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Aug
07
2026

Chris Carter interview on the future of the series and more

With the “I Want To Believe” Director’s Cut coming out next week, Chris Carter is doing interviews with the active fan podcasts. The main thing that comes out of this is that he is certain that he will be able to continue the show’s mythology and give resolution to his “My Struggles” arc (the word “unappreciated” comes up several times), while he has no involvement with any other project using the X-Files brand (namely, the Coogler reboot).

Here are the details for the interview with the “Hey Danny It’s Mulder” podcast. [My comments are in brackets.]

The My Struggles and the future of the mythology

“I was given a couple of directions when I was asked to reboot the show.” He had to reintroduce the series to new viewers, the characters, their “entanglement”.

[Based on these constraints that were external to Carter, we got much of what fans have been complaining about: a soft-reboot of both the mythology and of the Mulder-Scully relationship. Over the two seasons there is a clear evolution of the MSR, but I can’t say as much about the mythology; hence Carter’s tease that a season 12 would have given answers to the mythology.]

For “My Struggle I” he had gone to a convention on the secret space program. “Mulder’s struggle is weeding through all this conspiracy business.” Tad O’Malley was an Alex Jones-like character. He wrote this in 2015, before the current world where conspiracies are everywhere, this too is “unappreciated”.

[As I wrote in my review, MS1 presents us a world full of wild conspiracies, and I expected that what would follow would be Mulder separating the lies from the truths, finding the truth in all this confusion. Apparently this was Carter’s intention too. However, frankly I don’t see this reflected in the rest of the Struggle episodes at all.]

He met with Frank Spotnitz “subsequent to the series finale”. Frank said “you didn’t give them what they wanted”, Chris replied “what I gave was more than what they wanted, I think that was unappreciated by people.”

[For all my reservations about these episodes (and they are many!), I have to salute the artist in Carter and his strive for something more ambitious than just fan service, meaning not giving us a predictable and by-the-numbers evolution of the mythology or of the MSR but inserting complications. It is these complications that can end up making us more obsessed after all, which is what he means by “more than what they wanted”.]

“I had a bigger idea in mind and it played out through four mythology episodes, I’m hoping we can come back and explore that idea.”
“It took four hours to add up to the revelation of the meaning and purpose for all of it, which is two words.” “That will tell you the tale that when TXF returns, and I have no doubt someday it will return in whatever fashion, that will be what we will be exploring.”

[The confidence of the man is amazing! Of course he is trying to generate interest for continuing his story in a self-reinforcing loop. I am ready to believe he has clear ideas for what comes next, but I am not convinced at all that Disney will give him the chance to do it.]

“It really turns into the science fiction show it always promised to be with those two words”, which are the tagline that appears in the beginning of MS4, “Salvator Mundi”.
“The CSM’s struggle was that he helped father a child who he calls his own, the damage he did to that child, and how that child who turned a mobile as an infant, had powers that were harnessed and abused, and how he, that character William, will fit into the bigger larger picture of the mythology, and what the unborn child of Mulder and Scully will represent and come to know.”

[On “Salvator Mundi”: this is Lating for “saviour of the world” and is used for Jesus Christ in Renaissance iconography. Time and time again Carter has hinted at the clue that nobody has caught on for what comes next, and I have theorized at length here (and been disproven by Carter!). If the tagline is the clue, then of course many, many fans have thought of this already: it is hard to miss! What does this mean? William is the “saviour of the world”, as prophesied in earlier episodes (7X04: Amor Fati, 9X11: Providence), and in the context of “11X10: My Struggle 4” he did save the world from the CSM’s and the Syndicate’s plan by killing them all. What can come next, and be very science fictional? I can only think of something related to William’s genetics and powers, which might be a precursor to changes in the larger human population, bringing the world closer to a revelation of some kind. Carter had already hinted at something related to the alien genome and about Scully; here he also adds her second child in the mix. All of this sounds very X-Men-like (which is a direction hinted at by episodes like “10X2: Founder’s Mutation“, the Ghouli.net website or even the post-s11 book “Perihelion“. The other thing I can think of is that season 12 would have seen the return of the aliens and their colonization plans, and William’s genetics and powers would play a role in humanity’s fate in this heavenly struggle. Here I am saying all of this when I was already saturated with the religious iconography all the way back in “8X21: Existence”…]

On the mythology and making the series

  • “So many series that have a mythology, it feels as if they’re winging it. With TXF we really tried to build a perfect house a perfect tower, it has a foundation, structure, artistry, all those things. That’s what made our mythology work, it wasn’t sloppy, it was complicated.” [This is his defense against the widely held view that nothing made sense, a view that is unfortunately still the mainstream even among many fan circles. It is quite ironic how many people would use the same words Carter uses to attack other shows, but they would use them instead to describe TXF’s mythology!]
  • In the first season, he met at a party a professor who was working on the Human Genome Project. This was the inspiration for his work with Anne Simon on “The Erlenmeyer Flask”.
  • “The mythology from season 2 on became the work of Frank Spotnitz and myself.”
  • Critical response impacts him a lot.
  • On the importance of Scully’s science, he adds: “Science is a spiritual journey, trying to understand God.”
  • His scientist brother changed in the pilot script the word “time is universal constant” into “invariant”, he was “always there in the background”.
  • His dad was a fan of Burt Reynolds, working with him was a dream come true (“Improbable”).
  • He underlines how making the series was a group effort, “everyone combines to make it better”.
  • On current movies: “Nothing scares me like “The Exorcist” scares me”.
  • Monica Reyes was originally written as “a flaky character”.
  • When they left Vancouver, a writer in the LA Times said that TXF is going to fail because it is losing what made its atmosphere. “For me, it was just a new problem to solve.” It was the same for adding the characters of Doggett and Reyes.

Remembering Mark Snow

  • Before he died, Carter was able to tell Mark Snow that “those six notes would live on” (about TXF main theme).
  • When Mark did the music for IWTB, he gave Chris a sheet with the inscription “Thanks a million and then some”.
  • “I always said that we would bring to Mark the finished episode as a corpse and he would breathe life into it.”

On the Coogler project

He spoke with Coogler only once. He hopes his big idea and Coogler’s are “not in competition with one another”. Carter praises Coogler for his past work and the fact that he was awarded and recognized for it. The idea of a TXF project where he is not involved “keeps you on edge”.
[It does sound like he is a bit uncomfortable with it all. If Coogler’s project has different lead characters and actors, then how could there be any tension between Coogler’s potential series and Carter’s potential season 12? Only if Coogler’s mythology, instead of focusing on something new altogether, also involves elements that Carter wants to make use of, like the Syndicate’s plans/the aliens/William; or if Coogler plans to involve the characters of Mulder and Scully in a way that would contradict what Carter has in mind. Any of these options sure sound exciting and I hope something out of all this materializes so that we can learn more of them.]

The IWTB Director’s Cut

[The Director’s Cut is coming August 14, a trailer for it has been released with no new footage as far as I can tell.]

  • Carter was impressed with season 11 editor Eleanor Infante. For “This” she did something not in the script, just with her artistic instinct. For “MS4”, he shot the script in order it was written, and she rearranged it completely, it was “magical”.
  • “Eleanor is the first person I would go to, it would have been Rob Komatsu but he was busy.” [Rob is another season 10-11 editor]
  • And so Eleanor was there to “review” the Director’s Cut. [If she was fully involved, then “review” sounds like an understatement.]
  • The film was cut back due to Fox’s fear it was going to be “torture porn”; then censors further “eviscerated” it.
  • “It’s a Frankenstein movie.”
  • Inspiration: he read about a doctor in Cleveland, Ohio who said he successfully transplanted the head of a monkey onto another monkey. He flew there, he had a drink with him and the doctor described him the procedure. What you see in the film is “sort of science fact”. [This was Robert J. White, nicknamed “Dr. Butcher” by animal rights activists, whose crude experiments were done in the 1970s.]
  • Post credits scene of Mulder and Scully rowing in a boat: They worked in brutal environments, in snow, cold, wind. He wanted to give the characters an escape from that hellish environment.
  • The new cut is “tighter, scarier”. “It’s essentially the same movie it was, but I think it’s the movie it should have been.” [Let’s see: one week left!]

Queens For A Day

[As revealed here on Eat The Corn, Carter and wife Dori have finished shooting a feature film in Vancouver earlier this year!]
It is “unlike anything I’ve ever done”. It is unlike TXF, except for one science fiction element. it features 102 Canadian actors.
When he first met again Craig Wrobleski for this movie (the director of photography for TXF season 11), he bought him Rick Rubin’s book on art for him, and Craig was going to get him same book.
He is working with a Tracy Temple (Temple? Trebble? Trouble?) for the movie’s music, she is a “terrific composer”.
Chris and Dori are going to hit the festival circuit with the movie.
[I have no idea what this is, but I really hope they make it all the way to finishing it and finding a distributor. It looks like post-production is quite advanced already.]

https://www.heydannyitsmulder.com/episodes/episode13

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May
04
2026

Interview: Craig Wrobleski

New interview: “Hey Danny It’s Mulder” sat down with Craig Wrobleski, the director of photography for The X-Files season 11, taking over from Joel Ransom in s10, a Canadian who among other things worked on “Fargo” and followed up TXF with some episodes of “The Twilight Zone”. Cinematography is of course one of the most important parts of what made TXF a success, so all eyes were on the DoPs for the revival seasons. After the frankly disappointing look of s10 (surprising from Joel Ransom, who had also worked on s4-5, but on film, not digital), s11 was a distinct step in the right direction. The interview has plenty of technical aspects, very interesting for the details-oriented fan, but there’s much more than that here, about art and the process of creation. Here are my notes from the interview.

  • In preparation, he read “American Cinematographer” articles written about the show. He watched the episodes shot in Vancouver and those shot in LA: the look changed but it retained the show’s essence. [ASC article example: Joel Ransom]
  • His approach was not to try to recreate how the show looked back then but retain echoes of it. Vancouver looks much more modern than it looked back then, so a recreation was out of the question. Digital means a different look too.
  • He likes using shorter lenses to be close to actors, to be closer to the story, be more immersive, to have the supernatural elements but have them be more relatable.
  • Every script was very descriptive, it told you what the tone should be.
  • There was a lot of exteriors shooting. They used the TXF office set to shoot just for two days out of the entire season.
  • “Lost Art”: the reference for the parking scenes were the parking sequences of “All the President’s Men”, but they didn’t want to recreate it exactly. They used very contemporary cinematography (soft light, shallow depth of field), an old vibe but with a modern aesthetic. The ground surface was coated with a reflective material, an oil of some kind. The lightbulbs were changed. They shot it at a lower temperature at the camera to make it look cooler. They put pink fluorescent lights in the background, in a specific callback to “All the President’s Men”. [That movie was of course a big inspiration on the entire look of TXF, but even more so for these scenes, to a comical degree. Here are some image comparisons, with ATPM first, TXF second.]
  • “Followers” was all about technology, they wanted it to be like a different world. Scully’s house was a modern rich space, Mulder’s farm house was simple. Note: he says “David”, not “Mulder”, about the ad-libbed line of her house being better than his.
  • Digital affords to use more colour, they used colour a lot in s11, unlike in s10. [Rather than colour, what I noticed was a better use of darkness and of contrast, which approximated the look of film better compared to the much more digital look of s10.]
  • He works side by side with the directors. Most shows have alternating directors of photography across episodes, whereas he did all episodes. He didn’t have enough preparation time with the directors. Glen and Chris kept people up to speed. He stopped dreaming during the shoot. He realized he had no spare time for his subconscious to digest what was happening. But creativity works when you let things stew in your mind. [This is interesting — it was a challenging shoot that had its positives but also some negatives.]
  • His main task is capturing performances. When performance, lighting, lens, camera move, everything happens in the shot, when that happens it’s magic captured in a bottle. Chris is especially sensitive to performance. After a good take, he would give little notes, and the next take would be much better, “The One”.
  • Digital can make things too polished, sleek, unreal. He wanted things to look natural, real, have soul, patina, have imperfections. Chris is very clear that TXF is not a sci-fi show. It shouldn’t have the clean polished silver polished look of a sci-fi show, it should feel real and relatable.
  • He asked Chris what brought the show to Vancouver originally: it was the forests. It was “bizarre” when the show moved to LA. In Vancouver, the air is thick, it rains a lot, there are plenty of reflections and sheens, the sky has a low ceiling, gives the feeling of an oppressive environment.
  • All other crew members in s11 had a connection with the show, even if it was just for s10, except for him.
  • The last scene they shot was the last scene of the last episode, and the last shot was that final wide shot with the drone pull back.
  • The Alexa camera has a low contrast curve setting. They shot the season with it. That was a setting unlike the TXF look, it gives a sleek modern look with smooth contrast, but they built contrast in with the lighting and finessed it in the grading process.
  • Many choices were done not based on logic but on feeling, testing things.
  • “Lost Art”: the black and white opening scene in the Ovaltine cafe was not shot with a b&w camera, but with a red monochrome camera, which sees more gradations of b&w. After they started shooting, they realized they couldn’t use a blue screen for the special effects, for the mirror shots.
  • Darin was laughing all the time during the shoot, they could even hear him on the audio recording.
  • The whole season was like a homage to the legacy of TXF.
  • For the two-wheeled scooter, Darin just had the idea during a break, “how about we shoot it?” It was so stupid that they had to do it.
  • “Kitten”: you like to have first shot actually done within the first hour of the shoot day. For the Vietnam sequences with the helicopter, they didn’t start before 5 hours due to the logistics. They were committed to do real shots, not use CGI. That’s crazy for television.
  • He had a lot of fun on set, it was great experience.

https://www.heydannyitsmulder.com/episodes/episode11

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Dec
19
2025

Eleanor Infante interview

Still trying to catch up with recent interviews — here is one with Eleanor Infante, editor of 4 episodes in The X-Files season 11, with the “Hey Danny, it’s Mulder” podcast. Some interesting insights here:

  • She talks about working within the strict boundaries of length for commercial cuts in network television, as opposed to much more flexibility in streaming. [I think that can be negative as much as positive, as it inserts tightness in script and editing.]
  • Glen Morgan brought her to TXF. They did “Lore” together before (and worked on “The Twilight Zone” since).
  • She had never watched the show. As she was editing her episodes, she was watching a top 30 of episodes as per a list by Vulture.
  • Interesting difference in working methods between the two brothers: Glen lets editor give him what she wants, he is a collaborator, he takes what others suggest; whereas Darin is very specific about what he wants, she was a help for his vision.
  • 11X02: This: for the group approaching the Mulder & Scully house in the teaser, Glen was inspired by Peter Weir’s “Witness”, with the dread of the cops approaching the Amish. He also wanted to use the Ramones song.
  • 11X04: The Lost Art of Forehead Sweat: Darin is a perfectionist genius. He is all about language, rhythm. He sat with her and went through all the takes. She was the one who suggested to him that they use the a capella version of the main theme!
  • 11X07: Rm9…/Followers: she had fun inserting draft sounds in the editing, Glen liked almost everything, then the sound department replicated it. The voice of the AI would have been Stephen Hawking himself, they were talking with his estate, but he was ill [he died just months later, in March 2018].
  • 11X10: My Struggle IV: Build trust with the director-producer to take initiative, and move things around even if it was not scripted. She did that in this episode. Carter asked her to do an audio commentary of the episode.

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Aug
27
2025

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

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Aug
15
2025

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!

Shooting “Talitha Cumi”
Shooting “Milagro”
Mark Snow’s studio
With Mitch Pileggi, Thierry Couturier (sound editor), Nick Lea
Season 3 writers (Darin Morgan, Jeff Vlaming, Kim Newton, Vince Gilligan, Frank Spotnitz, John Shiban)

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

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Jun
19
2025

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:

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