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Director Corey Allen sees this as an important episode in terms of Deep Space Nine’s attempts to differentiate itself from The Next Generation; “In general, the DS9 shows are not as squeaky clean as the ‘NG shows were. The characters are allowed to be more flawed and that allows for more latitude in interpretation. In TNG, it always seemed to me that the people were wonderfully and heroically bent on the 'unbent’ – they were straight arrows. But in "Captive Pursuit”, there’s this wonderful moment of realization – almost without words – when O'Brien is sitting at the bar with Quark, and he discovers the possibility that it’s conceivable to break the rules of the Federation, which hitherto had been inconceivable to him.“ (Star Trek: Deep Space Nine Companion)
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The change which takes place in Kira’s hairstyle from the pilot episode, “Emissary”, was at the request of Nana Visitor herself; “I just didn’t feel that Major Kira would style her hair every day. She wouldn’t care! I wanted a hairstyle that looked like she just woke up in the morning looking like that.” (Star Trek: Deep Space Nine Companion)
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This was the first appearance of Andrew Robinson as Elim Garak in the series. Garak would eventually become an important recurring character, making his final appearance in the series finale “What You Leave Behind”. Getting his characterization right was important to both the crew and the actor himself. Of the origins of the character, producer Peter Allan Fields says that “we needed a Cardassian who didn’t act like one, so I finally put him in a tailor shop, and nobody hit me, so we kept him there.” Director Winrich Kolbe says of the performance that “we agreed that Andy could push the envelope, but he couldn’t leave the Cardassian platform. We had long talks about wardrobe and makeup, but we also talked about attitude, so that he would retain that stiffness that you see in all Cardassians.” Finally, Andrew Robinson himself says of the character, “he’s all subtext. If a smart guy like Garak says that he’s ‘plain and simple’, you realize that he’s not plain and not simple. And that there is a lot going on. Regardless of how innocuous or simple each line is, there’s always something going on underneath that belies the line. And his eyes and the tone of his voice say something different than the words he’s speaking. It’s not an easy thing to work with subtext, but when you do it well, you really get people’s attention.” (Star Trek: Deep Space Nine Companion)
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