X-Files mythology, TenThirteen Interviews Database, and more

Posts Tagged ‘heydannyitsmulder’

Interview: Anne Simon

The “Hey Danny it’s Mulder” podcast interviewed Anne Simon, who was Chris Carter’s science advisor for much of the duration of the show and contributed with many realistic elements of the show’s mythology specifically.

What was discussed:

1X23: “The Erlenmeyer Flask“: plenty of contributions from her! The name of the episode itself, the solution contained in the flask that looks like “weak coffee” [“monkey pee” according to Scully], using an image of pollen for the alien bacteria, the two nucleotides as undeniable proof of alien DNA, the use of a scanning electron microscope, Carter naming the scientist “Anne Carpenter” after her…

4X01: “Herrenvolk“: using a real DNA sequence of cowpox virus just in case somebody would analyse it (which someone did of course!) to avoid having a random sequence like in Michael Crichton’s “Jurassic Park”.

5X02: “Redux“: the “blazing hot probe” story for the Southern blot test, which is normally done in two days but the script needed it to be done in four hours.

9X18: “Sunshine Days”: she and Margaret Fearon (TXF fan she met exchanging letters and became close friends with [a character in IWTB is named after her]) visited the set; they corrected several things in the set to make it more realistic (X-rays, position of the autopsied body, lab equipment…)

10X6: “My Struggle II“: all the details of CRISPR, Spartan virus (Margaret came up with the name), inserting the virus together with the smallpox vaccine, everything that got her and Margaret a writing credit for the episode. For the trigger for the loss of the immune system, she had many ideas around air pollution and climate change; but Carter wanted to use chemtrails specifically [it’s not very clear what the trigger was in the final episode].

[As noted in my My Struggle II analysis, this is all great science but it poses an issue of logic. It’s interesting that Carter asked them to come up with a way to have the virus and gene mutation inserted in all humans *specifically decades ago* and not recently: so the CSM’s Spartan virus plan was indeed set up a long time ago and that’s not a mistake or an overlooked detail. The CSM’s plan was in place decades ago, all the while the preparations for colonization and the hybridization experiments were taking place. This is all very difficult to reconcile: if the Spartan plan is in place and can destroy humanity, what’s the point of all the experiments related to colonization that we were presented for nine seasons?]

On scientists’ representation on-screen and scientists’ desire for a more realistic portrayal, on the Scully effect and the many times she became aware of it during her career.

But most importantly, Simon discusses the dire state of science funding in the new Trump administration, and how the United States is sabotaging itself by turning its back on science, and how a new generation of students is seeing its funding for research being taken away and its interest in science waning. [Progress based on science greatly helped make the American Empire during the 20th century. Now the situation is reversed and the US’s star, as a global beacon for people around the world and very practically as a leader of global affairs, is waning.]

More about Anne Simon on Eat The Corn:

https://www.heydannyitsmulder.com/episodes/episode7

https://open.spotify.com/episode/5IVTvR1RJSCDxdmxql7CFB

Interview: Angelo Vacco, PA and photographer

The “Hey Danny, it’s Mulder” podcast did a nice little interview with Angelo Vacco, who was a production assistant for nearly the entire run of The X-Files, plus he had small roles on the series: a gas station attendant in “F. Emasculata”, a victim in “Milagro”, plus a doorman in “Talitha Cumi” and a bartender in “Improbable”. He also holds an Instagram account with his own photos from the making of the show: “My Life on X-Files“!

Here are the cliff notes:

  • Fresh from New York to Los Angeles, he wanted to be an actor. He didn’t know TXF at all. He approached production between seasons 1 and 2, he was 22. On his very first day, Joan (Chris Carter’s assistant) told him he would be a “temporary production assistant”, in the LA offices.
  • Typical tasks would be to get coffees, make photocopies, distribute scripts, get dailies from Vancouver to be screened to the LA producers and executives. Wash Carter’s car.
  • Eventually the producers had to make a decision on him. Howard Gordon said “we have to keep Angelo”. He ended up staying for 8 seasons!
  • In the early years, the LA crew were few people. The editing was done in a movable trailer on the Fox lot. Building 49, Carter’s office, was an old 1920s bungalow. There was no space on the Fox lots.
  • Working on TXF was a dream job. They were a work family, doing 16-hour days. 
  • He did photography, developed his own photos, and took a lot of photos while at work. Many of these can be seen on his Instagram, “My Life on X-Files”.
  • He met Carter when he was returning from shooting “Duane Barry” (the first episode he directed). The episode was initially named “Duane Garry” but they had to change it when they found there was a real FBI Agent named that. He asked if he could be an actor.
  • The “F. Emasculata” script reads about the gas station attendant, “he looks so much like Angelo Vacco we could swear it’s him”! So he didn’t audition for that role, but he did for the others.
  • The Vancouver pool of actors was small, so there was the “X-Files rep”, a répertoire of actors with repeat roles.
  • He auditioned for “D.P.O.”.
  • “Milagro” was shot in Griffiths Park. He did ADR on his own scream.
  • He has a lot of stories to tell about shooting the Bree Sharp music video for “David Duchovny, why won’t you love me?” song, where he is also credited. The video’s two directors were involved in Millennium (Will Shivers, uncredited?) and TXF (Charles/Chuck Forsch, assistant to Chris Carter and to the producers). It started as an end-of-season video made by the crew. Then Bree sent the song, it got to David. They did the music video on the Fox lot and hence got people like Brad Pitt (shooting Fight Club), Sarah Michelle Gellar (shooting Buffy), he drove around with the golf cart and just asked.
  • (See also David Duchovny’s recent interview with Bree Sharp on his podcast!)
  • Here’s the video, remastered by Lyle:
  • Angelo also works in ADR (automated dialogue recording) doing things like background conversations, voices of police officers on the radio, TV presenters. He has been doing work with the same ADR group for 25 years and he did ADR work for the TXF revival seasons
  • “Paul Rabwin knows everything” about making The X-Files. [somebody interview that man!]

Here’s a selection of Angelo’s photos, there’s much more on his account!

https://www.heydannyitsmulder.com/episodes/episode4

Interview with “Fight the Future” storyboard artist Gabriel Hardman

It’s The X-Files: “Fight The Future” Day! The movie premiered…27 years ago already. On that topic, here is an excellent and comprehensive interview with one person that was important in the making of that movie but that we had never heard of previously: storyboard artist Gabriel Hardman, who has had a very full career since! Courtesy of the “Hey Danny It’s Mulder” podcast.

Some notes and highlights:

He did pencilling for comic books. He started doing storyboards when the comic book industry contracted in the mid-1990s. As a huge “Twin Peaks” fan, he went to a book signing with Mark Frost; in the line, he met a guy, they almost collaborated in doing a CD-ROM of what would have been season 3 of “Twin Peaks” [wow TP fans are just as dedicated as TXF fans!]; he introduced him to who became his agent, and got him his X-Files job. He was just 22 years old, it was the first big movie he worked on. The recommendations he got from working on FTF were what got his career going.

In a bungalow in the Fox lot that became Carter & Bowman’s office for the whole shoot, he came in to read the script for what was then called “Blackwood“, it was printed on red paper. He was essentially the first person recruited, and was present for all the shooting until the very last day (not just for pre-production).
Robb Bihun was the other storyboard artist.

He draws visual storyboards, including camera cues, lenses, movement of camera, the frame… He submits an idea to the director, who gives notes, he refines it, does another pass… The storyboards were updated as various design decisions were being made.
Nobody could come up with a good design for the big ship at the end; production designer Chris Nowak told him to give it a shot, this is the drawing that is in the making of book.
He learned a lot from director Rob Bowman, practical things about filmmaking, visual storytelling tricks and ideas, how to design shots interestingly and economically.

He had a good collaboration with director of photography Ward Russell — but it can be that there can be tension between storyboard artist and DP. The DP was who said it was OK for him to direct the second unit. [This was great that he was given this opportunity!]
What he shot was with a helicopter, driving the car in the desert, coming to a stop on a crossroads — the shots without the actors.

He got along well with producer Dan Sackheim — stories about Dan having trouble unboarding a helicopter, and about Dan being stung by a bee!
He flew to the glacier for location scouting. Going on location makes it specific, allows to adjust the storyboards.
Shooting the hives scenes: they needed a wide lens to show the big space, but it was impossible to capture the small bees at the same time. The bees ended up being computer generated, the shooting was complicated by the bees that ended up not being needed.

Steven Spielberg’s “Close Encounters of the Third Kind” was a big visual influence: the shot of Mulder & Scully in the desert, pull out to reveal a road barricade; or the shot with kids going over a berm, revealing the secret base.
There was going to be a car chase à la “French Connection” (Mulder after the ambulance that got Scully, instead of being shot in the head). The script specifically said “the car chase of Rob Bowman’s dreams”. But it got cut as there was too much in the movie already.

He still has the boards. They were pen & ink and grey marker on paper. The criterion was whether it could be photocopied and faxed well. For references for likenesses he only had some magazines and production photos — no internet, no computers.

About Carter:
Carter stayed in a producer role, he didn’t get in Bowman’s way.
Carl Sagan’s “The Demon-Haunted World” had just come out, and Carter was not thrilled, he thought Sagan got bitter at the end — it turns out 30 years later Sagan was correct. [That magnificent 1995 book about tending the fragile flame of scientific thought against lack of education and superstition came out shortly before Sagan died in 1996.]

https://www.heydannyitsmulder.com/episodes/episode6

Gabriel’s storyboards, in sequence, were included in the Blu Ray for the movie, the whole thing lasts for an hour and it’s like a mini-movie previsualisation itself! The intermediate level between script and what became the image that was captured by the camera.

Can also be found on YouTube:

Interview: Katrina McCarthy

A new podcast, “Hey Danny, It’s Mulder“, explores the behind the scenes of The X-Files and has high production values with nice sound effects and script readings to immerse you into the world of the series. It’s incredible that a thirty year old show can still inspire people to explore their passion creatively.

The podcast has an interview with Katrina McCarthy, lead costume designer for The X-Files season 11. But she was also part of the costume department during the early years in Vancouver for The X-Files and Millennium (her work is uncredited, which happened often with the extended crew), and for the prehistoric and Antarctica scenes of “Fight the Future”. As always, some notes from me on the interview:

  • Her start for the show was frantic, dressing hundreds of people with US military costumes (could this have been for the military parade in “Unrequited” in season 4?).
  • Everybody wanted to work in TXF, but the hours were very long and it was hard work.
  • “FTF”: they received the Neanderthal costumes from LA. The preparation was done very early in the mornings in Pemberton, then they were flown by helicopter to the glacier for actual shooting.
  • The lead costume designer of s10 was unavailable for s11; for her working for the revival was like coming back full circle. Her interview with Carter was them walking their dogs.
  • There are discussions on-set to work with fabrics and colors in interaction with the director of photography and lighting and set design crews, sometimes with the director and actors.

Some notes on season 11:

  • There are some 8-10 multiples for costumes, especially for action scenes, like in the gunfight in “This”.
  • The “Forehead Sweat” teaser was based on “The Twilight Zone” black and white look, with 1940s fabrics and designs. Carter wanted to revisit many places where they did the revival, like the Ovaltine cafe. Mulder’s “squatchin” suit was from a military surplus shop, run by Ian (the same as the person working on TXF on her 1st day on the show; full name?). The alien suit was inspired by “Mars Attacks!” and “The Twilight Zone”.
  • In “Followers”, in the “self-driving” Tesla, the stunt woman driver was *inside* the car’s seat. 
  • In “Nothing Lasts Forever”, Fiona Vroom’s suits (Barbara Beaumont) were actual vintage from the 50s-60s.
  • Scully’s tan jacket in “My Struggle IV” was meant to reference her look in the early seasons. Mulder and Jackson’s suits were meant to look similar on purpose. The suits were also to accommodate the winter cold: their final day was December 23, with the final shot at 9 am on December 24!

Her portfolio includes some behind the scenes photos from season 11: https://www.katrinamccarthy.com/portfolio/x-files-2018

Also seek out the podcast’s other episodes, with interviews with Paul Terry (TXF Official Archives) and Bethan Jones (Thirty Years of The X-Files book): https://www.heydannyitsmulder.com/