Things are heating up for the final chapters of Paramount+’s “Star Trek: Starfleet Academy“. After a brief respite in episode 8, “The lives of the stars,” the YA sci-fi series zooms in on the final pair of episodes that form a two-part arc, starting with director Jonathan Frakes‘”300th night.”
Frakes is “Star Trek” royalty and an accomplished director with a career spanning 35 years. He has directed episodes and movies in the franchise, which started back in 1990 with “Star Trek: The Next Generation,” and since then his work has been seen in almost every “Star Trek” show. He even took command of two Hollywood outings, sitting in the director’s chair for “Star Trek: First Contact” and “Star Trek: Insurrection.”
We sat down with Frakes to talk about his impressive legacy behind the camera on “Star Trek” and how it feels to end “Starfleet Academy.” Minor spoilers for “Starfleet Academy” episode 9, “300th Night” ahead!
The article continues below
“I think the main goal was to make the reunion of the mother and son resonate because it’s complicated, it’s loaded, it’s dense and it’s confusing,” Frakes tells Space of his tense episode.
“For both Tatiana’s (Maslany) and Sandro’s (Rosta) character and for his cadet friends. So that’s the heart of the episode, and I loved it. The motive for shooting this show, which Alex (Kurtzman) established in the pilot, was these tight moving close-ups with these new anamorphic, anamorphic spherical lenses in my eyes in emotional lenses. lend themselves to that shooting style.”
One of the keys to making Star Trek feel believable is the set dressing, and technology has come a long way since the days of TNG.
“It’s the coolest Volume set I’ve ever had the privilege of working on for any of the Star Trek stuff there in Toronto.” Frakes explains enthusiastically. “Some of the Ukek vendors and some of the gags and food are literally on the set, but all the extensions, all the depth and the things that fly in the air are all in the Volume. It’s a really incredible creation. Digital. Artistic. We’re learning more and more about how valuable it is.”
“It’s complicated to shoot, but when it works as well as it did there, it adds to the show. In the old days, we’d stare at a green screen with tape marks on it and say, ‘There’s a Romulan ship coming,’ while holding a stick with a tennis ball to move their eyeline. It was so primitive compared to what we have now.”
Directing a total of 31 “Star Trek” television installments, many of them all-time classics, Frakes has cultivated a special process and preparation style as a filmmaker to extract the best from his given screenwriters.
“I have two things I look for in every script when I’m assigned,” Frakes reveals. “One is: Is there any frivolity, where is it, and can I increase it and make sure I don’t miss it? The other is the emotional connection between the characters. Because the action and the movement of the show defines itself.”
“Starfleet Academy” has certainly led the way with this philosophy, focusing on characters and the emotional connections between characters over flashy CGI space battles, and it’s something Frakes is clearly passionate about as well.
“The sets are always going to be spectacular, the costumes are just there to help you,” explains Frakes. “Many things are already in place on “Star Trek”. The real success is when you care about the people who do these amazing things. The shows are huge, and they’ve gotten bigger.
“Look, the scope of ‘Starfleet Academy’ in terms of design, art direction, visual effects, practical effects and graphics is huge. It’s very cinematic. In my particular episode, if you don’t care about the reunion of the mother and son who haven’t seen each other in 15 years, who have a very complicated relationship with each other and with you, it doesn’t have much to do with my character there.”
Robert Picardo (The doctor) and Frakes have a long-standing relationship, and the director considers himself lucky to have him involved in “Starfleet Academy,” as well as Oscar winner Holly Hunter (Captain Nahla Ake).
“Holly is one of our best actors,” he adds. “I got to know her a little bit before we shot, and we had the privilege of time trialling. Her process involves finding herself in space in a really creative way. The character is an amazing leader. She’s smart and tough and funny.”
With only one episode in the director’s chair, Frakes unfortunately didn’t get to work with everyone in this season. “I met Giamatti, who I didn’t have the privilege of having on my show,” he notes. “Picardo introduced us and we had a couple of wonderful conversations. I said, ‘How do you like it?’ And he said, ‘You know, Frakes, I’m having fun. Maybe I’m having too much fun.'”
Frakes and his talented crew helmed the penultimate episode of this debut season, only to hand the finale to accomplished “Star Trek” director Olatunde Osunsanmi, a team-up they’ve experienced before.
“I did this with Tunde before on ‘Discovery,'” notes Frakes. “We did the last two episodes, and there’s something about working with him. I pass the baton and he gets the big orchestral finale, but if it’s not set up right, it’s not going to have the same vibe. We don’t shoot together, but we have very similar styles, very similar passion, and we’re very competitive.”
Episode 9 of “Star Trek: Starfleet Academy” is streaming exclusively on Paramount+ now, with the season finale on March 12.
