Archive for June, 1998

L.A. Weekly: The Truth Is Out There At a Theater Near You

Jun-25-1998
L.A. Weekly
The Truth Is Out There At a Theater Near You
Manohla Dargis

There’s a scene in the big-screen version of the television show The X-Files when Fox Mulder (David Duchovny), the good-looking FBI agent with a permanent case of the heebie-jeebies, steps into a back alley, unzips and pisses on a peeling, crusted poster for Independence Day. Independence Day earned a lot of money for Fox, the same studio that produced The X-Files, but its creative team of producer Dean Devlin and director Roland Emmerich made their next movie with Sony (a little something called Godzilla), which helps to explain Mulder’s target. He – and the movie’s makers – needn’t have bothered.

The X-Files is better than Independence Day – better acted, directed, written. It’s even better looking. No surprise there: The X-Files has always been better than Independence Day. Except that now The X-Files is motion-picture big, with looming long shots, ear-ringing sound and a bombastic (a mistake, I think) score. The weird thing is, it’s still a TV show, and plays much like the repeat episode that aired last Sunday night. “Horrible killings lead Mulder to evidence of extraterrestrial life,” is how the newspaper guide described that particular episode. It might as well have been describing every third show broadcast over the last five years, or, for that matter, the movie itself.

In the film, as on television, FBI agents Fox Mulder and Dana Scully (Gillian Anderson) are again ensnared in a complex plot involving aliens, U.S. government agencies and a cabal of sinister-looking white men called the Syndicate, Bohemian Club types who like to hang out in underlit rooms and speak in clipped, cryptic sentences. Among the familiar characters who contrive around them are Cancer Man (the wonderful William B. Davis, here credited genteelly as the Cigarette-Smoking Man), the Well-Manicured Man (John Neville), Skinner (the underused Mitch Pileggi), as well as the three conspiracy geeks who essentially function as Mulder’s own personal groupies (Dean Haglund, Tom Braidwood, Bruce Harwood). Rounding out the cast are solid character actors such as Martin Landau, Terry Quinn and, too briefly, Glenne Headly.

Written by series creator Chris Carter and directed by series regular Rob Bowman, the movie includes faces and story lines familiar from the program, along with some of the sniggering gore that helps keep the show safe from the Masterpiece Theater crowd. The production design is more ambitious than it is on television, though at times it feels as if the filmmakers were trying too hard to load the movie with epic grandeur. Duchovny easily holds the screen, just as he did in The Rapture and his handful of other features.

Anderson, whose extraordinary face can seem lit from within, here seems vaguely uneasy in some of her scenes, although that may be because the costume designer has tailored her clothes too tight, and in one ridiculous instance put the actress in heels better suited for a fetish ball than an FBI hearing.

Writing for The New York Times Magazine, the Times book-review editor Charles McGrath recently ventured that the popularity of The X-Files could be chalked up to a “nostalgia – for a time (which may never have existed, really) when a belief in global conspiracy held out the promise of a universe that could be comprehended.” I’m not sure under which dust jacket McGrath has been hibernating, but it does seem a little strange that anyone, even an editor at the paper of ostensible record, could assert, in the age of Waco, Timothy McVeigh, Vince Foster, Iran-contra, the Gulf War, the president named Bill Clinton, the conglomerate known as Time-Warner and the battlefield once known as Yugoslavia, that a belief in global conspiracy could in any respect be considered nostalgic.

Paranoia is as American as apple pie, baseball and assault rifles. In an essay first delivered at Oxford in November 1963 and pointedly titled “The Paranoid Style in American Politics,” historian Richard Hofstadter wrote that American political life has repeatedly served as “an arena for uncommonly angry minds . . . I call it the paranoid style simply because no other word adequately evokes the qualities of heated exaggeration, suspiciousness, and conspiratorial fantasy that I have in mind.” You’d be hard-pressed to come up with a better explanation than this for Reagan’s reign, the main of Oliver Stone’s oeuvre, any number of covers for The Nation, or, indeed, the mind of Fox Mulder, a paranoiac whose personal trauma (his kid sister was, so it seems, snatched by aliens) has set him on a righteous crusade in which, he believes, the lives of millions are at stake.

It’s the brilliance of The X-Files to have turned Mulder’s paranoid style into a function of cool. Mulder and Scully aren’t just beautiful, smart, well-armed and seemingly impervious to the banalities of everyday life, such as cheap haircuts and ruinous love affairs – they’re cool. Special agents in dark, sweeping coats, they are at once privy to some of the world’s most arcane secrets and – this is crucial – completely powerless to do anything about them. The show’s signature, at times near-affectless performance style is intrinsic to its creepy, droning atmosphere. It’s also crucial to the sense that, in the end (to quote yet another TV series), resistance is futile.

McGrath calls Mulder a zombie, but that’s a mistake. If anything, he’s the modern reincarnation of the postwar lonely man, an alienated company man who clocks in for an organization he can neither quit nor believe in. Scully, in turn, as with so many countless single women, buries herself in work and may or may not be in love with the wrong man (in another life, she’d be a nun). They’re solitary searchers whose deepest emotional connections are with each other, their co-workers, which makes them two of the more realistic characters inhabiting prime time.

The low-frequency hum that passes for emotion on The X-Files may seem almost Bressonian when compared to the overheated style of most TV acting, but over the years Mulder and Scully have found plenty of cause to tear away their masks. It’s noteworthy that Mulder, who lost his father, and Scully, whose sister was killed and who herself was stricken by a mysterious cancer, are the show’s most important casualties. That the two often operate at an emotionally low register indicates their professionalism (big agents don’t cry), but, critically, their blankness also serves as a reminder that Mulder and Scully are more spectators to the surrounding madness than active participants. Which, more than anything else, explains their appeal to the some 20 million Americans who every week hitch a ride on their tribulations.

Unlike The Twilight Zone, the show to which it is most often compared, The X-Files conveys no great moral urgency; nothing ever seems really at stake – the environment, civil liberties, nuclear proliferation, freedom. You never get a sense that Chris Carter or any of the other writers are particularly passionate about anything outside of goosing the audience and telling a ripping great story. That disinterestedness might serve as a warning sign for a deeply imbedded political conservatism, but The X-Files, with its confusion of right, left and crackpot-think, is beyond ideology. (Often it’s often beyond sense.) In the end, the most radical thing about the show is its refusal to adhere to the inherent precepts in mass culture that everything be understandable and remediable: stasis, crisis, group hug.

Week after week, nothing is understandable on The X-Files and nothing is remediable – at times, one senses, even to the program’s writers. This, as well as the show’s rejection of easy solutions, allows The X-Files to push into the marvelous, the grotesque and, on occasion, the sublime. An episode starring Peter Boyle counts as some of the best television I’ve ever seen; the episode with the three inbred brothers ranks among the best E.C. Comics ever written. It’s that not knowing, far more than the show’s apparent gift for surfing the edge of our collective consciousness, that seizes the imagination. For all their focus on the machinations of power, the creators of The X-Files aren’t all that interested in global conspiracies or nostalgia for the same. They just want our attention.

Mania Magazine: X-Files Director Rob Bowman Talks with Mania

Jun-19-1998
Mania Magazine
X-Files Director Rob Bowman Talks with Mania
Valarie Thorpe

It almost sounds like a cruel joke.

Take one of the most successful television series currently on air, that the faithful have tuned in, turned on and deconstructed every bit of its five-year way, and now successfully move it to the big screen — movies, theater takes, box office draws, film festivals, Oscars…

No pressure.

Your past resume?

Directed a bunch of Star Trek:TNG and the 1993 movie Airborne, its greatest claim to fame being that it starred Buffy’s Seth Green. Oh yeah, and 25 episodes of the aforementioned TV series, The X-Files.

Rob Bowman is the recipient of what may turn out to be either the greatest chance or greatest disaster of his career.

The X-Files movie would seem to be poised perfectly for a box office blockbuster. The much-maligned secrecy surrounding Godzilla has taken the heat off The X-Files’ cloak and dagger act. They are releasing to an audience clamoring for a blockbuster that Godzilla didn’t deliver; moviegoers now appear ready and willing to hit the theaters.

So far, unbelievably, Deep Impact has pulled in as the summer sleeper hit, and it came out in the Spring. This may have Armageddon makers worried, but shouldn’t have any impact on the X-Files audience. No, the plain, simple, perhaps very frightening truth is: this movie will make it or not on its merits – and Rob Bowman wouldn’t want it any other way.

Looking extremely relaxed for a man who still has final edits to make, Bowman finishes up a quick snack backstage at the X-Files Expo in Washington DC, the only stop on the tour he’ll have a chance to attend.

“We still have to finish things up,” Bowman said. “I’ll probably be running from theater to theater getting the final cut, still wet, to them,” he said with the hearty laugh of a man who is very secure in what he’s about to deliver to X-philes everywhere. “We’re in the final stages of dubbing music, but it is definitely a wet print situation.”

Mania: When did you get started with the X-Files?

Rob Bowman: “I directed one episode in the first season, “Gender Bender.” I became interested when I saw a promo for the pilot and I’ve always been interested in the macabre, Edgar Allan Poe and stuff, so I called my agent and asked him to set up a meeting.”

How does the series compare with feature film work?

“Most TV series don’t have the freedom we have because of restrictions of time and money. The recent episode written by William Gibson, “Killswitch” took 22 days to shoot. But having those freedoms isn’t going to make you a good director. A lot of directors that have tried to shoot an X-Files episode run into trouble when they believe that access to a lot of stuff is going to shoot the episode for them.

They’ll say, “What if I have a crane?” Well, you always have a crane. “What about 300 extras?” Sure. “Ok, then how about 600 extras?”

Then it becomes about what they can use and they don’t know what to do with it. You have to have the vision first, the stuff comes second.

Only a few of us that have come to the party have hung around. Glad that I fell in step with it.

Airborne was my first major studio work. It was absolutely helpful when I approached the way we shoot X-Files episodes because we take a feature mentality to the series.”

What are your thoughts concerning the move to L.A.?

“The atmospheric qualities are different. The moods will become more manufactured than just a given. We’ll probably be doing a lot more interior shots. We just need great location managers who can find places with no palm trees,” he said with a laugh. “Another problem will be the time spent travelling. We’ll definitely be spending more time going from location to location. In Vancouver, we could go from forest to farmland in 30 minutes. We’ll probably be using the desert a lot more.”

How much of a difference will audiences see in the movie compared to the TV series?

“Not a lot of difference. Larger of course. We aimed quite high in some sequences. It’s been extremely challenging. The question we put to ourselves was, do you make it different or do you make it more? Audiences become comfortable with certain aspects and you don’t want to rip all that out from under them. Like the legends that tell the location, we could do them as big fancy LED readouts or somesuch, but in the end we decided to keep it the same plain way we do it on the series. Let’s not take away that which they’re familiar. They’ll cheer when they see it. Of course some things are on a much grander scale. We throw a heck of a lot more rocks at Mulder and Scully.”

We answer some long standing questions and of course we pose new questions.

Why no Krycek?

“I wasn’t really involved in the casting, but if you guys go to see the first movie and make it successful, I’ll guarantee Krycek will be in the next movie.”

Bowman has nothing but praise for everyone that worked on the project and gets as excited as a, well, as an X-fan, when he talks about making the movie. So did everything go exactly the way he wanted? Possibly not.

Reportedly audiences don’t see too much of the aliens in the feature film. When asked if this was on purpose, Bowman told Variety in a recent interview that was definitely not the plan.

“Number 1, I didn’t have an alien that was a groundbreaker,” Bowman says. “Number 2, it’s not as scary if you see it. And number 3, it was a guy in a rubber suit, and it looks like a guy wearing a rubber suit.”

Bowman told Variety there were folds at the arms of the costume and the seat of its pants sagged. He also said the feet were “stupid-looking”, so he made him wear tennis shoes. The designers also added reptile skin and claws. But Bowman said since the fingers were extensions, the alien’s fingers wiggled when he waved his hand.

Despite the problems, the director said all of this contributed to the film’s unique visual style: “I was as non-literal and sketchy and evasive with the alien as I could be.”

This all sounds a little ominous, but in the tradition of The X-Files television series, maybe we should just know the truth is out there, but never really get to see it.

TV Guide Online: Online Chat with Mark Snow

Jun-16-1998
TV Guide Online
Online Chat with Mark Snow

TVGEN: Welcome to the TVGEN/Yahoo! Chat Auditorium. Our guest tonight is Mark Snow, composer of the X-Files and Millennium soundtracks. He also is the composer for the X-Files: Fight the Future soundtrack. Welcome Mark. We are very happy you could join us tonight.

Mark Snow: I’m very happy to be here and very excited about the upcoming release of the X-Files movie. And fire away!

Elderess27: Is the truth out there?

Snow: The truth is in the music and it IS out there!

Ctsufer31: Are you planning on releasing more music for the X-Files as well as music for Millennium?

Snow: It’s more likely that Millennium music will be out before new X-Files music.

Figr_Sk8r: I have been involved in orchestra music all my life. What kind of chance do I have in something like that?

Snow: Snow: It helps to be in Los Angeles and it helps to have some contacts in the business. If you don’t and still have strong feelings about it, you need a lot of guts and perseverance and you’ll find your way.

Jacie5andRock: How did you start composing for the X-Files? Were you asked?

Snow: I was one of 10 people up for this job. Chris Carter came to my studio, heard my music and left without giving me any indication what he thought. Then two weeks later I got a call saying I got the job. Which at the time was just another TV pilot. Little did we know it was going to be the smash cult hit that it is. It also helped that I was on the West side of L.A. because Chris didn’t want to travel across the Valley.

Summerof78: Hello Mark. I have the X-Files movie soundtrack and love it. What kind of differences will the movie soundtrack have and where do you get your ideas?

Snow: Assuming you’re talking about the TV show, the differences between the two are: The film score uses an 85-piece orchestra as well as electronic sounds, while the TV show is just the electronic stuff. That’s the big difference.

John_po: Have you been inspired by Brian Eno’s ambient work?

Snow: Yeah. The answer is yes. The minimal quality of that stuff has really inspired me, especially for season one and two for the X-Files.

Julie_silver: How hard is it to compose for La Femme Nikita?

Snow: I only wrote the theme and not the underscore, so it’s pretty easy.

Elderess27: Was it great working with an orchestra for the X-Files movie?

Snow: It was. I hadn’t done it in a long time, and in L.A. the musicians are so great that it was a thrill, and none of the X-Files producers or directors had ever seen me do that so it was an extra special kick for all of us.

Ctsufer31: Are you planning on doing the music for any other TV shows or movies?

Snow: Yes. Right now I’m doing the score for a movie called Disturbing Behavior from MGM which will be released around Aug. 7. It’s like a teenage movie with all unknowns but it’s very, very good.

Kristina_aus: What other TV shows have you composed music for?

Snow: As weird as this may seem, I did the music for Hart to Hart and bunch of TV movies and miniseries.

Agent_Y_98: Was “Blackwood” ever intended to be the real movie title?

Snow: No. That was a disguised name to keep the X-Files movie anonymous. When they sent tapes of the film to my house, it was always titled “Blackwood” in case some burglar stole them and told everyone what the movie was about. Blackwood was in the movie and if you pay attention, you’ll see Blackwood in the movie.

Adidaspigtails: Who is your favorite character on X-Files?

Snow: I really love Scully, because it’s been a thrill to see her grow and change from a little girl at the beginning of the first season to a very sophisticated, strong woman. And also Skinner, because he’s balder than me and all the women think he’s great.

Kristina_aus: How long does it take to complete the music to accompany an X-Files episode?

Snow: It takes anywhere from three to five days. Not a very fancy answer, but there it is.

Elderess27: I bet doing music for the X-Files, Millennium, and the X-Files movie really keeps you busy. How do you find time for it all?

Snow: In order for me to do all of that I have to be extremely disciplined and know that there is a certain amount of music I have to write to make these deadlines. If I get off schedule, it is real mayhem. I’ve been doing this for a long time and it helps having all this experience and working for all the same people, Chris Carter’s 10-13 Productions.

Ctsufer31: Why did you use Latin names for the music on the X-Files TV soundtrack?

Snow: The producer of that was my friend Jeff Charbonneau, who was also the music editor of the TV show. It was his idea to title the pieces in Latin just to be clever and more mysterious. I don’t know what any of these things mean, but as long as you like the music, that’s all that counts.

Adidaspigtails: What has been the favorite episode that you composed music for?

Snow: Well, seeing that there are over 120 episodes, it’s hard to pick out just one. But the show “Humbug”, as well as “Clyde Bruckman” and “Jose Chung”.

Elderess27: Are there certain restrictions made on your music by Chris Carter?

Snow: Not at all. If he has any comments at all it is usually “Let’s add some more music” or “Let’s add a ‘sting’ here.”

TVGEN: What is a “sting”?

Snow: It’s a musical accent when a startling thing happens. When something pops out of a closet or a frightening beat. Like the Psycho shower scene, the funny music is many stings.

Kristina_aus: Are you going to release another CD like The Truth and the Light?

Snow: There are no plans for any other X-Files music at the moment because the movie soundtrack is out, but maybe in a year or two or if this movie is a big hit, then the music for the sequel.

Kristina_aus: Chris Carter and Darin Morgan have guest starred in the X-Files. Will you also get a cameo appearance?

Snow: I hope so, now that the show has moved from Vancouver to L.A. I’d like to play a quiet psychopath.

Adidaspigtails: What do you consider to be the best piece you’ve written?

Snow: Well, the scene to the miniseries The Oldest Living Confederate Widow Tells All, as well as the X-Files episodes “Conduit” and “Redux 2” of year five.

DarkeningSoul: The Millennium score is so alluring and very different from the X-Files. Where did you get your inspiration?

Snow: That’s a good question. Chris sent over a Celtic band, and there was a violin in there and it was sort of a sad, melancholy sound that I thought would be really cool for Millennium. I wanted there to be hope for the future and horror and the violin is hopefully more of a sound of hope.

Jacie5andRock: What do you mean exactly by the title of “Stung Kissing”?

Snow: You’ll have to see the movie. It’s very obvious if you see the movie. It’s probably the most exciting moment in the whole movie. I can’t give it away.

Elderess27: Do you have any composers that inspire you?

Snow: Yes. The film composers that inspire me are Jerry Goldsmith, Thomas Newman, Ennio Morricone and John Barry. And Bernard Herrmann.

SRT3: If you had a chance, would you like to spend a weekend in the future or the past?

Snow: In the past. In Vermont, skiing all by myself and it was one of those magic moments when the sun was going down and I thought I could stay there forever.

Jacie5andRock: Did you have fun conducting a very large orchestra?

Snow: Yes, it’s a thrill standing up in front of a large orchestra and hearing that great big sound. Because the TV show is done at my home studio and being let out of my room to conduct a big orchestra was a big thrill.

Gidget88: At the San Francisco Expo, you mentioned having an Internet poll to pick X-Files viewers’ favorite musical selections from the movie, then releasing it as a CD. Are you still thinking about that?

Snow: Actually, it was from the TV show. It would be great to get a response of people’s favorite pieces. Then I’d know I would be satisfying most of the fans. It would be real fun to know what everyone really loved.

Elderess27: Did you get to attend the X-Files movie premiere, and if so, what was your reaction to it?

Snow: I did attend and it was fantastic fun for me because I had never been to a big Hollywood premiere before. It was especially fun because I was interviewed in front of a lot of reporters and a whole bunch of fans saw me and screamed out my name and for about five seconds I felt like one of the actors. But I will take being a composer any day over being an actor.

TVGEN: Did you go to the premiere party following the screening?

Snow: Yes, I went and found my way over to the online chat area, which was unfortunately directly under the speakers of the DJ so we couldn’t hear ourselves think, it was so loud. But we managed to answer some questions despite the noise and it worked. If you like really loud dance music, that would have been the place for you. Actually, the Dust Brothers version of the theme was playing there, which is a remix dance version. That was cool.

Bonbonh: Are you any relation to the Grand Ole Opry star Hank Snow?

Snow: I’m not, but I’m not ashamed to think that I love the lyrics in most country songs.

Christo_43: Do you get angry when stock music libraries emulate your themes?

Snow: No, I think it’s kind of fun, actually. There have been many, many versions of the theme, from solo piano to hip hop and dance, and on and on. It’s always fun to see what people come up with.

CrayKlaw: What do you think of Angelo Badalamenti’s scoring for various David Lynch projects?

Snow: That’s a good question. I really loved his music. It’s very soulful and moody and simple. It really speaks to me and to a lot of people as well.

CekChik_pinky_: When cutting the soundtrack for the show, do you have the scenes to look at, and do you custom fit the music to the scene?

Snow: I get a videotape of the final cut picture and work very closely with that until I get my finished product.

TeChnOdANcEr25F: I watched the special on Fox last night, and was impressed by the artists performing on the album. How do you feel about being among the “best” of the best?

Snow: It’s very flattering and very much fun and right now I’m working with my personal trainer to look more and more like David Bowie every day. Once I have achieved that, I’m ready to go on tour. With the X-Files players.

PFrancoise: How old were you when you realized you had this talent and how did you recognize it?

Snow: I was 28. I looked in the mirror and said, “Damn, I got talent!” No, that’s a smart a$$ answer. I really loved music from an early age and my father was a musician, so it was in the genes. (My father was a drummer.)

Radiodazed: What was working with the Foo Fighters like?

Snow: I never really got to meet them, but I really loved their music so much and especially Monkey Wrench.

PFrancoise: Since music is your “work”, what do you do to relax?

Snow: I do a lot of bike riding and drinking a lot of great wine helps to relax me (as well as an occasional spanking… just kidding).

Guvie: Is your X-Files music published so we can buy the sheet music??

Snow: You can by the X-Files theme and Millennium theme sheet music from any record store.

Guinvere: Mark, do you have any hope of doing the music for the Psycho remake being done by Gus Van Sant?

Snow: That would be a thrill, but I have a feeling they have hired a composer already, although I’m not sure. It’s probably Danny Elfman.

CrayKlaw: When will the Millennium soundtrack be released? Any time soon?

Snow: Hopefully, after the first of 1999.

Adidaspigtails: What is the most embarrassing thing that ever happened to you?

Snow: When I was in Italy, in Capri, I bought a brand new pair of white linen Giorgio Armani pants, went to a gelato stand and dumped a whole scoop of black chocolate gelato all over myself and had to walk through the streets back to my hotel with people pointing and laughing. It was fun after a while. Then there was the time I set myself on fire and died. Then I recovered the next day.

Starlight1st: Do you consider yourself as famous??

Snow: Maybe in a very quiet way, which is I think the best type of fame, where you can go to the store and not be recognized. I love being anonymous.

TVGEN: Thanks for joining us tonight, Mark. We hope you can come back again soon.

Snow: Some last minute advice: Don’t be afraid of eating a lot of eggs, and flossing is very important!

Source: TV Guide Online, 16 June 1998

Express: Chris Carter comes clean

Jun-14-1998
Express
Chris Carter comes clean
Louis B. Hobson

The truth about the X-Files

HOLLYWOOD — There are a few truths Chris Carter is willing to share about The X-Files, the phenomenon he created five years ago.

The series, in which special agents Fox Mulder and Dana Scully investigate mysterious occurrences, has spawned The X-Files movie that opens Friday.

“Fox and Dana, as played by David Duchovny and Gillian Anderson, are the reason the show is so popular. They are the ones who make the stories connect with the audiences,” insists Carter.

“At the original auditions, I saw dozens of people but the moment David and Gillian walked in the room, I knew I’d found my Mulder and Scully. It was as if the skins I’d created fit these two people like gloves.”

Much has been written these past two years about the strained relationship on the set between Duchovny and Anderson.

“When you work together, day after day, month after month as David and Gillian do, you form a relationship that is not unlike a marriage.

“It’s a relationship that’s bound to have its stresses and strains and it’s understandably complicated. What’s important is that this particular relationship has passed the test of time.”

Carter hopes that moving The X-Files production base from Vancouver to Los Angeles will help ease whatever tensions were there.

Duchovny has been insisting on the move for three years and announced that if the show stayed in Vancouver, he would terminate his contract.

“I think the move will rejuvenate all of us. It may even feel like a new experience.”

Carter says that there are still no scripts for the coming season. Once The X-Files movie opens, he will begin working on them with his writers. At the close of last year’s season, the X-files branch was torched and Mulder and Scully’s official fates are left up in the air.

What happens in the film may change all that.

“Scully has all along refused to even consider the possibility of alien life forms. I think it’s safe to say that after what happens in the movie, she will begin to believe there is some truth to Mulder’s obsession.”

Carter says this next season may return a little to its monster-movie roots of the earlier seasons.

“When I was a 13-year-old boy growing up, The Night Stalker was my favorite TV show. I always wanted to make The X-Files as scary as The Night Stalker was for me.”

Carter has invited Darren McGaven, the star of The Night Stalker, to appear in four episodes of next season’s The X-Files.

As far as The X-Files movie is concerned, Carter says his conscious influences were “Stanley Kubrick’s 2001, Steven Spielberg and Alfred Hitchcock. These are three filmmakers who’ve had the greatest effect on me. There are definite homages to each of them in the movie.”

Carter promises that fans of the series will “learn a little more about what happened to Mulder’s sister (who was abducted by aliens) but not everything.

“We need to keep people guessing into our seventh season as well.”

Fans already know that the storytelling in The X-Files is purposely obtuse and Cater hopes that general audiences will enjoy this approach.

“We only give away fragments. The viewer has to put the pieces of the puzzle together.

“When it comes to The X-Files, you can’t be a passive viewer.

“That was our one worry about releasing The X-Files as a summer movie. This is the time of year when movies traditionally ask the viewer to be inactive, but not us.”

Entertainment Weekly: Playing with Fire

Jun-12-1998
Entertainment Weekly
Playing with Fire
Ken Tucker

[Original article here — Published in issue #436 Jun 12, 1998]

Now that The X-Files is a major motion picture, will questions about the cover-ups, conspiracies, and Cancer Man finally be answered? Will Mulder and Scully finally kiss? And will anyone besides the show’s viewers care? The truth is in here.

It’s the last week of shooting the X-Files: Fight The Future, and the soundstage stinks.

It absolutely reeks, right around the chair of Rob Bowman, director of the $60 million-plus feature film based on the Fox TV series. Bowman, 38, who has also directed 25 episodes of the most popular alien-abduction/government-conspiracy/ delayed-sexual-gratification drama in TV history, is battling a bad combination of exhaustion and the flu. He’s wheezing, hacking, and coughing so much, his phlegm could be used to construct a classically disgusting new X-Files enemy for FBI agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson). Having gone the usual orange-juice-and-echinacea route for the past few days, Bowman has now asked an assistant to bring him some sort of health-foody, homeopathic medicine; when he snaps open a capsule of a vile liquid that looks like glutinous tobacco juice, it emits a smell worse than an average episode of Suddenly Susan.

”Ewww, jeez!” says Duchovny from a few feet away, pulling a sleeve of his shapeless black FBI overcoat over his nose. Duchovny is preparing to do another take of a scene in which he must lean over a very deep hole in some artificial snow to try to rescue his acting-like-she’s-freezing costar. In fact, however, it is a rather hot day in August on the Twentieth Century Fox lot, and so the pungent odor of Bowman’s medicine quickly permeates the warm air.

”Sorry, sorry,” croaks Bowman. ”Let’s just do this and ignore me, okay?” Everyone assumes their places. Bowman peers into the camera viewfinder, framing the shot; Duchovny-as-Mulder gets on his stomach and reaches down into the snowy hole; Anderson in turn reaches up, her face immediately assuming Scully’s typical in-jeopardy expression: helplessly beseeching yet thoroughly annoyed that she needs help. ”I’ve got you!” says Mulder, although he most certainly does not. They stretch their hands toward each other, their fingers almost touching in a sort of arctic reproduction of the Sistine Chapel ceiling and then…

”Cut! That’s all I want,” says Bowman. ”Anyone want another one?” ”Mmmm, maybe just one more?” says a voice from the shadows. It’s Chris Carter, God of The X-Files — creator, writer, executive producer, and at 41, bearer of a head of curly silver surfer’s hair no mere mortal could possess. God wants another take. One senses a score of groans being suppressed all over the stinking set. The players reassume their places. ”I’ve got you!” says Mulder again. The shot is shot. Bowman sneezes. Carter smiles. Everyone files out blinking into the bright Los Angeles sunshine, where a lunch truck that serves only fancy-schmancy iced-mocha-coffee drinks is waiting to stoke cast and crew with chilled caffeine.

Yesterday, James Cameron and Leonardo DiCaprio visited the set to say hello,” says Duchovny. ”This soundstage is where they filmed a big chunk of Titanic; Cameron calculated that where our snow hole is, there was probably a flooded stateroom a few months ago.” Did Cameron have any words of wisdom for the X-Files project? ”He said, good luck, and that he bet he made Kate Winslet scream a lot more in his film than Gillian does in this one.”

Gillian Anderson giggles when she’s told of Cameron’s remark. ”He’s right,” she says happily. ”Scully may get in a lot of bad fixes in this movie, but she doesn’t lose it–if anything, it’s Fox who goes a little wilder, gets more scared, in this movie.”

Not that she’s going to reveal anything of what the film’s about, of course. The secrecy surrounding Fight the Future is its chief selling point, in the same way that the series has climbed the ratings ladder by diving ever deeper into a murky government cover-up of an alien occupation of America (see sidebar on page 29). Carter addresses the subject in only the biggest, most grandly obfuscatory terms: ”I can’t tell you the plot, I just can’t–that’s my hole card, that element of surprise. But it incorporates all of the elements of the mythology [the TV show’s periodic story lines dealing with the alien/government hugger-mugger] to date. I want the opportunity to give big answers to the big questions that I’ve been posing for the past four or five years. This is a chance to explode the show in a way that when the pieces land, it’ll reenergize the show for year six.”

And besides, as Duchovny puts it with his Princeton-honed wiseass bluntness: ”If we ever revealed the secrets behind all this, the show would be unmasked as the ridiculous little hoax that it is.”

This ridiculous little hoax, a perennial top 20 TV hit, is 20th Century Fox’s chief weapon in the summer box office war of action-adventure films. Deep Impact and Godzilla had huge openings but mediocre reviews and word of mouth; their resonance-free successes suggest the public may be tiring of loud, massive, but hollow summer movies. This could make a well-received Fight the Future–a loud, massive movie of ideas; F/X with an IQ–a satisfying triumph for its studio.

Bill Mechanic, chairman and CEO of Fox Filmed Entertainment, is literally banking on having the TV show’s 20 million weekly fans line up for the movie during its June 19 opening weekend, and, if there is a God besides Carter, to return multiple times to mull over the movie’s finer points. The trick will be to get non-Files fans to come see it, too.

”I didn’t watch the show regularly,” says Mechanic. ”And once we started shooting, I studiously stopped watching any episodes at all. I wanted it so when I looked at this movie, I would be coming to it cold, without any fan knowledge. If I could understand it and follow it, anyone could. And that’s what happened; this is not a cult, exclusionary movie.”

Both Carter’s camp and the Fox movie folk now say everything is ducky between them, but it was widely rumored that the studio was worried when Carter announced that the TV show’s May 17 season ender would be a cliff-hanger that led into the movie. A month would have passed from the series’ finale to the movie’s opening date; what if the plot were unclear or too dense to grab summer ticket buyers who wandered into the multiplex for the air-conditioning and a thrill ride?

From what ENTERTAINMENT WEEKLY has learned, it’s likely that Carter and Bowman have done the job in a way that, as Carter puts it, “will bring new people into our ongoing story but won’t offend the hardcore viewer.” X-Files coproducer Frank Spotnitz, who cooked up the Fight the Future plot with Carter over eight days in Hawaii a year and a half ago, says the film is “an adventure story with political undercurrents, more like The Parallax View”–the 1974 Warren Beatty-Alan J. Pakula conspiracy thriller–than “a monster episode of X-Files.” Hmmm–would maybe Fox rather have a monster-style X-Files than a movie that summons up comparisons to a 24-year-old Beatty flick? Mechanic laughs. “Listen: This is a good, scary movie. Besides, we just put out Bulworth–you think I want Warren Beatty calling me if I knock a Parallax View comparison?”

The future that Mulder and Scully must fight starts in the distant past–about 35,000 B.C. That’s where we’ll get our first glimpse of a creature filled with a substance familiar to X-Files devotees–an oily-black blood. This is the very first invader, one who’ll spawn what Carter calls in a spoken-word bonus cut on the Fight the Future soundtrack album “a population of alien hybrids who would hide in plain sight.”

Getting out the truth about the alien colonists causes lots of trouble for Mulder and Scully, as well as guest stars including Lucas Black (the Sling Blade kid, who stumbles upon the prehistoric, oily ET), Martin Landau (as a fresh variation on an X-Files standby–an info-leaking deep throat), and Blythe Danner, as a tough FBI interrogator. Carter says Danner’s character “represents what Agent Scully might have become had she not been recruited for the X-Files assignment. I hope people will pick up on this.” (Apparently Anderson herself did not pick up on this. Told of Carter’s remarks, she seems genuinely baffled. “Really? Chris said that? Now I’m gonna have to go back and reread the script.”)

Plenty of stuff will happen to keep Internettlesome fans buzzing. In fact, we think a buzzing bee will interrupt a long-awaited Mulder-Scully smooch. We think Mulder, while in a hospital gown, will moon movie audiences. We think Scully will utter the F-word and that Mulder says the S-word. We think the aliens have three fingers, and Duchovny said for a fact that the one time both he and Anderson were just sick of the whole damn thing was the day “we were out in a field, really exhausted, and Gillian got hit in the eye with a sharp cornstalk,” so either there are scenes set on a farm or Fight the Future is really just a big-screen remake of Hee Haw.

A visit to the L.A. movie set enables a desperately curious reporter to walk along a long row of vertical, milky-green tubes–“cryopods,” Carter calls them–filled with milky green, half-human, half-alien beings. “You’re standing in one spoke of a spacecraft,” says Carter, “and that’s all I’m going to tell you.” It is very dark; negotiating the spoke is like walking along a narrow balance beam, and the stage crew setting up the shot looks big, mean, and out of sorts, so no tough follow-up questions are asked. Sue me.

Another professionally curious visitor to the set is parent company News Corp. president Peter Chernin. He places the equivalent of a freshly iced trout in one’s palm as a handshake, smiles blankly (is there a trace of black oil behind his eyeballs?), and takes Carter aside. A few minutes later, Carter returns, folds his arms, looks out at the set, and says quietly out of the side of his mouth, ”He’ll grin and joke with me now, but then he might go back to his office and start yelling about something we’re doing here–it’s all part of the game.”

And Carter, by now, knows how to play the game. ”You get a lot of people who can muck it up–and not maliciously,” he says. ”There are simply a lot of people in Hollywood who create value in their position by being destroyers. That is, they become part of a project by threatening it–by being the guy who acts like he’s going to be the voice of reason, or the voice of power, or the voice of veto, and who ends up draining the originality and creativity out of the process of making a movie or a TV show. There are too many of those people out here.

”That, if anything, is what’s made me, in some people’s minds, ‘a control freak.’ I’m known as a difficult person, because I’m always pushing to make it good, and the truth is, [the studio is] always pushing to make it cheap. I prefer to think of it as just wanting to keep the destroyers at bay.”

If The X-Files is a world Carter has created for himself that just happens to have also attracted the obsessions of millions of others, the show is something less urgent for the actors who’ve been made stars by it. Duchovny likes to downplay the glamour of it all–”It’s pretty workaday, people don’t seem to realize: You get up, you take a shower, you read the paper, you play Mulder.” And while the TV series will move production from Vancouver to Los Angeles next season, in large part due to Duchovny’s oft-stated desire to be geographically closer to his wife, Tea Leoni, he doesn’t seem especially psyched about plumbing new depths in Fox Mulder.

”I would’ve liked this past season to be the last,” he says flatly. He’s sitting in his trailer on the Fight the Future set, dressed in T-shirt and shorts. His Nike-sandaled feet rest on copies of Yoga Journal and the Don DeLillo novel Underworld on a coffee table. Ask about the possibility that this movie could turn into a franchise a la Star Trek, and he’s even more blunt: ”I’d much rather be involved in a franchise movie series than do the goddamn TV show every week.”

Duchovny is mildly chastened by the box office failure of last year’s Timothy Hutton-with-peroxide thriller Playing God–”It was shot in five weeks, and from the response it got, it apparently looked it”–but he’s still actively pursuing a non-Files film career. ”I’m talking to Oliver Stone about doing his NFL movie, but it shoots in October, so that would call for some tricky scheduling” around the series.

Anderson is eager to see the response she gets from her upcoming feature The Mighty, in which she has a small but reportedly meaty role as a working-class alcoholic. ”For me, it’s time to level the playing field,” she says, ”to prove that a TV actress can do good film work. I was told that one major player in The Mighty said before I was cast that she’d never work with a TV actress, so I know that prejudice still exists.” Anderson won’t say who the female acting snob was. The film stars Sharon Stone.

If the actors don’t look upon the movie as too much of a technical stretch, the main man behind the camera does. Bowman’s primary challenge is to expand The X-Files for the big screen, mounting elaborate action sequences while also finding a way to introduce faces familiar to fans–such as William B. Davis’ ever-ominous Cigarette Smoking Man, a key link in the government-alien collaboration–to X-innocent moviegoers. “It all has to do with building atmosphere,” says Bowman. “People who wander in with buckets of popcorn may not know how long and hard Mulder and Scully have fought Cigarette Smoking Man, but if I do my job right, they’ll know that this butt-puffing little bastard is an enemy to fear the moment he appears on screen.”

Bowman, like the actors, is looking beyond The X-Files; he’ll be aboard for the next TV season, but he’s also fielding offers for other features. You get the feeling that despite the hard work of everyone involved, the Files remain central only to Carter’s creative life. His way of fighting the future has always been to play out a chancy paradox: Carter is a maker of hugely popular entertainment, yet all of his crucial influences derive from cult or obscure sources. He was a surfer in the ’70s when surfing wasn’t cool, editor of a surfing magazine when being an editor–well, was being an editor ever cool, unless you’re talking Cary Grant in His Girl Friday? Carter did his TV apprenticeship on shows like the hideous ’87-’88 Joseph Bologna sitcom Rags to Riches. And he took much of the original inspiration for The X-Files from Kolchak: The Night Stalker, a mid-’70s TV flop now better known as a Carter icon than for its own highly uneven if instructively seedy charms.

When it is pointed out that what’s great about the TV X-Files is that it is an exact example of what the film critic and painter Manny Farber has called “termite art”–“art that always goes forward eating its own boundaries, [leaving] nothing in its path other than the signs of eager, industrious, unkempt activity”–Carter’s normal murmur rises with excitement. “Farber is one of my favorite writers and artists! People could do a lot worse than looking for the roots of the X-Files sensibility in his work.”

And when it is then suggested that the pitfall of an X-Files feature film is that it will inflate to the size of what Farber derisively called “white elephant art,” full of “recognizable details and smarmy compassion…[and] fear of the potential life, rudeness, and outrageousness of a film,” Carter grows quiet. “Yes,” he says finally. “But even if that happens, I should at least make sure the elephant steps on the right people.”

VFX HQ: The X-Files: Fight the Future

??-??-1998
The X-Files: Fight the Future
VFX HQ

THE X-FILES MOVIE

Directed by Rob Bowman
Visual Effects Supervisor: Mat Beck
Visual Effects Producer: Kurt Williams
Miniature Unit Supervisor: Scott Schneider
Creature Effects by: Alec Gillis and Tom Woodruff Jr.


Visual Effects Produced by:

BLUE SKY|VIFX
Visual Effects Supervisor: John Wash
Visual Effects Producer: Matthew Ferro
Digital Supervisor: Derek Spears
2D Supervisor: Edwin Rivera
Production Coordinator: Daphne Dentz
Art Director: Alison Yerxa
Miniatures Supervisor: Scott Schneider
Special Effects Crew Chief: Ed FelixLIGHT MATTERS/PIXEL ENVY
Digital Effects Supervisors: Edson Williams, Greg Strause
3D Supervisor: Colin Strause

TODD AO/HOLLYWOOD DIGITAL
Visual Effects Supervisor: Peter Koczeria

DIGITAL FILMWORKS
Visual Effects Supervisor: Peter W. Moyer

Special Miniatures Created by HUNTER-GRATZNER INDUSTRIES
Supervised by: Ian Hunter, Matthew Gratzner and Shannon Blake Gans

Miniature Pyrotechnics by O’CONNOR FX

Additional Creature Effects by: KNB EFX GROUP

Review by Todd Vaziri
tvaziri@gmail.com

Making the big move to the silver screen, THE X-FILES is a visual feast, advancing upon the already fantastic visual imagery created for the popular television. THE X-FILES delivers the goods, with classy visual imagery primarily provided by Blue Sky|VIFX and Light Matters/Pixel Envy, with some stunning miniatures provided by Hunter Gratzner Industries. A clever combination of digital and practical methods were used to create the film’s effects.

As seen in the television series, the ‘black oil’ is an oozing alien force, that slithers to its prey, burrowing under its skin until clouding its victim’s eyes black. Taking its work from the series up a notch, Light Matters/Pixel Envy provided the seamless CG goo for the film, as it crawls up an unsuspecting boy’s legs. The 3D matchmoving on the crane up is quite good, with the worms convincingly moving up the boy’s body under his skin. The ooze finally reaches the boy’s eyes, which cloud over with the black oil. The milky, cloudy ooze that permeates the boy’s eyes was accomplished via small cloud tank effects, then digitally composited over his eyes.

Although appearing in only a scant four shots, the visual effects portion of the Dallas building explosion sequence is stunning, evoking chilling memories of the real-life Oklahoma City bombing. The 1/8 scale building portion built by HGI is destroyed with a terrific amount of detail–although the overhead shot of a fireball enveloping the camera contains some apparently frame-blended footage, the shots are seamless, with fine compositing by Blue Sky|VIFX. The


“The [alien interior] sequence paves exciting new roads in digital set extensions… rivaling if not surpassing the excellent engine room sequences in TITANIC.”


smoke and dust realistically wraps around nearby trees and cars, really selling the beautiful wide shot of the building being engulfed in flames and smoke. A naturalistic pan around Mulder and Scully to reveal the gutted building seamlessly locked live action and miniature into one terrific shot.

Flash forward to an eerie cornfield in the middle of Texas, where Mulder and Scully come across a secret installation. In a particularly unconvincing shot, the characters climb over a mountain top, with the camera following, eventually revealing the cornfield, the secret white buildings, and the freight train they had been following. Although tracking in this sequence did what it could to sell the shot, there are too many contrast and matte issues that make the viewers quite aware that they are watching an effects shot.

Subsequent shots of thousands of bees swarming Mulder and Scully are breathtaking. During principal photography, no actual bees were used for the swarm shots. Composited into these plates were footage of real bees, along with detailed CG bees, all of which help complete the illusion. Even during complicated camera moves, the bees actually seem to be in that environment, with realistic motion blur and mesmerizing tracking and compositing.

Light Matters/Pixel Envy really shines through in the spaceship interior shots, where Mulder discovers the enormous cavern that is the center of an enormous flying saucer. The design of the interior isn’t particularly exciting, with the requisite steam bursts, curved, semi-translucent alien architechture, etc. But what is exciting is the brilliant integration of the alien environment with the live-action element. Actor David Duchovny was filmed in front of enormous blue and greenscreens, while the alien environment was created mainly in 3D (with 2D pieces smartly substituted for areas with little perspective shift). The camera moves that make up the sequence are not at all typical effects-camera moves. Bobbing up and down around Mulder, the camera swoops some 100 degrees, angles up, angles down–all of which had to be painstakingly tracked in 3D. Particularly exciting is a shot where Mulder climbs through a small opening, with the camera following. This sequence paves exciting new roads in digital set extensions with naturalistic camera movement, rivaling if not surpassing Blue Sky|VIFX’s work on the excellent engine room sequences in TITANIC.

Subsequent shots of Mulder sliding down a steam fitting are interesting, if not a bit cliche. The 3D environment holds up quite well, with camera movements and perspective shifts matching the live-action footage nicely. Eventually, Mulder causes the ship to lift off from its icy home in the Antarctic, zooming off into the heavens. The launch sequence is scattered with some brilliant shots, and others which are fairly unconvincing. Wide shots of the domed buildings collapsing are obvious, with an over-contrasty feel and a lack of depth. Other greenscreen composites of the actors are substandard, as well.


“THE X-FILES is a remarkable achievement for Light Matters/Pixel Envy.”


However, the compositing of miniature ice chunks falling into the earth around Mulder and Scully are quite incredible, highlighted by some wonderful camera movements that make it truly seem as if the two characters are running away from the collapsing ice. Extensive ice miniatures were photographed and composited with live-action plates to create the illusion. The ship itself as it zooms into the sky is not particularly interesting, nor are the shots that surround it. The wide shot of the alien craft, primarily realized by a 6 foot, 200th scale miniature model, heading into the clouds is odd, with interesting yet unmotivated cloud formations. The film ends with a really nice shot of an isolated cornfield in the Tunisian desert. Although the matte pulled for the sky is a bit shoddy, and the sky itself is far too perfect to be real, the shot is a winner, holding up under many long seconds of scrutiny.

THE X-FILES is a remarkable achievement for Light Matters/Pixel Envy, whose work on the remarkable 3D tracking seamlessly integrated Mulder into the alien environmnment. They’ve completed many nice effects in the past, particularly for VOLCANO, which Mat Beck also supervised, but nothing of this scope and caliber. Although a few shots in the film are quite obvious, the film contains some spectacular effects highlighted by the alien interior shots, and the Dallas building explosion sequence.

Check out Cinefex 74.
Official Web Site: http://www.fightthefuture.com

Details Magazine

Jun-??-1998
Details Magazine

I’m warned about Chris Carter by Duchovny, who knows a lot about misleading exteriors. Inside Carter’s office on the Fox lot, not far away from the [movie] set, the creator of The X-Files seems calmly immune to the rigors of filmmaking. He is a handsome man, graying and shaggy-haired, sitting in an elegantly appointed, shuttered office, bowls of candy and fruit on various dark wood desks, a turquoise surfboard in a corner, an episode mapped out in index cards on a bulletin board. It could be the office of any other successful executive, except for a copy of The Big Book of Death, a volume of fun facts about death, murder, and suicide.

Everything about the forty-one-year-old Carter’s manner and appearance is smooth and fluid, and he takes a patient, fatherly view of the on-set tensions. He cautions me, for instance, not to believe the stars’ threats to leave the show. “We’re all tired,” he says. “And the tiredness sometimes leaks into our feelings about the future.”

Carter’s in charge of the full X-Files franchise, series and film, as well as Millennium, yet he seems like the only reasonable man on the lot. “But don’t be fooled,” Duchovny advises me. “He’s an anxious dude, and he’s intensely driven. He’s definitely the hardest-working man in show business I’ve ever met. That comes from intensely personal reasons that aren’t important, aren’t savory, for him to publicize.”

During the show’s growth and comprehensive scrutiny by fans, the three principals — Carter, Duchovny, and Anderson — have remained as elusive and mysterious as the figures they’ve created, their personal secrets guarded more closely than nay red-paper script. Until now, Carter has given only a sketch of himself: He grew up in a suburb of L.A., majored in journalism at Cal State Long beach, toiled at Surfing magazine, then wrote TV and film scripts with enough success to merit a deal at the needy new Fox network. Carter has always attributed the paranoia evident in The X-Files to historical events — specifically the Watergate scandal, which broke when he was in high school and cautioned him not to trust the government. “Trusting people, generally, is bad,” he says with a slight smile.

But his distrust, I learn, isn’t solely the product of Richard Nixon’s scheming. Carter reveals that he is the child of alcoholic parents. “My dad was very, very strict, a construction worker, and an extremely hard worker,” he explains. “He tore up streets, and the job always came first. If it was raining, he’d get up in the middle of the night and go make sure the flooding wasn’t filling up ditches.

“My parents were a united front, and never broke rank with one another. If my father said one thing, my mother had to agree with him. I couldn’t trust my mother — if I told her something about a girlfriend, she would blab it. When you can’t trust the person you by nature want to trust the most, it’s a very dangerous situation. So it became a challenge for my brother and me to figure out how to comport ourselves. Later, it got much worse; my parents became alcoholics. Our household sort of disintegrated, and it became a crazy version of that unified front, so my brother and I lived through the less rational years, and found a way to survive in that environment.”

Given Carter’s revelation, it’s understandable that Mulder’s monomania is motivated by a hunger to discover who killed his father and whether or not his sister was abducted by aliens — to reclaim the family that was taken from him. Duchovny also grew up in a broken family; his parents split when he was eleven. On The X-Files. every human connection is tenuous and shifting, with an uneasy alliance of mistrust. “David and I share a fear of betrayal,” Carter observes. “It comes from the same roots. His was a father who’d left the family, mine was two parents whose availability was affected by their alcoholism.”

Toronto Sun: Moment Of Truth

Jun-??-1998
Toronto Sun
Moment Of Truth
Bob Thompson

Expectations are running high as the popular X-Files crosses over from TV to the big screen

HOLLYWOOD — It’s undeniable. The X-Factor truth will be out there in a few weeks. Believe no one until then.

Days from now we will discover whether TV’s X-Files will become a movie hit.

Opening Friday, Chris Carter’s film creation is a $60-million exercise in Star Trek-like cross-pollination, although unlike Star Trek and The Next Generation, the series is still airing.

So like what’s going on?

This is clear. The X-Files: Fight The Future tries to exploit what makes the series popular.

That would be the unspoken bond between David Duchovny’s Fox Mulder and Gillian Anderson’s Dana Scully, the FBI agents featured weekly on their missions implausible.

Fine. So what’s going on? Like do they?

Do they track down otherwordly warriors? Yes, they do.

Also on hand during their big screen journey are these familiar small screen faces: William B. Davis’ The Cigarette-Smoking Man, John Neville’s The Well-Manicured Man and the conspiracy trio, The Lone Gunmen (Dean Haglund, Tom Braidwood and Bruce Harwood).

New to the scene are Martin Landau’s doctor in a dilemma, Armin Mueller-Stahl’s earthly conspirator and Blythe Danner’s assistant FBI director.

So what’s the movie story? Mulder and Scully uncover what they sort of expose but never prove — aliens are everywhere.

Indeed, they do what they have been doing since Chris Carter created the TV program five years ago.

Carter, who likes to boast that “I’m a worrier, so the next logical step is paranoia,” has transferred his anxiety well.

So, for the last five years, Mulder and Scully have been investigating unsolved FBI cases involving the paranormal, supernatural and unexplained.

Did we mention that Mulder, as a boy, watched his sister’s abduction by aliens? His father might be dead due to suspicious circumstances.

Scully, a doctor, is the skeptic sidekick living with an inexplicable cancerous tumor in her head.

Quite a couple. And, as spook-busters, they usually get thwarted by faceless government lackeys or clandestine henchmen from a dubious international combine covering up what potential truth there is out there concerning alien invasions.

It’s like a post-Watergate, pro-UFO, neurotically New Age soap opera all wrapped up in an unrequited love theme.

No wonder Mulder and Scully stick together.

And no wonder creator Carter — he calls himself a UFO skeptic — decided to make the dangerous move of releasing a movie between seasons five and six.

The fifth season was its most popular. Season six is expected to be even bigger — and that’s internationally, too.

He’s even poised to sign up for the X-Files film number two.

That doesn’t make Carter’s gamble psychologically easier for number one.

“More money involved makes it much more complicated, admits Carter at the Four Seasons Hotel doing press with Duchovny, Anderson and X-Files director Rob Bowman. “It was stressful, but the risk was worth taking.”

Anderson’s blunt about what that risk is. “It is a challenge to get, not just the pre-existing audience, but also the people who have never seen the series, to check us out.”

One way to get those other people, the non-Fileheads, is showcase some special-event film techniques.

So do they? “I just didn’t want to do creepy sci-fi violence,” Carter reports.

No, like, do they?

You mean smile. Mulder doesn’t smile in the series and he doesn’t in the film on purpose. “He can’t smile,” says Duchovny, grinning. “He’s a questing hero.”

No, not smile. Y’know, like do they?

Bust the aliens in the movie? Carter’s not going to say on the record. Not now, days before the X-Files film gets a look-over by consumers.

Carter’s already spent two years living like a secret agent, swearing assistants to complete secrecy, printing the script on non-faxable paper. He even let some dummy scenes get out there, to find out whether he had leaks. He’s proud to say that he misled the X-Philers who needed to know the movie truth out there.

Those fans are as obsessed as Mulder, after all.

Carter confirms that they are, indeed.

So do they? Like do the fans know?

Carter says that he does not believe the complete film storyline has been pieced together.

He does believe he will find out soon enough whether The X-Files translates onto the big screen. It’s the $60-million question.

But director Bowman, who did 25 episodes on TV, insists the essence of the series is maintained.

“The storytelling on The X-Files is obtuse and that is on purpose,” he says. “It’s very tantalizing, just like the investigating they do in the film. You get fragments and you have to connect the dots.”

Still, the movie has special effects, more locations and bigger moments. “More detail,” Bowman agrees, “and more intricacies.”

But do they? Y’know, like do Mulder and Scully kiss?

“I think it would ruin the show,” Carter says, then adds, “I think it would wreck the X-Files if they had a relationship.”

Anderson chuckles: “What? Before we spot an alien, what are we going to do? Smooch?”

Reports Duchovny: “There is way too much history to be developed for them to have a carnal meeting.”

Besides, says Duchovny, smirking, “America wouldn’t stand for it.”

Rough Cut

??-??-1998 (Jun-11-1998?)
Rough Cut
Interview with Chris Carter

*With a project like this, how do you please yourself as well as all of the
fans out there?

Well, you always have to please millions of people out there. It’s part of
the goal. But first you have to please yourself, and luckily, with this
show from the very beginning, what I did was write something that pleased
me, something that I wanted to do that I liked. I think that’s one of the
secrets to the success of the show is that I’ve been able to maintain an
enthusiasm because the stories that we write are very interesting to me.

*Did you always want to turn this into a film? Is it something you thought
halfway through?

You know, I’ve been asked this question, and I always say, “Yes, we always
wanted to turn it into a film,” but I don’t know when we actually got
serious about it. I realized that if we didn’t do it [now], we might not
do it…. I thought it would be nice to take all the threads that we had
laid out there and weave them together in a big movie; It’s also true that
I don’t think we would have done a movie unless we did it now.

*What sort of challenges did you have to overcome to make it accessible to
people who aren’t fans of the show?

It’s a trick, because you know there’s a lot of people who don’t watch
television who go to movies and then there are some people who I’m sure are
not regular watchers of the show or have never watched the show. I still
think it’s a movie for them. I think those tricks — character development
and an accessible story that doesn’t require too much foreknowledge — were
the biggest hurdles to overcome. And I think that we’ve overcome them.

*”The X-Files” has always been informed by the fact that you read scientific
journals and also you’re reading about actual government conspiracies and
experiments and things they’ve done. Can you talk about that?

People say, “Where do you get all these wild ideas.?” Many of them come
directly from science. If the show didn’t have a strong scientific
foundation — the same with the movie — the science in the movie is
absolutely accurate. I guess people could argue about aliens, but the
genetics, the transgenic pollen implants, all that is 100 percent accurate
according to my scientific advisor.The show needs a scientific foundation,
because that is Scully’s point of view. Without a Scully point of view, you’ve
got no point/counterpoint. So it’s important that our science be accurate,
and it’s important that the science be good, because it provides the
leaping-off
point for the rest of the show.

*In the last couple of years, I’ve noticed that the different episodes have
become like mini-movies. My friends and I talk about that.

Well, the approach has always been a “cinematic approach,” I call it now
after having done the movie. I know whatever you do in television isn’t
quite cinematic because making a movie is a much more elaborate process
than making a television show. But, we tell the stories as if they were
little movies, and we take a big-screen approach on the small screen in
the way we tell our stories and the way the shows are directed, certainly
and in the way the stories are very plot-driven. They are good, round
mysteries, and a lot of television gets by on character development
ensembles, stories, a-b-c-d-e-f-g stories. “The X-Files” tells one good,
strong story every episode, and I think that’s much more of a movie
approach.

*There were scenes that “X-Files” fans thought were going to be in the movie
because of rumors. Were there a lot left out of the film?

No, no, no. It’s pretty much what it was designed to be. I think that there
is very little missing from the script.

*There’s a rumor that you guys shot “red herrings” just to throw off”The
X-Files” Internet fans. Is that true?

The truth is we didn’t, but, there were things that were written that were
put out there as bogus information. The last scene in the movie, or I
should say, the penultimate scene in the movie with Mulder and Scully in
the park, was not written until the spring … probably about six weeks ago.

*That’s a conspiracy.

It is a conspiracy.

*Have you ever heard from somebody in the government about your
conspiracies?

I once had someone walk up to me and say that they worked in the
intelligence community and say, “You don’t know how right you are.” I sort
of liked that idea.

*How much of the conspiracy has been pre-planned and how have you kind of
retroactively fitted?

I have a big general idea of what the conspiracy means and what the
conspiracy is, but as we go forward, we find new little things to do to add
to it. And so that’s the fun of it. If you set everything down too clearly
for yourself in the beginning, I think you end up without the sort of
wonderful discovery of new things to add in. So, I think flexibility is
important in this kind of storytelling. Also the faith that you’re going to
make the right choices as you go forward.

*Are we going to get a new movie every two or three years?

I hope this movie’s successful so that it warrants doing more movies. I
think I would like to see the TV series evolve into a movie series. That
would be a nice thing to do. It would be a nice reason for us to all work
together.

*The opening sequence with the bombing of the building is eerily similar to
the Oklahoma City bombing. Was there any concern about including that in a
piece of entertainment?

Well, it’s a building explosion. And I don’t mean it [to trivialize] a
horrible event. It certainly wasn’t meant to be that.

*As an X-Files fan, is the movie going to go into the series?

Yes, yes, yes.

*What can we expect for season six?

Well, the writers are actually back at work already. This is the first week
of work. We all got a week off, and now we’re back coming up with stories,
so we’re putting it together. We’ve got a lot to play with, and this is
the fun of it. Figuring out how to re-open “The X-Files.” I thought of the
movie as an explosion of “The X-Files.” For five years, we kept imploding
this series; it would fall back in on itself, and we’d give you a clue or
an answer and then we’d take it back. The movie has set certain things in
stone and now we’ve got to deal with those pieces. But there are lots of
new elements to toy with.

*How is moving the show to L.A. from Vancouver going to change it?

You know, it’s obvious it will change. I’ll have a new crew. I’ll have a
new environment to shoot in. (People ask if we’ll) still have the same
creepy light. You know, we’ll have bright sunlight in the daytime, although
if it’s anything like last year, it will be just like Vancouver; The
weather in Los Angeles was so bad last year. But, I think what we’ll do is
we will just use the new environment to our advantage. Just make a virtue
out of the problem, which is that we’re now shooting in sort of a concrete
jungle. [We’ll] tell stories that we wouldn’t have been able to tell in
Vancouver, so I think it’s going to be an interesting opportunity.

*What about the soundtrack?

It came out on June 2. That’s one of the best parts of my job. It’s just a
whole lot of fun for me. It’s just like saying, “Lets ask the Foo Fighters
if they want to do a song,” and they do. And they send something back, and
the day that cassette comes in I stick it in my machine. It’s like a
Christmas present.

*You know, in another time you might have been this faceless person that
created a show, and that’s not the case now. What kind of bizarre
encounters have you had?

I have people come up to me all the time and want to tell me their story
and pitch me ideas. And I have to tell them all, I’ve got this thing that I
say. I’ll say, “I’d love to listen to your story, but for legal reasons I
cannot.” Which is true. I don’t want to be involved in a situation where
someone says I stole their story. I’ve been very careful not to take
anything from anyone. I don’t think we’ve done one unsolicited script or
idea in the entire run of the show: 117 episodes. My wife and I once laid
in bed listening to a tape a guy had sent me of an encounter he had had in
the wilderness with his wife. And he had just decided to sit down and
talk about this.

*I think that “The X-Files” is a very literate program. Dialogue is almost
more important than the action, and the movie is the same way. You have to
pay attention to every word of it. Is that a dangerous area in the ’90s
with the whole short attention span thing?

You know, [you] make a mistake in thinking that the audience is not as
smart as [you] are. I think the audience is very smart. I think the
audience is very sophisticated. We have so much information these days.
Everyone knows about the human g-gnome project now that’s going on. It’s in
he paper everyday. So, genetics, all these things… while they are
sophisticated and while the dialogue [of the show] is sophisticated, it
also never attempts to confuse or baffle. It is well chosen words by smart
people.

*Have people ever approached you and told you that something’s just too
gross?

It’s really hard to give me the willies. I’m sure that there are some
things that are too gross. We’ve shown a lot of interesting images on the
show, but mostly they would have to do with autopsies and such. There
actually is a limit to what we can show. Standards and Practices prevents
us from doing anything that is too gruesome, gory, visceral. The truth is,
I hate blood. I don’t like to show it on screen. I don’t like to show it
splattering. I don’t like to show it spilling. I don’t like to see
shoot-outs and bullets flying. I’m uninterested in that. I’m interested in
the effects of events. Even violent events and what the human drama is
before and after them, but the gore is something that I’m not interested
in.

Soundtrack Magazine: Mark Snow: Scoring The X-Files Movie

Jun-??-1998
Soundtrack Magazine
Mark Snow: Scoring The X-Files Movie
Randall Larson

One of the biggest shows on TV continues to be Chris Carter’s THE X-FILES. With its ongoing conspiratorial mythology and speculative plotting, THE X-FILES is one part detective show, two parts science fiction, its eyes glancing furtively at the skies every Sunday night. Much of the show’s atmosphere is achieved through Mark Snow’s moody and inventive musical scoring. With the June release of the feature length X-FILES movie, Snow joins creator Chris Carter, director Rob Bowman and stars David Duchovny and Gillian Anderson in translating the small screen hit to the big screen.

Randall D. Larson: Last time we talked (Soundtrack!, June 1997), you were looking forward to the opportunity of expanding the scope of the TV music and orchestrate it a little broader for the feature. How has that worked out?
Mark Snow: It’s worked out great. I’d say 90% of the score is big orchestra combined with electronics. There are a few cues that are electronic, but they’re going to be very “big” sounding. It’s going to be sort of a traditional sound, to an extent, with the orchestra, but in a sharp contrast to the electronic stuff. It should be a really great mix. There’s a lot of stuff going on in the electronics, so I think it’s going to be a really great contrast.
In the TV show, from day one, everyone involved from Chris Carter down wanted a lot of music. At first he was talking about ambient, atmospheric, basically synth-pad kind of stuff. And that’s basically what I did at the beginning. It just got too boring and ordinary so I opened it up. Chris didn’t mind and after the first year he just let me go off on my own, and as the years went on it became more musical and less sound design. Every once in a while it would revert back to some sound design stuff, but now it’s a pretty good mix of ambient atmospheric music.

Randall D. Larson: Has the feature film enabled you to do any more thematic work than you were able to do on the show?
Mark Snow: I think the best thing, thematically, that’s come out of it is the X-FILES theme itself, which is being harmonized and orchestrated in different settings that never have appeared on the TV show. The TV version is sort of a one-note pad and a simple accompaniment. But now I’ve put different kinds of harmonization to it. It doesn’t happen every place, but it happens enough that anyone who knows the theme would recognize it.

Randall D. Larson: How about any new themes?
Mark Snow: There is a veiled theme for the Cigarette-Smoking Man. It’s not as much melodic as it is harmonic, it’s a bunch of minor chords going from one to another. It sounds a little bit like Bernard Herrmann / Jules Verne…

Randall D. Larson: It sounds perfectly appropriate for the character.
Mark Snow: Yes. There’s not a real melody, but a chordal structure. There’s a theme for the Elders, the Well Manicured Man and the older conspiracy figures. I haven’t done it yet, but the last episode of the TV season will have a lot of these themes in it, which will hopefully introduce some of the movie music.

Randall D. Larson: I understand the last few episodes this season will go right into the feature film. So you’re developing a musical segue as well?
Mark Snow: Yes. Actually, I just finished the second-to-Iast episode of the season, and that’s just a stand-alone. But the next one, which is the last episode of the season, is really tied into the movie.

Randall D. Larson: You started on the feature last January, so you’ve had plenty of time to develop material, concurrently with working on the series…
Yes. Unfortunately, the way things work at Ten-Thirteen Productions, which is the production company of X-FILES, there are a lot of last-minute changes. Someone gets up in the middle of the night and has an idea to change something, so just when you think we’re locked or it’s set, new changes come down, which I know is not unusual by any stretch of the imagination. So, although we had the time, I was always living under the anxiety of feeling that it was always going to change. That’s par for the course, though, and it always seems to work out.

Randall D. Larson: How much music, all told, have you composed for the film, and how many musicians have you used?
Mark Snow: I think it’ll be about 75 minutes, for 85 musicians. That’s a lot. Actually, I’m hoping to convince these people to take some of it out! I think the movie, to me, looks a little bit like the TV show at times, and I think in a feature you don’t need the constant reminder that something’s going on, with accents and music all over the place. For better or for worse, though, the legacy of the music of the X-Files has always been: play lots of music.

Randall D. Larson: How would you contrast working on the feature as opposed to the approach of doing the TV show? I know it’s more expansive and you’re doing more with themes as opposed to pure atmospheres, but how would you contrast the experiences, even though the film is so closely tied to the TV show?
Mark Snow: The biggest contrast, obviously, is the scope of the movie. There are things in the movie that the TV show can never do, and will never do. It’s just impossible.

Randall D. Larson: In terms of effects and locations?
Mark Snow: Yes. There is massive CGI, computer effects, and a scope that is quite appropriate for the big screen that they don’t have the time or money to do for the series. That’s the biggest contrast. It’s still a very dense story, quite complicated. I’m hoping that the non-fan will enjoy it as much as the fan.

x filesRandall D. Larson: Did you get the chance to use any melodies, or more of the lighter music than you were able to do on the TV show? Or has the tone been fairly dark throughout?
Mark Snow: It’s been pretty dark. The great thing about the TV series is, when we have these stand-alone, what I call boutique episodes, sometimes they verge on black comedy, with a lot of cute things I can do. The big shows, the mythical/conspiracy/cover-up shows are fairly drab and there’s not much room for anything but the real dark approach.

Randall D. Larson: Some of my favorite scores are for those one-shot episodes. I loved the ‘Elephant Mann’ episode with all the allusions to the John Morris music.
Mark Snow: You’re one of the few people who caught that! That’s exactly right. Those are the times when the palette is wide open and you really can stretch.

Randall D. Larson: What were some of the main challenges that THE X-FILES MOVIE posed for you?
Mark Snow: I wanted to continue the effect and the honesty of the music from the series and have it modulate to the big screen, to understand how to make that jump without it seeming like a score by Jerry Goldsmith or Homer or another big name movie composer.

Randall D. Larson: Was the feature film temp-tracked, and how did you deal with that?
Mark Snow: Yes, it was, and that was very helpful. My music editor, Jeff Charbonneau, temp tracked the movie with, say, 75% existing score, and 25% original stuff from me. He did a great job and it was very helpful in setting the tone and getting the producer and director to get a feel for what kind of music they thought would work. Then I was able to do it electronically and put it into a temp screening, and that was very successful. I basically did the temp track, and I’d say a good 95% of that is what the final score’s going to be, but with orchestra.

Randall D. Larson: How closely with you work with director Rob Bowman on the music?
Mark Snow: Rob is an incredibly literate director. But we all basically work for Chris Carter. So, although Chris didn’t direct the movie, he’s very hands-on. Chris is very loyal, and he likes to work with the people he knows. It never would have worked if he got some big shot egomaniac director! Rob is incredibly talented, and he also knows what Chris likes. But, between me and Rob alone, we have this running joke where he’ll hear a CD and he’ll call up and he’ll just name a CD and the cut, and then hang up on me. “FORREST GUMP, cut 10!” and he hangs up! “TERMINATOR 2, cut 11!” or whatever.
Then we’d discuss it. And he hates violins, on top of it all. So he’s going to see 30 of them on Monday, so good luck!

Randall D. Larson: What kind of orchestration are you using in the orchestral part of the score?
Mark Snow: It’s a fairly standard orchestra. Big string section, lots of basses and five percussionists. The percussionists are going to be all over the place – glass and marimbas and all kinds of crazy instruments. So the combination of the electronic ambient stuff and the orchestra should be really spectacular.

Randall D. Larson: Sounds like a score and a film to look forward to!
Mark Snow: Well, I hope so! The organization for this thing has been incredible! Pre-record all the electronic tracks, and then strip them off to tapes, individually, and then all that has to be transferred to a digital 48-track machine. Then the orchestra’s recorded, then the whole thing goes to another studio to mix it all together, and if our calculations are right, it should be an awesome sound.

Randall D. Larson: Now having done the feature, how do you think it will be like going back to the series, having had that experience?
Mark Snow: Well, I’m hoping the movie score experience is going to be really great. But the thing is that the TV show is also great, and it is like doing a mini feature all the time. If it was really terrible, boring drudge work it would be a problem. But it’s not.

Randall D. Larson: What do you have forthcoming?
Mark Snow: I’m doing a movie for MGM right after THE X-FILES called DISTURBING BEHAVIOR, which is being directed by David Netter, who’s an alumni of THE X FILES!

Randall D. Larson: What kind of film is that going to be?
Mark Snow: It’s an all-unknown teenage cast, and on the surface it might seem like SCREAM or a movie like that, but it’s really a lot deeper and it’s really brilliant, with some fabulous actors, and the direction, the location photography are just great. A real deep, dark mystery.

Randall D. Larson: When do you start on that and when’s it coming out?
Mark Snow: It’s supposed to come out August 21st but I heard they moved it up to the beginning of August. I should be scoring around the end of June.

Randall D. Larson: Have you done any writing on that yet?
Mark Snow: Actually, I did. I’ve written a main title theme for that, which they all loved, so I’m off to a good start on that.