Michelle Yeoh: The Force Behind 'Star Trek: Section 31' Movie Magic

As a devoted film enthusiast, I find myself captivated by the pristine, utopian future depicted in Gene Rodenberry’s venerable “Star Trek” series, where vibrant colors and non-lethal technology bring conflicts to a peaceful resolution, often through persuasive dialogue. However, even the seemingly immaculate Starfleet requires its members to roll up their sleeves and tackle the gritty realities of the universe every so often – a task that falls squarely on the shoulders of the daring crew featured in the latest streaming film, “Star Trek: Section 31“.

The concept for this project originated in 2019, focusing on the popular character Michelle Yeoh from “Star Trek: Discovery,” who portrays Philippa Georgiou. Georgiou is initially introduced as a kind mentor figure who meets a tragic end and is replaced by her ruthless counterpart from the Mirror Universe, an alternate universe where Georgiou rules as the emperor of the oppressive Terran Empire. Despite initial resistance from the “Discovery” crew towards their former leader’s twisted persona, her talent for treachery and affinity for violence made her a prime choice to join another branch of Starfleet: Section 31.

Originating from the minds of Ira Steven Behr and debuting in a 1998 episode of “Star Trek: Deep Space Nine,” Section 31 is a clandestine, ethically ambiguous division within Starfleet that is kept secret from all but its members. Since its creation, it has stirred debate among “Trek” enthusiasts, with some viewing it as contradictory to Roddenberry’s optimistic vision for the series. Despite this controversy, Section 31 has persisted and has appeared in various incarnations of “Trek,” most recently in the series “Discovery.

Following several years of development by Secret Hideout, the production company owned by executive producer Alex Kurtzman, who has managed all “Star Trek” TV productions since “Discovery,” the project initially conceived as a series titled “Section 31” underwent a change due to scheduling conflicts arising from Yeoh’s Oscar victory for “Everything, Everywhere All At Once.” As a result, the storyline was reimagined as a feature film instead. Craig Sweeny penned the script, and Olatunde Osunsanmi, a frequent director of “Discovery,” was assigned to direct this cinematic adaptation.

The story continues with former empress Georgiou, now running a luxurious nightclub and hotel in a secluded part of the universe following the events of “Discovery’s” finale. When a group of Section 31 agents – Alok (Omari Hardwick), Quasi (Sam Richardson), Garrett (Kacey Rohl), Zeph (Robert Kazinsky), Fuzz (Sven Ruygrok), and Melle (Humberly González) – drop by her establishment for a mission, she is drawn into their endeavor. Georgiou ultimately decides to join this motley crew in a high-stakes pursuit to prevent a catastrophic danger from unfolding.

Prior to the debut of “Section 31” on Paramount+, Osunsanmi shared insights with EbMaster about elements carried over from the TV series to the movie, working together with Yeoh in shaping her character and action sequences, managing the vocal Star Trek fanbase, and his enduring passion for science fiction.

Before joining “Discovery,” how much did you already know about Section 31?

In the county where I was raised, which happened to be Orange County, I spent a significant part of my childhood years immersed in the world of “Deep Space Nine”. It was here that I first encountered Section 31, as I watched Avery Brooks portray Capt. Benjamin Sisko skillfully maneuver through it.

How did you first get involved with the project?

It was rumored that Alex Kurtzman and Michelle were discussing something in a meeting, and I was eager to find out what. After the meeting, I asked Alex about it but he didn’t reveal much. I also asked Michelle, who remained tight-lipped as well. Soon after, I received a call from Alex, who mentioned a project called ‘Section 31’ starring Philippa Georgiou and asked if I would be interested in directing it. I readily agreed, which was six years ago. Since then, there have been several changes to the project, but now we can finally share it with the world, and that’s thrilling news.

It’s interesting to hear that Michelle Yeoh brought the idea to Alex Kurtzman.

Michelle excels in understanding the character more deeply than anyone else because she’s had the opportunity to portray it in two distinct adaptations: one in the Prime Universe and another in the Mirror Universe. Michelle’s passion and determination are unmatched; she was instrumental not just in pitching the idea to Alex, but also in persisting with it throughout various challenges over the years, such as industry resistance, scheduling conflicts, and ensuring we seized the opportunity to produce it. She stood by the character, the project, and us throughout this journey. There’s no stronger driving force behind bringing this production to life than Michelle. Following her, Alex, the studio, and Craig Sweeny, who tirelessly worked on the script until the very end, deserve recognition as well.

“Section 31” began as a spin-off series before shifting into a feature film. What was the most daunting part of approaching that transition?

There’s an abundance of tales to share from Section 31, and we had numerous scripts and stories at our disposal. Fitting it all into one feature film is quite challenging, but it’s also thrilling. Instead of a long-distance run, which is what you do when creating a series, we’re sprinting. The advantage of this pace is that the story moves quickly, offering an uninterrupted, action-packed journey. You’ll be able to dive in and out swiftly, allowing us to briefly explore a new corner of the Star Trek universe – a location outside Federation space. Although it would have been fantastic six years ago to produce a series, we find ourselves in an ideal position to make this movie at this time.

How did you go about deciding which elements from the series made it into the film?

If you compare the television series with all its episodes and the movie, they are two distinct entities, as there’s no single narrative from the series that was adapted into a film. Instead, only three characters – Georgiou, Alok, and Fuzz – were carried over from the original show. The rest of the story is entirely new, taking shape through various rewrites between the television series and the movie.

It’s a Section 31 film, but it’s also pretty equally a Philippa Georgiou movie. What did you want to explore with Georgiou?

In “Section 31,” it was crucial to witness the conclusion of the Georgiou arc. Initially, when we meet her as Emperor Georgiou in the Mirror Universe, she’s as evil as they come. However, during her journey with the crew of “Discovery,” she learns that there’s more to life than destruction and chaos. She even becomes a powerful force for good.

In “Section 31,” we encounter her on a path towards redemption, given another opportunity. This journey marks the climax of her character development, and it’s this potential for redemption that makes “Section 31” intriguing. It’s because Philippa Georgiou’s personal mission aligns closely with the overall objectives of the story, serving as a crucial element in its success or failure.

How much of an influence was Michelle Yeoh in developing the film’s story?

During our preparation process, we meticulously scrutinized every single page of the script. We didn’t just focus on the storyline; for each line of dialogue, we posed questions. It wasn’t merely about understanding the narrative, but also about figuring out how to perform it effectively. Why are we choosing this approach? How can we bring this character to life in a way that is true to her complex and dynamic nature? These discussions were crucial for her, as they helped ensure she could deliver the strategic nuances essential to portraying such a challenging role convincingly.

Discussions about Georgiou’s emotions are crucial as they guide me in deciding where to place my camera. I’m a firm believer in directing emotionally, and I draw my visuals based on the characters’ feelings and their impact on the audience. The character of Emperor Georgiou wouldn’t exist without Michelle Yeoh’s influence.

You and Michelle have been collaborators for going on 7 years now, what’s the biggest takeaway you’ve gotten from working with her?

michelle never fails to exceed expectations – every rumor you’ve heard about her only scratches the surface of her true greatness, multiplied by twenty. The time spent with her has been invaluable to me. It’s often said not to meet your idols, but I met mine and my admiration for her has grown since our encounter. One lesson she instills is her unwavering consistency – no matter the circumstances or pressures, on set or off, she remains a constant source of positivity. This steadfast goodness is truly inspiring.

What was it like directing Michelle for the combat sequences given she’s got such a prolific history in martial arts films?

As an action director, I’m a fan of intense action scenes, especially explosions and fight sequences. However, if we add Michelle Yeoh to the mix, who has more experience than me in this field, it becomes a unique trio: myself, Michelle, and Chris McGuire, our stunt coordinator. While Michelle is no stranger to diverse situations involving both combat choreography and stunts, what stands out when you collaborate with her is not just her ability to excel in these intriguing sequences, but also her role in crafting them.

Working with Michelle and Chris was an extremely collaborative experience as we aimed to introduce something original and exciting to the Star Trek franchise. The essence of every strike, leap, dodge, and evasion is rooted in the character’s objectives. In the movie’s final battle, Georgiou’s fight was unlike typical expectations, with a focus on expressing her affection and empathy for her adversary through her attacks, feints, and defenses. This approach to combat was both intriguing and captivating, adding an intimate layer to the scene.

Whether it’s in film or TV, you stay pretty squarely in the realm of sci-fi and horror. What is it about the genre that keeps you coming back?

I have a big appetite for storytelling, especially when it comes to action sequences, but what truly fuels me is the blend of drama and emotion. After all, action without the underpinning of emotional turmoil loses its impact. It’s crucial to connect those dynamic scenes with the characters’ feelings. On the other hand, I am captivated by science fiction as it provides a platform to discuss societal ideals and fears in a more abstract way. It allows us to delve into complex themes that might be too intense or difficult to address directly through conventional dramas.

In addition, you have the thrill of creating and designing entire universes, blending action, suspense, and terror seamlessly into science fiction. Science fiction offers a broad platform for such diverse elements, and I find immense joy in weaving them together simultaneously, whether it’s across an entire movie or within a single scene.

As a dedicated movie critic, I’ve found myself consistently drawn to the intricate puzzle that is “Star Trek”. This long-standing series presents an unparalleled challenge due to its rich history, the sharp intellect of its devoted fanbase, and the unique requirement of crafting a story in the vast expanse of space. Each new project brings fresh challenges, pushing me to my limits at every turn. It’s this ongoing intellectual journey that keeps me captivated and eagerly returning to the “Star Trek” universe.

Some fans feel Section 31 is antithetical to the utopian legacy the original series was trying to build. How is your film in conversation with that debate?

Indeed, it’s right smack in the heart of the matter, isn’t it? There’s nowhere more suitable than being right in the thick of a discussion. I recall an instance from when I was engrossed in “Deep Space Nine,” where the debate intensified as they introduced Section 31. And that’s alright. It’s beneficial to have these discussions. However, I am a staunch advocate for maintaining utopia, and I believe that wherever there is light, there must also be some degree of darkness. We tend to shy away from acknowledging this darkness, but it exists. The “Star Trek” universe is expansive. I think it’s advantageous to delve into different aspects of it that have already been set up. I hope that once viewers see the movie, it might slightly shift or continue the debate.

They can discuss these matters freely, as they stem from deep within their hearts. Over the course of several decades, this topic has been significant in their lives. Ultimately, revisiting and debating the subject is beneficial for them, promoting a healthy dialogue.

Michelle’s said she’d be down to make more of these films and you’ve said there are tons of stories you wanted to tell in the Section 31 universe. Is there any chance there’s a sequel in the works?

That’ll be up to the fans. If they love it, the sky’s the limit. Anything’s possible.

This interview has been edited and condensed.

2025-01-23 20:47

Michelle Yeoh: The Force Behind ‘Star Trek: Section 31’ Movie Magic