The makeup of the Kradin is very similar to that of Klingon devil, Fek'lhr (from TNG's fourth season episode "Devil's Due") and the Nausicaans (first seen in TNG's sixth season installment, "Tapestry"), as well as the aliens from the Predator movies, giving the Kradin an untrustworthy appearance despite their good intentions.

Clockwise from top left: Nausicaans, Fek'lhr, Kradin, Predator movie aliens.

Star Trek's makeup guru Michael Westmore comments:
"The bad-looking good guys of ST:VOY's 'Nemesis', the Kradin, resembled the Nausicaans from ST:TNG but in a nastier way, with the mouth opened a little more and the hair not quite as beaded and braided."

Kenneth Biller (Writer) on the Vori language in "Nemesis":
"I tried to create an interesting language for the aliens. Our aliens either sound too human or they sound kind of hokey, and it's tough to find a balance. I decided to try to do something that was more stylized, where the language itself became part of the indoctrination, so that they spoke differently than our people do, and Chakotay began to speak with their language as he became more and more indoctrinated into this culture."

On his perception of the completed episode:
"[We] did it fairly successfully. Disappointments with it were [that] I think we shouldn't have said at the end that everything was a simulation. It should have been clear that some of these other young soldiers were also being recruited in the same way that Chakotay was. 'Nemesis' was probably, of what I did, my favorite of the year. It came out really pretty well, and it had a good twist."

Alexander Singer (Director) on the planet setting in "Nemesis":
"We had to create a wooded forest that had many different aspects in both day and night, there were many scenes that each had to look special and different. I spent many hours studying the possibilities."

Kenneth Biller also comments on the "Nemesis" location shoot:
"We did two location days on that show (on the Warner Brothers backlot), and then built a great jungle set, so you can't really tell what's on the stage and what's on location. (Production designer) Richard James did a really great job."