Getting to work on Seven of Nine was another privilege.
I mean, working on Picard in general was a privilege,
but there are certain characters, I was like,
"Uh-oh, how am I gonna even do this?"
Because everyone knows what Seven of Nine must look like,
and how much do you update that design,
and should it be updated?
That's the question that I would always ask our producers:
"How far do you want me to take evolving these designs?"
For Seven's arm tech, for most of the show,
she has got long sleeves on,
and so the prosthetic that's glued to her hand,
she also has these little finger cup pieces,
was all she needed for most of her day-to-day activity.
But for a scene where she's going to be in short sleeves
or a tank top, that tech needed to be extended,
and it wasn't really something that we had ever seen before.
So Neville did an extension design
that kind of blended the same streamlined anatomy
of that upper arm, and then dove into her skin.
So there's a little skin piece
that will basically kind of blend the top pieces
that are going into the skin
and really make it feel like it's one with her.
[Neville] My personal agenda with Seven of Nine
was to sustain the iconography of the graphic,
that's most important, but just kind of get in there.
And I got in there.
If you imagine the piece is yea big,
on my screen, I'm down to, this size fills my screen.
So, for myself, I just thought,
"Well, let's just clean up the forms a bit."
And again, that's not to be offensive
to the original piece.
It's just to know that this is gonna be seen
with different technology
and delivered to screens that are super detailed
with people having the ability to hit pause
and really scrutinize it,
which is cool, but that means that everything you do
must be resolved.
And that's all I did, is I went in
and I looked at what the shape is currently
and thought, "I can do this to evolve those forms
so it feels like there is an aesthetic harmony to it."
And then, once that is started, kind of concurrent,
it's talking with Jeri about what works for her.
And the first question I asked of her is,
"Are you comfortable with me changing it a little bit?
Not the overall shape,
but just kind of like sanding and polishing some edges.
Are you comfortable with that happening to your character?
'Cause you, Jeri, own this character. Not me."
I'm tampering. And I think that's the appropriate word.
I'm tampering with her legacy,
and it is absolutely vital that she is the one
that does give it the blessing.
We got that blessing and then moved into the challenge
of how Vincent's going to execute this piece.
Is it hard and gets stuck to her face?
Is it a soft, pliable piece?
How soft should it be? How metallic should it be?
It was kind of a magical piece,
'cause it wasn't a lot of back-and-forth,
but in the end, I have the piece at my studio,
and I look at it and think, "What a nice, little component."
I'm really pleased with just it
as something to stick on my wall.
And more than that,
I'm happy that Jeri was comfortable with the piece
and comfortable with the evolution that we infused into it.
Keep saving the galaxy, Picard.