pour une durée de minutes [ 4 ]. Un article de Wikipédia, l'encyclopédie libre.

The Baryshnikov Arts Center invited him to serve as choreographer-in-residence from to during which time he created the much-lauded solo Years Later for Mikhail Baryshnikov.

Millepied has commissioned several original scores from composer Nico Muhly for his work and often choreographs to scores by living composers David Lang, Philip Glass, John Adams, and Steve Reich.

Inspired to pursue collaborative and multidisciplinary dance-centered works in a city whose cultural scene had recently begun an important revitalization, Mr. Millepied moved to Los Angeles in to found his company L. Alongside its live performances, the company has also produced original film projects, each featuring choreography by Mr.

As founder and Artistic Director of LADP, he is fully committed to creating a dance organization with innovative artistic and economic models designed to thrive upon and respond to the times in which we live. To accommodate the scope of his creative projects, Mr. Millepied founded the Amoveo film production company with composer Nicholas Britell in In , Millepied also co-founded Artform with Mr. The Next Generation fill the main roles.

Stewart was one of the few cast members who had an important role in developing the script, offering suggestions and comments. Stewart noted that Picard was more physically active in the film compared with his usual depiction. Other Enterprise crew members include the ship's first officer William Riker , played by director Jonathan Frakes.

Frakes said he did not have much difficulty directing and acting at the same time, having done so on the television series. La Forge is a blind character, and for the television series and previous film had worn a special visor to see. Burton lobbied for many years to have his character's visor replaced so that people could see his eyes, since the "air filter" he wore prevented the audience from seeing his eyes and limited his acting ability.

Moore finally agreed, giving the character ocular implants that were never explained in the film, beyond showing they were artificial. McFadden considered Star Trek women finally on par with the men: The actress missed working on the television show, and was acutely aware that expectations and stakes for First Contact were high: The Defiant is badly damaged in the battle with the Borg but is left salvageable.

An early screenplay draft called for the Defiant to be destroyed, but Deep Space Nine executive producer Ira Steven Behr objected to the destruction of his show's ship and so the idea was dropped. McDonough was cavalier about his role as an expendable " redshirt ", saying that since one of the characters in the deflector dish battle had to die, "that would be me".

James Cromwell was cast as Zefram Cochrane , the pilot and creator of Earth's first warp capable vessel. Part of the actor's interest in the film was his involvement in Steven M.

Greer's Center for the Study of Extraterrestrial Intelligence , which offers training for first contact scenarios. Alfre Woodard was cast as Lily Sloane, Cochrane's assistant. When Frakes first moved to Los Angeles , Woodard was one of the first people he met. During a conversation at a barbecue, Woodard said she would become Frakes' godmother, as he did not have one. Through this relationship, Frakes was able to cast Woodard in the film; he considered it a coup to land an Academy Award-nominated actress.

The Borg Queen is portrayed by Alice Krige. Casting for the part took time, as the actress needed to be sexy, dangerous and mysterious. Frakes cast Krige after finding that she had all of the mentioned qualities, and being impressed by her performance in Ghost Story ; [12] the director considers her the sexiest Star Trek villain of all time. Krige would later reprise her role as the Borg Queen in the Star Trek: Voyager series finale " Endgame ". The ominous voice of the Borg which delivered the now-iconic film line, " Resistance is futile ", was performed by Jeff Coopwood.

I wanted to do it because I didn't think you could do anything about the Borg without [my character]", she said, "but apparently you can, so they don't need me. The third draft of the script added cameos by two actors from the sister television series Star Trek: His line "I'm a doctor, not a door stop", is an allusion to the Star Trek original series character Dr.

Phillips recalled that the producers wanted the fans to be left guessing whether he was the person who played Neelix or not, as he did not appear in the credits; "It was just kind of a goofy thing to do. Deep Space Nine captain Benjamin Sisko. In February , two months after the release of Star Trek Generations , Paramount decided to produce another Star Trek feature for a winter holiday release.

Moore , who had written the Generations script and a number of Next Generation episodes, [18] to pen the screenplay. Braga and Moore, meanwhile, wanted to use the Borg. Perfect foils for a feature story. In deciding to combine the two story ideas, the writers decided that the time travel element could play out as the Borg attempt to prevent humanity from ever reaching space and becoming a threat. Berman's suggestion was the Renaissance ; the Borg would attempt to prevent the dawn of modern European civilization.

The first story draft, titled Star Trek: Renaissance , had the crew of the Enterprise track the Borg to their hive in a castle dungeon. The film would have featured sword fights alongside phasers in 15th-century Europe, while Data became Leonardo da Vinci 's apprentice. Moore was afraid that it risked becoming campy and over-the-top, [24] while Stewart refused to wear tights. With the idea of Star Trek ' s genesis in mind, the central story became Cochrane's warp drive test and humanity's first contact.

Drawing on clues from previous Star Trek episodes, Cochrane was placed in midst century Montana, where humans recover from a devastating world war. In the first script with this setting, the Borg attack Cochrane's lab, leaving the scientist comatose; Picard assumes Cochrane's place to continue the warp test and restore history. Riker and Picard's roles were swapped, and the planetside story was shortened and told differently. Braga and Moore focused the new arc on Cochrane himself, making the ideal future of Star Trek come from a flawed man.

The idea of Borg fighting among period costumes coalesced into a "Dixon Hill" holographic novel sequence on the holodeck.

The second draft, titled Star Trek: Resurrection , was judged complete enough that the production team used it to plan expenses. Braga and Moore intended the film to be easily accessible to any moviegoer and work as a stand-alone story, yet still satisfy the devoted Star Trek fans. Since much of Picard's role made a direct reference to his time as a Borg in The Next Generation episodes "The Best of Both Worlds", the opening dream sequence was added to explain what happened to him in the show.

He suggested adding an individual Borg villain with whom the characters could interact, which led to the creation of the Borg Queen. Cast member Frakes was chosen to direct. Frakes had not been the first choice for director; Ridley Scott and John McTiernan reportedly turned down the project. A major concern during the production was security—the script to Generations had been leaked online, and stronger measures were taken to prevent a similar occurrence.

Some script pages were distributed on red paper to foil attempted photocopies or faxes; "We had real trouble reading them," Frakes noted.

Throughout multiple script revisions a number of titles were considered, including Star Trek: Borg , Star Trek: Destinies , Star Trek: Future Generations and Star Trek: First Contact was the first Star Trek film to make significant use of computer-generated starship models, though physical miniatures were still used for the most important vessels.

The script's only guide on the appearance of the vessel was the line "the new Enterprise sleekly comes out of the nebula". Eaves produced 30 to 40 sketches before he found a final design he liked and began making minor changes.

Hull patterns were carved out of wood, then cast and assembled over an aluminum armature. The model's panels were painted in an alternating matte and gloss scheme to add texture. ILM instead cut the windows using a laser. In previous films, Starfleet's range of capital ships had been predominantly represented by the Constitution class Enterprise and just five other ship classes: Paramount wanted ships that would look different from a distance, so the director devised multiple hull profiles.

Each design was modeled as a three-dimensional digital wire-frame model for use in the film. The film also required a number of smaller non-Starfleet designs. The warp ship Phoenix was conceived as fitting inside an old nuclear missile, meaning that the ship's nacelles had to fold into a space of less than 10 feet 3.

Eaves made sure to emphasize the mechanical aspect of the ship, to suggest it was a highly experimental and untested technology. The Phoenix ' s cockpit labels came from McDonnell-Douglas space shuttle manuals. Only two major Vulcan ships had been previously seen in Star Trek , including a courier vessel from The Motion Picture.

Since the two-engine ship format had been seen many times, the artists decided to step away from the traditional ship layout, creating a more artistic than functional design. The ship incorporated elements of a starfish and a crab. Because of budget constraints, the full ship was realized as a computer-generated design.

Only a boomerang-shaped landing foot was fabricated for the actors to interact with. The Enterprise interior sets were mostly new designs. The bridge was designed to be comfortable-looking, with warm colors. New flatscreen computer monitors were used for displays, using less space and giving the bridge a cleaner look.

The new monitors also allowed for video playback that could simulate interaction with the actors. The observation lounge was similar to the design in the Enterprise -D; the set itself was re-used from the television show, the only such set not to be struck following the filming of Generations , though it was expanded and underwent a color change. Engineering was simulated with a large, three-story set, corridors, a lobby, and the largest warp core in the franchise to date.

The spacewalk scene on the Enterprise exterior was one of the most challenging sets to envision and construct for the film. The production had to design a space suit that looked practical rather than exaggerated.

Fans were built into the helmets so that the actors would not get overheated, and neon lights built into the front so that the occupant's faces could be seen. When the actors first put the helmets on, the fully enclosed design made it hard to breathe; after a minute of wearing the suit Stewart became ill, and shooting was discontinued.

The Starfleet uniforms were redesigned for the film by longtime Star Trek costumer Bob Blackman to give a more militaristic feel, with grey padded shoulders and colored undershirts. Since Blackman was also handling the costumes for the television series, non-Starfleet design clothes were delegated to Deborah Everton , [17] a newcomer to Star Trek who was responsible for more than costumes during production.

The bulky suits were made sleeker and outfitted with fiber optic lights. Everton enjoyed designing Woodard's costumes because the character went through many changes during the course of the film, switching from a utilitarian vest and pants in many shots to a glamorous dress during the holodeck scene.

Everton and makeup designers Michael Westmore , Scott Wheeler , and Jake Garber wanted to upgrade the pasty white look the Borg had retained since The Next Generation ' s second season, born out of a need for budget-conscious television design. In the television series, much of the Borg's faces had been covered by helmets, but for First Contact the makeup artist removed the head coverings and designed assimilated versions of familiar Star Trek aliens such as Klingons , Bolians , Romulans , Bajorans , and Cardassians.

Each drone received an electronic eyepiece. The blinking lights in each eye were programmed by Westmore's son to repeat a production member's name in Morse code. So, at the very end [of the film], they're more ferocious. The Borg Queen was a challenge because she had to be unique among Borg but still retain human qualities; Westmore was conscious of avoiding comparisons to films like Alien. I thought, great; they made this, and they've scared themselves! Principal photography took a more leisurely pace than on The Next Generation because of a less hectic schedule; only four pages of script had to be filmed each day, as opposed to eight on the television series.

Leonetti to the Star Trek franchise; Frakes hired him out of admiration for some of his previous work on films such as Poltergeist and Strange Days.

The cameraman also spent several days at the sets of Voyager and Deep Space Nine to observe filming. Leonetti devised multiple lighting methods for the Enterprise interiors for ship standard operations, "Red alert" status, and emergency power.

He reasoned that since the ship was being taken over by a foreign entity, it required more dramatic lighting and framing. Leonetti preferred shooting with long lenses to provide a more claustrophobic feel, but made sure the length did not flatten the image. Handheld cameras were used for battle sequences so that viewers were brought into the action and the camera could follow the movements of the actors.

Since so many new sets had to be created, the production commenced filming with location photography. Four days were spent in the Titan Missile Museum , south of Tucson, Arizona —the disarmed nuclear missile was fitted with a fiberglass capsule shell to stand in for the Phoenix ' s booster and command module.

To give greater dimension to the rocket and lend the missile a futuristic appearance, Leonetti chose to offset the missile's metallic surface with complementary colors.

After the completion of the Phoenix shots, the crew moved to two weeks of nighttime shooting in the Angeles National Forest. Zimmerman created a village of fourteen huts to stand in for Montana; the cast enjoyed the scenes as a chance to escape their uniforms and wear "normal" clothes.

To give the scene a black-and-white feel, Leonetti made sure to use light without any coloration. After location shooting was completed, shooting on the new Engineering set began May 3. The set lasted less than a day in its pristine condition before it was "Borgified". Filming then proceeded to the bridge. These lights were then directed towards the actors' faces at degree angles. The set was lined with window paneling backed by red lights, which would blink intermittently during red-alert status.

These lights were supplemented by what Leonetti called "interactive light"; these were off-stage, red-gelled lights that cast flashing rims on the bridge set and heads of the crew.

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