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Getting to work on Seven of
Nine was another privilege.

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I mean, working on Picard
in general was a privilege,

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but there are certain
characters, I was like,

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"Uh-oh, how am I
gonna even do this?"

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Because everyone knows what
Seven of Nine must look like,

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and how much do
you update that design,

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and should it be updated?

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That's the question that I
would always ask our producers:

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"How far do you want me to
take evolving these designs?"

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For Seven's arm tech,
for most of the show,

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she has got
long sleeves on,

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and so the prosthetic
that's glued to her hand,

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she also has these
little finger cup pieces,

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was all she needed for most
of her day-to-day activity.

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But for a scene where she's
going to be in short sleeves

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or a tank top, that tech
needed to be extended,

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and it wasn't really something
that we had ever seen before.

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So Neville did an
extension design

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that kind of blended the
same streamlined anatomy

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of that upper arm, and
then dove into her skin.

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So there's a little
skin piece

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that will basically kind
of blend the top pieces

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that are going
into the skin

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and really make it feel
like it's one with her.

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[Neville] My personal agenda
with Seven of Nine

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was to sustain the
iconography of the graphic,

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that's most important, but
just kind of get in there.

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And I got in there.

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If you imagine the
piece is yea big,

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on my screen, I'm down to,
this size fills my screen.

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So, for myself,
I just thought,

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"Well, let's just clean
up the forms a bit."

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And again, that's not
to be offensive

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to the original piece.

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It's just to know that
this is gonna be seen

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with different technology

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and delivered to screens
that are super detailed

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with people having the
ability to hit pause

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and really scrutinize it,

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which is cool, but that
means that everything you do

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must be resolved.

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And that's all I
did, is I went in

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and I looked at what
the shape is currently

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and thought, "I can do
this to evolve those forms

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so it feels like there is
an aesthetic harmony to it."

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And then, once that is
started, kind of concurrent,

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it's talking with Jeri
about what works for her.

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And the first question
I asked of her is,

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"Are you comfortable with
me changing it a little bit?

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Not the overall shape,

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but just kind of like sanding
and polishing some edges.

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Are you comfortable with that
happening to your character?

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'Cause you, Jeri, own
this character. Not me."

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I'm tampering. And I think
that's the appropriate word.

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I'm tampering
with her legacy,

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and it is absolutely
vital that she is the one

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that does give it
the blessing.

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We got that blessing and
then moved into the challenge

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of how Vincent's going
to execute this piece.

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Is it hard and gets
stuck to her face?

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Is it a soft, pliable piece?

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How soft should it be?
How metallic should it be?

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It was kind of a
magical piece,

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'cause it wasn't a lot
of back-and-forth,

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but in the end, I have
the piece at my studio,

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and I look at it and think,
"What a nice, little component."

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I'm really pleased
with just it

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as something to
stick on my wall.

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And more than that,

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I'm happy that Jeri was
comfortable with the piece

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and comfortable with the
evolution that we infused into it.

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<font color=#E6CE43FF>Keep saving the</font>
<font color=#E6CE43FF>galaxy, Picard.</font>