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."
	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!"
	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."
	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.
	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."
	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.
	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".
	The melting comet Visual FX were designed by Santa Barbara, the same company who produced the comet in DS9's main title sequence.

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