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Episode Behind the Scenes

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TREKCORE > DS9 > EPISODES > DISTANT VOICES > Behind the Scenes
 
The working title of this episode was "Too Many Rooms". Joe Menosky's original idea didn't feature regular cast members in Bashir's fantasy, instead, different actors played different aspects of Bashir's life, such as 'Youth', 'Age', 'Joy' etc. Ronald D. Moore came upon the idea to set the fantasy on the station and use the regular cast. (Star Trek: Deep Space Nine Companion
   
Although it later became an element in Bashir's attempts to conceal his genetic enhancements, the writers hadn't developed that concept yet, so the reason it was pointed out in this episode that a pre-ganglionic fiber and a post-ganglionic nerve are nothing alike was pressure from Celeste Wolfe, Robert Hewitt Wolfe's wife. According to Wolfe, ever since Bashir first told that story his wife had been bugging him to do something about it. In reality a pre-ganglionic fiber and a post-ganglionic nerve really are completely different, and as Celeste (a pre-vet) pointed out, no one would ever mix them up. As such, Wolfe explains, having Altovar point this out "was my way of saying, 'Well okay' to Celeste." (Star Trek: Deep Space Nine Companion)
   
In a deleted or unfilmed part of the scene where Bashir encounters the representation of Sisko, Sisko triages another injured individual by prescribing drugs known as hydrocortiline and tripdecederine. (Star Trek: Deep Space Nine Companion - A Series Guide and Script Library)
   
Much as director Corey Allen did in a scene in the episode "The Circle", director Alexander Singer shot the scene in the wardroom in one continuous uninterrupted take. When the episode was edited together, the scene was intercut with various close-ups and reverse angles, but the master shot of the scene was filmed as one long take. (Star Trek: Deep Space Nine Companion)
   
Michael Westmore commented on Bashir's old age makeup that "We did a plaster cast of of Sid's face and from that sculpted old age pieces for him, keeping in mind that, hopefully, this is what he will look like when he gets to be an elderly gentleman. It was probably a four-hour process because we also had to age the backs of Sid's hands and make an aged neck for him in case they did any filming behind his back. You have to think of everything". ("Keeping Up Appearances", TV Zone special #34)
   
Dennis McCarthy based the musical score for the episode on the music of Krzysztof Penderecki and György Ligeti. (Star Trek: Deep Space Nine Companion)
   
The optical effect of Odo melting was created by VisionArt Design & Animation. (Star Trek: Deep Space Nine Companion)
   

ira Steven Behr commented "I thought it worked very well. It hit on a lot of levels that we wanted the show to hit on. It was a station show, but it was an interesting station show. It used all of our characters in interesting ways and was a wonderful episode for Bashir and Siddig. It has Bashir dealing with a difficult situation and dealing with it in a heroic, interesting manner. I thought he did some wonderful acting as he aged. The villain was interesting; Garak was a lot of fun. We had some alien chick dabo girl singing in a saloon... Overall, a fun show". (Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages)

   
Alexander Siddig commented that "Distant Voices" was "a massive challenge for me as an actor". ("Our Man Bashir", Star Trek Monthly, issue 18)


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