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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 |
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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) |
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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) |
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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) |
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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) |
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Dennis McCarthy based the musical score for the
episode on the music of Krzysztof Penderecki and György Ligeti.
(Star Trek: Deep Space Nine Companion) |
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The optical effect of Odo melting was created by
VisionArt Design & Animation. (Star Trek: Deep Space Nine Companion)
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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) |
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Alexander Siddig commented that "Distant Voices" was
"a massive challenge for me as an actor". ("Our Man Bashir", Star
Trek Monthly, issue 18) |
