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EPK Interview with Justin LinRecorded on March 30, 2016

Question: Can you discuss the early conversations you had

about coming onboard as the director of Star Trek Beyond?

Justin (14:07:13:16): Well, first I got a call from J.J. --

it was unexpected. I was shooting and he tracked me down in

my hotel room. We talked a little bit about Trek, and he

didn’t know if I had any connection to it. So that was kind

of our first conversation. I met him a couple days later.

I’d had some time to think about it and, it was very

exciting to me because it was not something I was seeking

out, but I realized how much it was part of my life growing

up and that became that kind of -- for me -- tipped the

scale of wanting to try to be a part of this franchise.

Question: Were you always a fan of the series or was this

something you became invested in later in life?

Justin (14:08:02:00): It was really interesting because I

grew up in the 80s, and it was the reruns of the original

series and I -- by no means am I a Trekkie or anything -- I


don't know every episode by name. But, you know, I think ten

years of it being on in our living room every day, and it’s

kind of the only time I got to spend with my parents -- the

crew of the Enterprise became kind of our family. And it

also was very interesting because it was in a way -- it was

very progressive for its time. It had a very multi-ethnic

cast, and it has this sense of exploration that I really

liked also as a kid.

Question: Can you discuss how it was working on the script

with Simon and Doug and Bad Robot?

Justin (14:09:03:05): I kind of knew what I was signing up

for with the crazy schedule. I’m used to making big budget

movies on very tight schedules, and nothing I’ve done

compared to this schedule. And in many ways this felt a

little bit more like a rescue mission. When J.J. called me

he was very clear on wanting to start over -- clean slate --

and the fact that we had to be rolling camera basically in

five months. Knowing that, I felt it was important to make


sure I had the right collaborators. And I felt very

fortunate to be paired with Simon and Doug. I remember being

in London with them and Lindsey in a room and just trying to

hash out ideas. And it was really interesting because in the

process of doing that, I realized Star Trek is one of the

few franchises that has crossed mediums. Having done TV, I

realized why there was a bridge in the original series and

how they would have adventures weekly. But the fact that

J.J. was able to kind of, well not even J.J., but the fact

that Star Trek kind of moved medium and went from TV to film

and then in many ways, J.J. restarting it in this kind of

tent pole world. It was really interesting having that

conversation of what can we capture even at the very core,

its essence that is Star Trek, so that it can thrive,

hopefully, in this bigger budget environment.

Question (14:11:05:21): Can you discuss what you feel is the

essence of your film and how you’re making it your own?


Justin: I felt like it was important that -- especially now

with this film coming out on its 50th anniversary -- that we

hopefully can find a way to deconstruct what has made Star

Trek, the Federation, Starfleet so great and having it last

50 years, but at the same time hopefully we can at the end

of it – by deconstructing it -- we can reaffirm why it’s

been with us for so long and why there’s such a great

relationship with the fans and the viewers.

Question: Can we go through the cast and can you tell me a

little bit about each one, both as a person and as their

character? Starting with Chris Pine?

Justin (14:11:48:08): Chris to me is -- he is the consummate

actor. You can’t get away with anything. I love the fact

that when he comes on set -- whatever is written, whatever

is behind the words -- he is going to test and push. And

I’ve had some great conversations with him. Especially, I

think, with this process because Captain Kirk -- he’s not

only kind of the lead of this crew, he’s also going through


a lot of personal turmoil that's actually – could be seen as

broad but also very subtle. And I love that the challenges

that bring Chris would bring to the writing to the scenes,

and I felt like he was a partner in kind of building this

whole film in Kirk’s arc.

Question: Zach Quinto?

Justin (14:13:03:21): Zach’s great. Zach is someone that

whenever I show up on set for the rest of my career, I hope

any actor could be like Zach. That would make my life

easier, because he comes prepare. We have great

conversations. Especially with the Spock that he’s created,

but also at the same time the legacy of Spock. That is

something that I really -- especially coming in on the third

one and JJ’s take on Spock and J.J. and also Zach’s take on

Spock -- it was great to have that conversation because we

do explore a lot more his human side in this canon. A lot

of those subtleties I really felt like I needed a great


collaborator, and Zach having done two of them before -- it

was great to kind of have that conversation with him.

Question: Simon Pegg?

Justin (14:14:06:17): I think one of the reasons why I was

excited about doing this film was Simon Pegg. I‘ve been a

big fan of his not only as an actor but also as a writer. So

to get in that room and really trying to figure out what

this film is on its core and kind of building out from

there. It was a challenge, and it was not easy. I love

Simon’s passion, you know he fights but he fights because he

believes in it, and I think in the writing process having

Simon and Doug -- it was something I think I’ve always

wished for in a collaboration and I really got it. And

they’re great. I would say they’re way bigger Star Trek fans

-- they just know a lot more of the details. I always felt

like we were a good team because I could throw anything out

there, and I had to make sure I make it through the Simon-

Doug filter. But as an actor, it was unbelievable how much


he knew the character, and I think being in that room and

coming up with the ideas and seeing these words come to life

-- it was just amazing having him on set. He is one of the

few actors he never -- even when he’s doing off camera stuff

-- he is giving 100%. And so it’s that energy that I think

on these big productions to keep that momentum going, having

someone like Simon by my side was so important.

Question: Karl Urban?

Justin (14:15:57:22): Personally, Bones was my favorite

character growing up, and to be able to help contribute to

the character, it was a dream come true. And Karl, of

course, I love Carl because -- and this is not a knock

against him -- he comes in and wants to make this a Bones

movie, and so he fights for Star Trek to be a Bones movie.

And I love that. I love that energy, and I love having that

discourse on it because in his view Bones is the most

important being which it should be. I really like that

interaction with Karl on the creation of Bones.


Question: Anton Yelchin?

Justin (14:17:02:01): I love Anton’s kind of youthfulness.

He’s so smart. He reminds me of when I was back in film

school, because he would watch these obscure European films,

and he has this enthusiasm, and he hasn't been jaded by it

by Hollywood. He is independent and that's something that I

think he brings to Chekhov. Sometimes we don’t have a lot of

real estate, but he’s always there on point, and he helps

contribute to the overall.

Question: Zoe Saldana?

Justin (14:17:50:08): You know, Zoe She’s very instinctual

and I think, for me as the director, it was great to kind of

have that interaction with Zoe because sometimes --

especially doing big visual effects -- people can get lost,

crew can get lost and I love the fact that with her it has

to be immediate. It has to be instinctual.


Question: John Cho?

Justin (14:18:40:23): John and I go way back. When I was

making my credit card movie, John was the one that had

already made it. He was the MILF guy from American Pie! So

it was really nice after twelve years to be able to somehow

come back together and work again. And you know there’s no

accident why John Cho is where he is in his career. Because

he shows up and he is ready to work every day. And it’s

great to have grown myself but also to see someone grow in

parallel. And to able to get together and play again, that

meant a lot. And I think the choice for Sulu, it all went

back to my initial conversation with J.J. I will be forever

grateful because he was handing over the keys in saying,

“Just be bold and make it yours.” And I see that and I try

to take that to heart. Every frame of this film, whether

it’s a big action sequence or some potentially – maybe even

the smallest decisions -- I go back to the initial

conversation of being bold. And it surprised me that -- as


progressive as Star Trek has been historically -- that we

had never seen you know a character that seeing a same-sex

relationship in Star Trek -- we had never seen that before.

It was Simon’s idea. When we talked about Sulu’s family.

When it came out of Simon’s mouth, it felt like, “Why not?”

Of course! And I felt like the best way to deal with is to

not to make it an issue, and not make it an event. I know

people will talk about it, but I hope when you watch the

film they’re a family just like any other family and the way

it’s shot -- it’s not to make it a big point. And I think

hopefully that will be reflected when people view the film.

Getting Doug to play Ben -- it took until the very last

second to get him to do it. I think it took us to get to

Dubai and go through casting and not being able to find

anybody for Doug to finally agree to do it.

Question: Idris Elba and Sofia Boutella?

Justin (14:21:45:03): Idris is fearless. Because of the

crazy schedule in making this movie, I really felt like we


were creating this character together in real-time. I

remember calling him and talking to him about potentially

playing Krall, and he was driving with his two year-old

crying in the back seat. And we ended up talking for an hour

about Krall. I felt like it was important that this

character is there to deconstruct the Federation’s ideals

and philosophy, but to do it in a way where he has a very

valid philosophy. So I think that’s where we connected. All

throughout the film -- in pre-production that was always the

conversation. And it was great working with Idris because he

would just go for it. I think there was trust and so -- I’ve

never seen anyone just go all out and that's I felt like

that what was needed for Krall because he does go through

quite a bit of transformation throughout the film. Jaylah --

one of the exciting things for me coming on this film was to

try to introduce a brand-new character to the crew and we

did a lot of casting and soon as Sofia came in I felt better

because I knew we had our Jaylah. And she was -- she has

this quality of strength that is not manufactured, and

that’s what I was looking for. She also has this, not only


this strength, you know she has this sense of innocence that

I felt that was important if we were going to have a

character join, I wanted a character that would have that

would somehow hopefully have the viewer’s point of view.

Anybody that’s watching seeing this journey can hopefully

see it through Jaylah’s eyes, and I need someone to kind of

be there and be a copilot on their way in.

Question: I’d like to talk to you a little about some of

your key department heads, too. Starting with DP Steve

Windon.

Justin (14:24:09:00): Steve Windon, we’ve been working

together for 10 years and nothing phases Steve. I push him,

and I challenge him and he’s the most gracious and classiest

DP. I knew that this was going to be tough. I knew that we

were coming in, and I knew my idea about what this movie was

and with the budget that we had, it wasn't going to fit. And

I needed a crew that would understand that and that would

basically be pushing everyday and that’s what Steve did


without ever freaking out, without ever getting emotional.

He was kind of the rock and it was great to have Steve and a

lot of the crew, you know, Jeff Haley, a lot of the camera

crew -- this was the kind of crazy mission to come together

to see if we could pull off something that really wasn't

logistically possible.

Question: Production Designer, Tom Sanders?

Justin (14:25:19:01): I’ve never worked with Tom Sanders

before, but I am so grateful that he was part of this film

because I’m used to coming up with ideas in other films and

maybe even in the process of shooting. And you’re like,

“Fine lets just go and shoot in this street corner.” But in

Star Trek you can’t do that. Every idea is a build, and I

think a lot of the pressure was on the Art Department and

Tom was going around the clock. I really appreciated his

kind of enthusiasm and just never giving up. I felt like I

wanted this Trek to have more texture and be tactile so it

was really cool to work with Tom and go into his workshop


and see that everything we talked about is now being molded

in these models. It I felt like constructive and great

dialogue about what this film should look like, should feel

like. And he made it really easy to have that conversation.

Question: Makeup SFX head, Joel Harlow?

Justin (14:26:38:19): Joel Harlow and his crew,

unbelievable. This is my introduction into that world, and I

just couldn't believe how fast they had to turn things

around. What I appreciated the most was the dialogue in

these characters. A lot of times it’s very hard to sit in a

room and talk about character and maybe somebody has an idea

of a look already. And I wanted to start pure and build from

there. We did it both ways. We’d keep talking about

character -- especially Jaylah and Krall. And Joel at the

same time was creating these boards and boards of aliens.

And I think Krall came from the idea of evolution. Krall --

from that discourse -- he got developed. Whereas Jaylah

actually was from all those boards -- a design for Jaylah


that I really liked. I really loved the he was flexible, and

he was able to kind of meet me wherever in whatever process

we needed to kind of create our characters.

Question: Costume Designer, Sanja Hays?

Justin (14:28:22:06): Yes Sanja, again, we’ve worked

together quite a bit, and I was very glad she was a part of

this project. I think part of the look was to be able to

embrace and celebrate everything that has come before but at

the same time not be afraid to just try something new. So I

felt like she was really able to walk that fine line, and

that was the mandate from day one. I felt like she did an

amazing job. I feel when you look at the crews uniform right

away it kind of takes you back, and it is actually not an

exact replica of the 60s uniform. A lot of the things she

did and -- she’s tirelessly always working and pushing -- I

think that will show for everybody that watches the film.

Question: The VFX team, Ron Ames and Peter Chiang?


Justin (14:29:36:20): Again, I feel very lucky to have Peter

Chiang and Ron Ames be part of the whole VFX crew. It’s

such a big part of this film, and one of the big challenges

with this film – it’s about juggling and having a lot of

different balls in the air -- more than usual on these big

productions. Because usually you have ample time to develop

script, to prep -- we didn't have that. So the script was

going and we would just have to kind of figure it out as the

process was going. But VFX-wise, there was a big chunk of

this movie that was still in my head that we didn’t get to

prep. So in many ways they’ve have to kind of take something

that was prepped, and we had to build upon that and also

start over from nothing. And the other person that has

really been amazing in this process was Alex Vegh. He’s head

of previs. He was one of the 2nd unit director. He was such

a big part -- and again and we have a short he and because

we worked together so much. Without him I don’t think there

was any way we would have been able to construct this movie

because we had to take some short cuts. And as we were


designing -- to have this core team that was fully bought

in. I have a very specific taste. I think this idea of

trying to make Trek a bit more tactile, to have textures --

when most of these films live in the CG world, it takes a

lot of very small subtle nuanced moves. I I think that a lot

of times you can create a sho, but I wanted to give it a

human touch. This kind of adds a lot of extra time to talk

that we don't actually have, so for us to try to get to

where we are now I give them all the credit for being open

for working hard and just really collaborating and hopefully

bringing something that when you watch the film, you feel

like you’re in the space. You feel like you’re flying around

all these things. And it doesn’t feel like you’re in a video

game.

Question: And finally, your four-person editorial team?

Justin (14:33:24:01): I love filmmaking in that there’s all

these different phases -- development is the hardest. Trying

to come up with ideas, trying to come to terms in the point


of view and also collaborating -- that’s probably the most

painful. The production is probably the most volatile. You

are just trying to bring everything to life at that point.

And when you go to post-production, if the other two phases

are hopefully done correctly, post-production is when

everything comes to life. That’s where it’s going to live

forever. And so knowing the condensed schedule that we have,

I really did want to have my dream team. And I was able to

get everybody, and I am very proud of everybody in the

cutting room because you know this is family and we have

been together -- some of us for more than ten years. And I

also felt like it was important because I don’t like to kind

of just sit around. Sometimes because of VFX and stuff you

could make some changes. I felt it was important from day

one that you always get a sense of motion, of movement, of

momentum in this production. So whether it was writing,

prepping, shooting, and now post-production, I think that

will translate onscreen. And to have Kelly -- all of them –

it’s not like one of them cuts actions and one of them cuts

this or that. I love the way it’s divvied up because it


allows us to go and play, but it also doesn’t stagnate.

Again we are all family so we can critique and it goes down

to a frame sometimes, and I think it’s important to be able

to have that kind of open dialogue and that kind of team.

It’s something that I really enjoyed doing instead of having

one and having to wait. Not that we can afford to have that

time. I just felt like it was important to have that.

Question: Can you talk about why you chose to start the film

in the way you did? There’s a lot of humor and angst right

up front.

Justin (14:35:57:06): The Teenaxi prologue in the beginning

-- I think part of this is to hopefully establish something

that is grounded but then absurd. It was really interesting

because I had a big idea for a prologue, and Simon had an

idea, and I think Doug had an idea and we kept playing with

it. And somehow I think at the end of the day, it kind of

morphed into one. And it was about establishing a tone that


hopefully is unique, but at the same time feels familiar to

the Star Trek that we all grew up on.

Question: Can you talk about the genesis of the Enterprise

takedown?

Justin (14:37:06:08): When I talk about deconstructing Star

Trek -- the takedown of the Enterprise is probably the most

literal interpretation of deconstructing. On a very personal

level, I remember as a kid watching this show and I loved

the way the Enterprise looked, but I didn’t understand why

it looked that way. It took me a little while -- I think I

was eight years old and I thought,

“Wow, it looks like it has a big head and lanky” -- and it

took me watching the reruns for a while and then realized oh

they’re explorers, and you know the lasers and the fighting

that seem to be kind of added on later that they needed. But

at the core of Star Trek, they are explorers and so the

deconstruction of Trek -- to be able to pull all of these

characters apart -- they all bond on their family, their


home is the Enterprise. And so when we did the take down, I

didn’t want it just to be a quick fight and then over. I

really did want to kind of explore the ship, in a very

literal way, as we were kind of tearing it apart and tearing

all of the characters apart. But I feel like that idea was

kind of in my head since I was you know eight – thinking,

“Wow, it has such a long neck. Wouldn’t you just go after

the neck.” And so it was pretty amazing being able to be

part of this and bringing that to life.

Question: Can you talk about the decision to split up the

crew into teams? It was something more common in the TV

shows than in the movies.

Justin (14:38:49:02): I think it’s because Star Trek lived

in TV and we got to really be with these characters week

after week and for me it was reruns every day. It’s

surprising because we all grew up and know these characters

so well, but in reality there’s not a lot of interaction

between these guys. I have always wanted kind of wanted


Spock and Bones. I think just as a fan of the show, I

assumed that they would hang out even if I don’t see it, I

would assume that they would talk and hang out off-screen

somewhere or check off in Sulu. Because you don’t actually

see a lot of that on the show. It was just something that I

felt like if I was going to make a Star Trek film, I wanted

to see it on-screen. I wanted to move the camera and put it

on these characters. And so I think that Spock and Bones

have always been the two characters on Kirks shoulders, and

I just thought it would be interesting -- when we were

talking about how we were going to split them up -- it

became very clear to us -- lets put Spock and Bones

together. Let’s remove Kirk and not have him be around and

see how they interact with each other. That was something

that I think, again, as a fan of the show I wanted to see

that, and I don’t think we’ve been privy to that.

Question: In this film, we look back into the past with the

introduction of the Franklin. Can you talk about that story

element – that Trek has a history?


Justin (14:40:38:17): The one thing that I think, hopefully

the story, and the plot plays out for what it is but I think

that the inclusion of the Franklin -- I felt like it was

important to try and maybe embrace what came before so we

can move forward. And obviously that kind of becomes a

twist in the film but even on a very superficial level, I

wanted to kind of explore and, again, embrace everything in

the canon of Star Trek. And to do that I think we came up

with an idea that services the plot and services the themes

but it was also something that -- when we talked to each

other and the idea of the Franklin came up -- it was a good

day in the writing room when that idea came, because it felt

pretty organic. That’s something that I want but can it

service the movie? It felt like it was a really good match.

Question: From the minute you see the motorcycle and Kirk,

you know that he’s eventually going to climb on and

something with it. Can you talk about that assault on

Krall’s compound?


Justin (14:42:06:01): It’s interesting because when we were

coming up with the idea of Franklin, we were just talking

about stuff. I grew up in the 80’s and there were no iPads

and there were barely any computers and now my son’s life is

all iPad. And how much time -- very little time even in that

window -- things just shift and evolve. And so we talked

about the Franklin, and the idea that there could be

something with wheels on it and that was kind of the running

joke. And then when we scouted Vancouver, and I realized

that we can have a quarry and have it designed any way we

want, it fell in line with my attempt to try and make things

more tactile. There is nothing more tactile than when the

tires meet the dirt. And it felt like it was within the

canon in the sense that we have seen Kirk on a motorcycle in

09 Trek. And it just felt very organic, and I think the

whole prisoner escape was a great idea in concept, and it

was a great idea I think in the script but in the logistics

of making it, it was insane. Because everything you saw in

that motorcycle chase, we basically did in two and a half


days first unit. I think we had one and a half days just

second unit shooting the jumps and stuff like that. Having

done movies with a lot of cars, that is not supposed to be

possible, and so I think it was one of those scenes that I

wanted to present to the crew and make it a challenge. To

say that in reality that should have been at least eight

days of second unit and probably three or four days with the

first unit. And we are going to do it all in two and a half

days first unit and a day and a half second unit. And so

sometimes on these big movies a sequence like that can kind

of wake you right back up. But it really was kind of

impossible, and I give the crew and Gunther and everybody on

the stunt team all the credit. We had no error for anything,

and we ran into weather problems and we still kind of made

it out, and I think the sequence worked out really well. But

at the same time, I hope that when people see the film ,it

kind of in a way celebrates what was so great about the

sixties – the original Trek -- which was that everything was

kind of practical.


Question: Can you discuss the origin of the Yorktown and

what it represents in terms of Roddenberry’s vision for the

future?

Justin (14:45:27:12): Well, you know, in a very literal way

we wanted to have something that embodied the utopia of

Starfleet, of the Federation. For me, I think it was

important to be able to hopefully explore this idea of

utopia of the Federation world, but at the same time to kind

of push that into the discussion of frontiers and

exploration. And so it was really exciting to talk about

with Tom and Peter as we were designing the idea of

Yorktown. To be able to be on the outskirt, to be on the

very far -- you keep hearing on the show of exploring and

frontier -- and to be on the edge of it and to be able to

have this place where it connects everybody. And as we are

going to find out that connection -- what is most positive

about it -- can potentially be its downfall too. I thought

it was very important to have that kind of representation --

not to be on Earth -- but to be able to bring those ideals


that we’ve seen all these years grow and grow and be on the

very kind of outer limits of these philosophies.

Question: The confrontation between Kirk and Krall at the

end of the film is as much a fight as a philosophical

argument. Can you talk about the genesis of the gravity

fight?

Justin (14:47:11:06): I kind of couldn’t help myself. I felt

like a lot of the times -- even doing the Fast and Furious

films -- I’m kind of pushing physics -- the laws of physics.

But here we kind got to have some fun with it. It was very

organic though, because as we were developing Yorktown, I

felt like real estate was going to be very important because

if you are going to take all of these species and they are

all going to live in one place and it’s going to be kind of

M class and the oxygen … they are going to have to design

it so that every square inch is thought of. As soon as that

came about, I thought well now if you’re doing that you’re

going to control gravity, when you control gravity what


happens when you have a nexus that kind of doesn’t follow

the rules that we are used to here on Earth. And that became

the playground. That became the sandlot. And I felt like at

the very end of the movie in the third act, when Kirk and

Krall finally get together, I didn’t want it just to be a

fight. I wanted to have two characters that had their own

journey and in many ways kind of parallel journeys, but have

very valid points of view and philosophy. And my greatest

hope was to kind of mix that in the sandlot and play so that

you can actually kind of experience it and so that you can

actually agree that they are both valid and so that it’s

done in a way that we have never seen before.

Question: The film acknowledges the passing of Leonard Nimoy

in the passing of Spock Prime. Can you discuss how that

tribute was developed?

Justin (14:48:55:03): Well, you know Leonard Nimoy’s Spock

has been pretty much with me since I was eight. I know that

he’s such a big part of not only this franchise but of our


world. J.J. was so great that he was able to bring Leonard’s

Spock into this canon, and I felt that it was our

responsibility to address it in some way. I’ll give Simon

all the credit, because it was his idea. When we received

the news I felt like we should find a way to address it in

the right way. And when that idea came it felt like it was

just the right touch.

Question: Can you discuss the decision to shoot the Yorktown

scenes in Dubai?

Justin (14:50:01:23): I have shot around the world on tons

of films, and I love doing that. Dubai was probably the

toughest place not because -- they were great but the

infrastructure was being built so the crew was unbelievable.

I think we had people from fourteen different countries and

everybody was there to try and just make everything work.

And I love that energy, but at the same time you can feel

that its still building? I would love to go shoot in Dubai

in ten or fifteen years, and I am sure it will be a very


different place. When we were flying across the world

scouting, it could have been an easy choice to say, “You

know, let’s make Yorktown on a soundstage. Let’s just make

everything on a sound stage. Let’s just make everything CG.”

But again I felt like it was important to stay with my

mandate and make things tactile and make things real. So you

know Dubai was perfect because in a way it was the biggest

soundstage because of the cityscapes and everything that we

were looking for. It felt like it was Yorktown. So when you

are driving around Dubai, it felt like you were in Yorktown.

So when we did that on the scout I felt like I wanted that

to reflect that. So that when you watch the film it doesn’t

just feel like maybe it’s two guys on a green screen. When

you watch it you feel like you are there in Yorktown. In a

kind of way, Dubai is the future.

Question: I know it’s hard for a director to pick because

they are all your babies, but what was your favorite scene

in the film?


Justin (14:52:00:08): It’s really interesting because I feel

like when you watch this film, you are going to feel the

effort that everybody had put in. I feel like you are going

to get a sense of all the connections to the characters

because the cast themselves are a family. And I think that

those are the extra little gems that you get in this film.

But I have to say that the one scene that I had such a fun

time shooting -- which is usually the worst scene to shoot

-- when you shoot scenes with like ten different characters

-- is the scene where they are trying to figure out where

Uhura, Sulu and the rest of the crew are and Spock revealing

that he gave an emulate to Uhura that became a tracking

device. There’s something really nice and simple about that,

but also it was in the Franklin and it was one of those days

on set that it felt like everything was just falling in as

if it was meant to be, you know? And I think for me to be on

set that day it felt like that’s when everything came

together. So I think on a personal level – it’s also an

unexpected scene -- I think when you watch a film that

everybody kind of moving forward and doing things, and that


scene kind of just pops up. I had a great time kind of

making it. And it has no VFX and has nothing but it kind of

represents a lot of what I was hoping to get out of Trek.

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