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Archive for June, 2000

Universe 2000 Expo: Visioning the Future

The Astronomical Society of the Pacific: Universe 2000 Expo
“Visioning the Future” panel

Panel with Brannon Braga (Star Trek Voyager executive producer), Frank Spotnitz (X-Files executive producer), David Brin (physicist), Syd Mead (‘Blade Runner’ and ‘Star Trek: The Motion Picture’ designer)

[Transcribed by April]

Frank Spotnitz Speaks on a panel discussing “Visions of the Future” for The Astronomical Society of the Pacific’s Universe 2000 Expo

Transcript from the wonderful April-thanks for sharing with us. And thanks to Frank for being such an interesting person-this is a great read-IMHO.

The panel he spoke on ( David Brin couldn’t make it though) had 2 writers for Star Trek: Voyager, one writer of various movies like Blade Runner, and this professor dude who rocked and I shall speak more of later.

I brought along a tape recorder and recording almost everything he said except for his last answer to a question… and here you are, transcripts of.. stuff he said 🙂

Question: about if science has anything to do with science fiction writing and if it does what do you feel are your responsibilities in your role..

Frank Spotnitz: “Okay. Hi sorry to be late, accident on the one seven I swear that’s the truth… I guess the question of how well educated the public is about science and where the lines in science fiction and science fact is one of those half empty half full questions because I think you could argue that while a great number of people still have a confusion about what’s accepted good science and what’s not and probably have as well educated a population as we’ve ever had since the founding of the republic, and so while things could be better they’re probably as good as they’ve ever been. I think that my job on the X-Files or as a television writer or movie writer is to entertain, and I look at that first and foremost as my calling. And in the X-Files specifically, we use science as a tool to create a believable scenario. So I will use as much science as I can to try and make what is happening seem credible, with the idea being that if something seems possible or plausible it’s going to be scarier to you than if it seems ridiculous. Beyond that I don’t really see my purpose as a writer as being synonymous with that of an educator, although I do think that one of the most fortunate things about science fiction is it tends to spark interest in real science, and I know the original Star Trek series, for Andre and probably for Brannon, I don’t know but certainly for me sparked a lot of interest in science, science fiction and probably why I’m writing for television today. So hopefully the fictitious license we take will lead people to explore the real thing.”

[note: Right here was a cute story the professor guy told, his name Richard Berendzen. He was called up to have permission granted to use footage of him that was used in Gethsemane 🙂 and he was telling about the end when Mulder cries (at this point I held up my season four episode guide with a page with a photo of that happening and he was like “yeah right there” and Frank grinned at the book, so yeah score hehe, aaanyway) and said how because of Scully saying Mulder committed suicide Richard got these calls from students asking if he killed Mulder :)]

This next part started off with talk about the darkness of sci fi and led to atmosphere and well yeah let’s pick it up here you only miss Frank agreeing with the prev. speaker .

Frank Spotnitz: “…I was thinking about this the last couple of days, knowing that I was going to be coming here late, and talking about the future and you know it goes without saying that no one knows what the future’s going to be, so why is there so much interest in it? And the answers that I’ve come up with certainly in terms of the storytelling we do is because it deals with our fears of what we’ve become, which of course are based on the present, and so I think science fiction frequently, chiefly deals with fears of how tech may change human beings and the way we live in the future. And this is a way of dealing with those fears, telling stories about those fears, in the hope of ex them or changing the path of the future. Human beings certainly have changed. And if you read the Greeks or the Romans, their [something] with human behavior are identical to what it is you know all of us behave today, as far as I can tell. But technology has a way of presenting opportunities that we fear we cannot control, whether it’s you know industrial revolution or the atomic age or the Internet. And so I think storytelling provides a great surface in imagining where these technological paths may lead and how to prevent a fear from being realized.”

Question: [Paraphrased] Where does the writing come from?

Frank Spotnitz: “I’ve had the most frequently asked question. I think when you write television or movies and the hardest answer because it’s a very mysterious process I think for people who write where those ideas come from and I know I watch a lot of programming, news, biographies, documentaries, hoping something will spark, newspapers, magazines. When all else fails, when I’m trying to tell scary stories I think back about being a child and what scared me as a child and look for something there. It’s a hard question to answer. I will say before I lose this thought that occurred to me while Andre was talking about 2001, I don’t think, I hope none of us are actually going to be called upon later to show how accurate we were in predicting what was going to happen, you know that, I never think about that in terms of the X-Files and any predictions about the future. But I think what 2001 did presently and Blade Runner as well was predicted the rise of commerce and commercial influence on what at the time was ? governmental enterprise and the fact that there was Hilton and Howard Johnson and ?? was right on, and I think, you know I think one of the fears that um, I think is probably growing in our consciousness that you see in movies being made now is that government is actually less and less important and commerce is all important in the post-cold war environment and I think that’s gonna make for a lot more stories. [warning! confusing possibly mistranscripted sentence ahead!] You know X-Files has been bread and butter for 8 years now is government conspiracy but I think people have a sense now that you know dollars and eurodollars are where it’s at.” “Have you tried watching the old Jetsons episodes?”

Question: Favorite sci fi story you’ve done, fave episode etc. and why?

Frank Spotnitz: “That’s a really hard question to answer.. I think that the favorite episode that I was involved with was called Memento Mori and that was where Agent Scully found out she had contracted cancer as a result of her abduction. And it was a story we were afraid to do, honestly, because cancer is very much real and not something science fiction, and it touched on people’s lives, everybody knows others been touched by it. But it ended up being one of my favorites because it was so revealing of the characters, and when you do a TV series particularly you get so close to these characters you spend so many hours imagining their lives, their interior lives, that when you get a chance to do an episode that explores a part of them that you’ve never seen before it’s very exciting. So that was my favorite, it had heavy duty science fiction quotient in it, it had aliens and you know, green goo, and abductions, and memories, and things like that, but all of those things I think are just metaphors for fears we all have and I think that’s the appeal of UFO lore, whether you believe in it or not. It speaks to our fears, and interests and how or not you’ll understand these amenities beyond ourselves, and actually the episode that you referred to earlier, where Mulder commits suicide, is that that panel discussion was talking about how if he discovered aliens existed, if you had proof of extraterrestrial life, it would be greatest scientific discovery ever, there is no greater scientific discovery, because it would change our understanding of our own role in the universe. And in many ways, I think the search for extraterrestrial life is a lot like the search for God, truly trying to scientifically tackle the same question.”

Question: [from our fellow X-Phile Heather in the audience :)] what difficulties might you run into when writing a story, and how do you solve this problem?

Frank Spotnitz: “Very painfully. The interesting thing about storytelling is that you are trying to devise a plot at the same time you’re trying to understand your character. And the two things tug each other constantly. You’re constantly finding that if you make a wrong move with the plot, you get a wrong move with the character and vice versa. And so you’re trying to move both of them along in an interesting way and be true to those and that’s the challenge and [word missing] instance for telling stories on the X-Files, there’s always a science fiction or horror element that is woven into the particular human story. But it’s the human values that, you know, are the forefront that people care about that’s why you watch the story and the science fiction angle gives you something new and different and cool that you may not have seen before you hopefully haven’t seen before. But yeah I think, to touch on the question that was asked last you know about the human behavior, I don’t think human beings have changed and I think even Star Trek, you know, Gene Roddenberry’s vision for the future notwithstanding, you know you recognize those people, you know they’re supposed to be 3, 400 years in the future, you recognize [that they’re?] characters they could be people you meet today. There’s just a lot of social issues that we, especially in 1964. You know, there were people on the streets and there were violent protests, they had been resolved in a way that made people hopeful. So I think that’s what hopeful science fiction’s about, it’s not [that] human beings are going to become primarily different, it’s saying that certain struggles will be resolved in a positive way.”

Another comment here by Heather about how she thinks science changes not the people.

Frank Spotnitz: “I think that’s absolutely what it is, I mean (another you know? 🙂 conditions change radically.. healthcare, science, technology change the way we live and the way we interact with each other you know the world community, but who people are let’s face it their basic instincts are things that you know..” *trails off*

Question: If there’s art in the writers’ science fiction, which led to a comment that art or creativity is so internal, about actions instead

Frank Spotnitz: “We actually did one episode about art if you will, it was about a writer, and it’s exactly what you said I mean, science is about understanding the natural world the world around us and art is about. To generalize [about] understanding what makes us and what makes us human. And this writer wrote. Finally wrote something so good that it actually came to pass. But unfortunately he found out that what was inside of him was hate and destruction. And [the fear?] of art has no guarantee of happiness, because it shines a light of understanding, but what you see now [is beautiful and uncertain?]”

“Well I think it remains to be seen, was Freud a great scientist or a great artist? I think the big difference, cause I think you’re right, I think it made a lot of people thinking [it was] truly greater than science, if not more so than it is than the art, but science strives to have an empirical standard by which we judge its conclusions, which you know art. It’s time to get rid of that.”

Frank Spotnitz: “How did it get so ugly… oh the question was, do we have any thoughts about a uh, English scientist’s theory that UFOs are actually visitors from our own future, checking in on us today. I find that unlikely.. no I mean I.. as I touched on before, having thought about UFOs now for 7 years, and never having really thought about before I came on the X-Files, to me a lot of the interest in extraterrestrials is analogous to our interest in God, and wanting to understand our place in the universe, and whether we’re alone. A lot of the same questions come up when you consider religion and UFO phenomena. I can’t explain UFO phenomena, I have no idea why it is so widespread, you know it’s incredible if you read surveys of the American public, the number of people who believe in UFOs is astonishing, and the number of people who claim to have had first hand experience with UFOs is equally amazing, whereas I think when I began writing for the show 7 years ago I was a hundred percent Agent Scully, skeptic, and a disbeliever, I say I’m still of Dana Scully’s [mind] that I’m not equipped to explain the phenomenon.”

Question: How much of the writing is from a white male vision? How much diversity is on the writing staff?

Frank Spotnitz: “In the past, we’ve had a number of woman writers, minority writers, at the moment the X-Files staff is all male, but not all white. But, it’s like Brannon said, it just so happens the Writers’ Guild, who you have to draw on, is predominantly white male, so that’s an obstacle right there. And the first thing you are thinking about when you’re a producer desperate to make a good TV show is, get me good writers. Now, if I can have a racially diverse, and sexually diverse staff, well great, but first get me good writers. So..”

Question: Is it a white male perspective?

Frank Spotnitz: ‘It has been mixed on our show. There’ve been times when we’ve had all white male staff, there’ve been times we’ve had, you know, much more mixed. I hope not. I mean I really hope, I don’t know what a ‘white male vision’ means, exactly. I mean I’m a white male but I hope that my vision, my humble vision, is not in some way villainous or derogatory, I hope I’m open minded enough to try to encompass other visions too in my white male vision, you know what I’m saying? That’s what we’re constantly trying to *tape interference* reason for the question, it worries me, questions like that, because it suggests that somehow whether you are black or white influences the future, and we just hired for the Lone Gunmen, which is comedy series about you know Mission Impossible[-style?] capers features a black woman. And what she knows about you know three white computer nerds.. I don’t know it shouldn’t matter in a perfect world. In the world where Star Trek is headed it wouldn’t be questioned. ”

Question: about metaphysics

Frank Spotnitz: “…It’s not on a conscious level but I think the meaning of death–spirit, soul. That which exists beyond our own corporeum in existence. Those are things play into the X-Files.. you know again and again, but I don’t think I ever approach it, you know… you know “this week I’m doin’ the metaphysical”


My tape ran out during the next question, which was about an occult author with the first name Alistaire that a person asked about, who for the record Frank did not know of :).. and there was also one part where nanotechnology was brought up and Frank was asked by another panelist if the X-Files touched on that and Frank said “yeah we did” hehe

Afterwards, Vanessa and I hung around, I had two magazines one for me one for a friend I wanted to get signed and we both got them signed as well as pictures, nice nice guy 😀 I asked him when production starts, the 24th or 25th? It’s the 25th.. and Vanessa asked when the season premiere is (first week of November) and Heather asked if cancerman was really dead and he said he couldn’t say and laughed 🙂

Daily News: Chris Carter looks forward to challenges of 'X-Files' season

Daily News
Chris Carter looks forward to challenges of ‘X-Files’ season
Rob Lowman

Chris Carter is at a crossroads.

His hit series, “The X-Files,” will — after prolonged negotiations — return for an eighth season in the fall, albeit with one of its stars, David Duchovny, only coming back for half of the shows. So now he must rethink the future of the landmark series.

“I’m excited. I think that there are lots of interesting stories to tell,” says Carter. “And in coming back, I think we’ve created lots of interesting problems to solve, which is what we like. We want the problems to solve.”

Through the years the show’s main characters — Duchovny, who plays Fox Mulder, the FBI agent who believes in aliens and other assorted other-worldly phenomenon, and his skeptical partner, agent Dana Scully (Gillian Anderson) — have had nothing but problems to solve, starting with a conspiracy involving the possible takeover of the planet by aliens. The show has spawned one feature film and more may be on the way. “X-Files” fans are hardcore, and two writers publish a weekly newspaper column sent around the country, X-Cursions, dissecting each episode.

Recently, Carter was involved the release of the first season of “The X-Files” on DVD, a seven-disk pack (Fox, $149.98) that includes all 24 of the episodes. Asked if, during that first season, he ever thought the show would be so successful, Carter points out that television is a business where most things fail.

“I knew it was a real good storytelling idea,” says Carter. “That the believer and the skeptic would create a great way to tell science fiction stories, which for me always work best when they come from a premise of hard science and then you apply the what-if questions. And this was a great opportunity to do so.”

Certainly good storytelling and high production values have helped keep the show a highly rated mainstay on the Fox network for seven years.

Carter says he always thought the show was told from Scully’s point of view. It was really Scully trying to keep up with Mulder, who was always three steps ahead of her with his fantastic ideas, he says.

“You really get a sense of that looking at that first year — how characters came to where they are now…. But the first season was Scully trying to match wits with a man who wasn’t playing by the rules.”

Since then their relationship has evolved to where Scully is more of a believer and Mulder is more willing to accept her scientific rigorousness. But you wonder if the series would have been as successful with two other actors in the roles.

Carter says casting Duchovny and Anderson was a no-brainer for him. “I knew the moment I met David he was Mulder; I knew the moment I met Gillian she was Scully. He was relatively easy to cast, but no one saw what I saw in Gillian as Scully. One of the reasons was that she looked much more like a street urchin. Her hair was tousled; she didn’t look like a serious person. She looked a little Bohemian. But she had a seriousness for a young woman that I felt would work great for the character I imagined.”

Part of the problem, says Carter, was that the network was concerned on how she look in a bathing suit. The irony, of course, is that there’s never been a show where Scully needed to appear in a bathing suit.

“Gillian’s sex appeal is very sophisticated as is the relationship between the two of them and the sexual tension,” says Carter.

Last week’s season finale ended with Mulder being abducted by aliens, and Scully pregnant, presumably by Mulder and despite the fact that she was unable to conceive. The revelation here is that up until now Mulder and Scully had kept their relationship platonic, and — perhaps more than aliens or wild conspiracy — it is that relationship that is at the heart of the show. But now Carter must figure out a way to do without that for half the year.

“We’ll bring in some new characters.” he says. “We have some chances here to expand the show yet again. We’re still going to tell great stories. I want to focus more on the character of Scully and tell stories that deal with a more mythological magic realism approach than we have done before.”

Carter, who began as a journalist before moving over to TV to do Disney movies of the week, attributes the show enduring appeal to it elasticity.

“It’s weird.” he says. ” ‘The X-Files’ can expand and come back to shape so beautifully so that you can do these wild send-up episodes and come back and do a mythology the following week.”

Carter doesn’t think there will ever be another show like it on television again for one reason — “it costs too much to do.” And like others, Carter laments being up against “Who Wants to Be a Millionaire,” which scores big ratings numbers with relatively low production values. “The X-Files” has remained a top rated show but like others it has taken a hit.

“We put so much care and imagination into these stories,” says Carter, knowing that the show’s elasticity will be tested to the fullest next season. “Sometimes, I think, we get lost in the Nielsens.”