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Apparently this episode
caused great confusion for some of the staff who worked on
it. Jeri Taylor remembers -
"I think a lot of people
have been utterly mystified by it. I loved the mythic
aspect... how important that has been to so many cultures,
and how we in contemporary days have strayed away from
that." |
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Naren Shankar on Joe
Menosky, Writer of "Masks" -
"Joe has a magnificent
imagination, he thinks in a deep way. But in this case, it
was too much... We had to make it more understandable,
make the clues clearer. And the end result is... it's
still kinda confusing!" |
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Director Rob
Wiemer on "Masks" -
"I didn't get
it. I always look and find a meaningful subtext of some
kind in almost every show I've done; more often than not
they're little morality plays, and I was unable to find
that in "Masks"... it ended up kind of an exotic adventure
story, but it didn't have any heart." |
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The scripts
original explanation of the D'arsay archive was according
to Science Advisor Andre Bormanis, an "advanced Genesis
device" that scouted a planet to recreate members of an
old society who were kept "on file", but mistook the
Enterprise or such a world, thus triggering
the malfunction. |
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Apparently
Brent Spiner had difficulty in creating the different
personalities. Jeri Taylor recalls -
"He [Spiner]
said 'Dustin Hoffman took a year to figure out how to play
a woman in Tootsie - how am I supposed to do it in two
days?'. But I thought he did an extraordinary job... He's
a fine actor and he needn't be so worried." |
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When Brent
Spiner and Robert Wiemer had their request for revoicing
some of the personalities turned down, the effects were
done in post production - raising the pitch of the child's
voice, lowering the old man's and adding reverb to that of
the Ihat character. |
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The elaborate
temple set was built on DS9's Stage 18 and later reused
for the interior of the Albino's fortress in "Blood Oath". |
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The melting
comet Visual FX were designed by Santa Barbara, the same
company who produced the comet in DS9's main title
sequence. |
