Star Trek: Picard's production designer looks back on his work in the Star Trek universe.
Star Trek: Picard has run its course with the show's third and final season streaming on Paramount+ earlier this year.
It's like, all of a sudden, the pressure of the world, we're like,"Oh, okay, great, create a brand-new starship, make it look cool." And so, again, you're like,"But what if it sucks? What if everyone hates it?" It's saying,"What if?" and then getting into it, and then realizing the pressure to do it and to deal with everything that the other designers throughout history had done with it.
A big part of these seasons of Picard was modernizing the look, starting with that Next Gen aesthetic and modernizing it. What did it mean for you to modernize that? Was there storytelling going on in your head about how that culture has changed? Or was it just starting with what the show needed and somebody else can fill in the blanks? What was that process like?
Something I saw in one of the featurettes was you talking about"space crate," that ubiquitous background material. That's one of those things that never occurred to me but now that you've pointed it out, it's like a bell going off in my mind.
We used the graded plexiglass in sickbay and the transporter room, that type of thing. I would have loved to have done an updated holodeck. We had designs at one point where we were going to do that, the holodeck-off version with the grid lights and everything like that. That was going to be a fun version, but we never got around to it.
We went with kind of the idea of the Dodge Charger, the new version. You look at it, it looks like the 1960s Dodge Charger, but it's upgraded. We went with that classic look. I think what Andy Probert and Herman Zimmerman did with the Enterprise-D is phenomenal. It's just a completely different thing, and it's exactly what it needed to be and everything.
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