appeared in the Star Trek: The Next Generation episode "Who Watches the Watchers". Meanwhile, Taylor and Braga auditioned over 50 unknown actors. The crew hoped to get a classically trained actor, as they wanted to ensure that they did not show any 20th-century mannerisms in the portrayal of a futuristic character. Wise was given the role, which required a lengthy makeup routine for each day's performance. The prosthetics were created by makeup supervisor Michael Westmore, who wanted him to have a human appearance when viewed straight on but when seen from the side to appear more alien. Rather than create a cast from Wise's head for the skull extension, Westmore based it off an earlier prosthetic created for the Vorgons in The Next Generation episode "Captain's Holiday". The design had been created by Westmore a year earlier for another series. A cast was taken of Wise's face, and some pieces were created to help the prosthetics appear seamless. The application of the makeup typically took just over an hour and a half each day. Costume designer Robert Blackman created the costume for Arturis, who noted that the character was "diabolical" but didn't want this to be given away through the costume immediately. In order to make him look "curious and affable", he placed the character in a shirt and pair of trousers. Where the script called for him to be shot by weapons fire, a burn on the shirt was created by key costumer Kimberley Shull using the hair color product Streaks and Tips. It was initially darker than intended, but the residue cleaned off to the desired level. Prop creator Alan Sims created Arturis' pistol weapon, intending for it to be held horizontally to give it a more alien appearance. It was made from two molds of a generic pistol weapon created for The Next Generation. Filming, editing and music Filming began late in the day on February 28, as the shoot on "One" had overrun, the production team had hoped to have the shoot for "Hope and Fear" underway the day prior. The two scenes which were filmed on February 28 both took place on the standing Voyager sets, with adjustments made to the lighting by cinematographer Marvin V. Rush. The shooting wrapped for the day at 1:45am, with four of the six planned scenes unfilmed and needing to be fit elsewhere into the schedule. The seventh day