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TREKCORE
> VOY >
EPISODES >
EX POST FACTO >
Behind the Scenes
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The audience becomes
aware that Paris' middle name is Eugene. The name was
chosen by the show's producers as a tip of the hat to Star
Trek creator Gene Roddenberry. |
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Aaron Lustig, who plays
Professor Ren also plays "Guri" in the Star Trek
Enterprise episode The Catwalk. |
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The episode's director,
LeVar Burton, plays chief engineer Geordi La Forge in
The
Next Generation. He plays La Forge, with the rank of
captain, in the episode
"Timeless". |
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Shooting the episode
took place immediately before Christmas 1994. Burton
reports that shooting started five days before Christmas
on soundstage 8. |
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Thanks to Burton's own
acting experience with Treknobabble (as Star Trek
technobabble is termed by fans), was able to help Roxann
Biggs-Dawson (Torres): "muddle through some uniquely Star
Trek technobabble as she struggled with the line, "Vent a
couple of LN2 exhaust conduits along the dorsal emitters.
Make it look like we're in serious trouble." The line
occurs during the attack on Voyager by Numiri patrol
ships. |
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The name of the Banean
Minister is Kray, but that name appears in the script only
and is not mentioned in dialogue. |
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Jeri Taylor:
"This to me was a so utterly the
least successful story that we did. Michael Piller feels
that it was one of the best that we did. We are at odds
over this, as we are occasionally. The premise was a great
sci-fi premise, the idea of punishment being that the
perpetrator experiences his victim's death. That's what we
bought. That was sensational. What I did not care for, and
Michael Piller and I are at odds about this, is that he
rewrote the episode, took it in the direction it went, and
he was extremely pleased with it. I thought it was a
mistake in an early episode of a franchise which says
we're in a new, different, unexplored part of space that's
unfamiliar to us, to do an homage to an 1940s American
film style. He wanted to do film noir. To me, that was not
the way to go." She also felt that the episode
"damaged" the character of Tom Paris.
"Even though what he had done in
real life was different from what the implanted memory
device suggested, the show nonetheless gave the impression
that he came to this planet and began hitting on (making
advances to) the wife of one of its people. It was a very
unattractive posturing for him. That's the kind of cliché
the character could easily fall into. By that point, I was
really fed up with it and after episode six, I didn't
allow any more smarmy womanizing references to go through,
because that's all we were saying about his character. It
was very one-dimensional, very unattractive.
Unfortunately, we didn't replace it with anything else, so
Tom Paris didn't do much of anything. That's why we needed
to develop him in the second season into something more
heroic." |
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For his part, Piller
defends the script, rejecting the notion that it is a
re-make of the episode from
The Next Generation called
"A
Matter of Perspective". Michael Piller:
"A lot of people had questions about
it and they thought we made Paris and his approach to
women unattractive. I thought it had all the elements of
Star Trek and science fiction working for it. It had a
really strong mystery, a very strong style; it had space
battles; it had investigations with Tuvok at the core of
it so we could see what he does for a living; it had sex
and romance and terrific performances. I was working on
this episode and I think it had a lot of original
science-fiction ideas. The idea of punishing somebody by
making them relive the last few minutes of their victim's
life is terrific, as is the idea that somebody would use
someone's brain to smuggle information to an enemy. Taking
these elements and weaving them into a story that was
affecting and intriguing was difficult, and I had a great
deal of fun getting into my trench coat and going to the
word-processor and doing it." |
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Supervising producer
David Livingston: "Piller wanted to
do film noir and he wanted to shoot it in black and white.
And then he wrote all this noir dialogue, literally. It
was questioned why they were speaking American I940s
dialogue. It was a little bit on the nose in that regard.
Then I suggested a peekaboo haircut for the woman so that
she looked like Veronica Lake. I figured if you're gonna
do it, go all the way. But the opening sequence was
effective and interesting. It was Michael's homage to film
noir. Michael was really into 'Pulp Fiction' at the time
and he said, 'Everything should be like Pulp Fiction.' I
think this was his 'Pulp Fiction'.' Tuvok had always been
envisioned by Piller as a Hercule Poirot-like character,
although initial plans to cast an older black actor were
scuttled when Tim Russ read for the role. In any case,
problems in writing the character remained. Unlike Spock,
who was half human, Tuvok has no such inner conflict, so
of the characters he has been one of the hardest to get
to. And Tim has got very strong feelings about where he'd
like to see this character go." |
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Tim Russ shares Piller's
enthusiasm for the episode, which was the first since the
pilot to focus on the Vulcan, which is one reason why I
personally like it. David Livingston:
"I really enjoyed it. I thought
LeVar Burton did a great job of directing the stylized
film noir. I love the fact that we get to see the
mind-meld from the inside out and got a chance to actually
go inside Tuvok's mind and see the meld from his point
of view, which has never been done. I thought it was just
great." |
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