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Thirty Days (episode)

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* The episode's development had a watery starting point. During the [[VOY Season 5|fifth season]] of {{s|VOY}} or in the hiatus shortly thereafter, script writer and producer [[Kenneth Biller]] explained, "''[[Scott Miller]] brought us this idea a couple of years ago of an ocean in space. [[Brannon Braga|Brannon [Braga]]] and [[Joe Menosky|Joe [Menosky]]] and I fell in love with the image.''" The writers then attempted to come up with a workable story to feature their oceanic muse. (''[[Cinefantastique]]'', Vol. 31, No. 11, p. 38)
 
* The episode's development had a watery starting point. During the [[VOY Season 5|fifth season]] of {{s|VOY}} or in the hiatus shortly thereafter, script writer and producer [[Kenneth Biller]] explained, "''[[Scott Miller]] brought us this idea a couple of years ago of an ocean in space. [[Brannon Braga|Brannon [Braga]]] and [[Joe Menosky|Joe [Menosky]]] and I fell in love with the image.''" The writers then attempted to come up with a workable story to feature their oceanic muse. (''[[Cinefantastique]]'', Vol. 31, No. 11, p. 38)
 
* As the installment's duration at first underran by ten minutes, more plot content was needed for the episode. This turned out to be the subplot that involves Paris enduring confinement and narrating the story. (''[[Cinefantastique]]'', Vol. 31, No. 11, pp. 38 & 52) According to the unauthorized [[reference works|reference book]] ''{{dis|Delta Quadrant|reference book}}'' (p. 273), this subplot was suggested by Paris actor [[Robert Duncan McNeill]], who believed that some of Paris' earlier, rebellious edge needed to be returned to the character.
 
* As the installment's duration at first underran by ten minutes, more plot content was needed for the episode. This turned out to be the subplot that involves Paris enduring confinement and narrating the story. (''[[Cinefantastique]]'', Vol. 31, No. 11, pp. 38 & 52) According to the unauthorized [[reference works|reference book]] ''{{dis|Delta Quadrant|reference book}}'' (p. 273), this subplot was suggested by Paris actor [[Robert Duncan McNeill]], who believed that some of Paris' earlier, rebellious edge needed to be returned to the character.
* A scene which involved the [[Delaney sisters]] at what looks like a formal reception for the Moneans in the Mess Hall appears to have been filmed and deleted from the final episode. A publicity still of the twins, notably dressed in their blue sciences division uniforms, was distributed to the media, and was printed in a feature in Star Trek Monthly.
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* A scene which involved the Delaney sisters at what looks like a formal reception for the Moneans in the Mess Hall appears to have been filmed and deleted from the final episode. A publicity still of the twins, notably dressed in their blue sciences division uniforms, was distributed to the media, and was printed in a feature in Star Trek Monthly.
 
* Whether or not Robert Duncan McNeill was personally involved in the development of the episode's subplot, he approved of its addition. He remarked, "''The first version of that episode I didn't like [....] [We had] an opportunity to look [...] at it and say, 'How can we improve it?' The whole concept of Paris being in the brig from the beginning, and telling this as a flashback in a letter to his father, brought in a whole other element that was much darker and much more interesting. This was more complex; it had a lot of character stuff to play with. All those scenes with Paris in the brig gave it a framework that was much more interesting, and had much more mystery to it. I was very happy with it by the end. I thought it turned into a really good show.''" (''[[Cinefantastique]]'', Vol. 31, No. 11, p. 52)
 
* Whether or not Robert Duncan McNeill was personally involved in the development of the episode's subplot, he approved of its addition. He remarked, "''The first version of that episode I didn't like [....] [We had] an opportunity to look [...] at it and say, 'How can we improve it?' The whole concept of Paris being in the brig from the beginning, and telling this as a flashback in a letter to his father, brought in a whole other element that was much darker and much more interesting. This was more complex; it had a lot of character stuff to play with. All those scenes with Paris in the brig gave it a framework that was much more interesting, and had much more mystery to it. I was very happy with it by the end. I thought it turned into a really good show.''" (''[[Cinefantastique]]'', Vol. 31, No. 11, p. 52)
 
* The set representing the inside of Captain Proton's rocket ship, as seen here, reused a set of water bubble tubes from the [[VOY Season 4|fourth season]] finale {{e|Hope and Fear}}. (''Delta Quadrant'', p. 274)
 
* The set representing the inside of Captain Proton's rocket ship, as seen here, reused a set of water bubble tubes from the [[VOY Season 4|fourth season]] finale {{e|Hope and Fear}}. (''Delta Quadrant'', p. 274)
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