X-Files mythology, TenThirteen Interviews Database, and more

Posts Tagged ‘obituary’

RIP Ken Hawryliw + Paper Clip prop

Unfortunately, there has been another big, big death in The X-Files family. Ken Hawryliw, prop master for TXF seasons 1-5, passed away a few days ago.

Kenneth Harvey Hawryliw headed the props team: he designed and realized the props seen on the show. There’s a lot that the props team did: all the files and paperwork handled by Mulder and Scully, all the badges and guns, all the alien implants. In many cases the prop was a star of the episode, with perhaps the most iconic being the alien stiletto, with its simple and elegant design. But there’s a lot more we can mention: the alien fetus from The Erlenmeyer Flask; the sea shell from Fresh Bones; the demon drawings and sculptures from Grotesque; the Martian rock from Tunguska; the alien Rebels’ firewand from Patient X; the doll from Chinga; and many, many others, big or small.

The props department was also responsible for all the documents, newspaper clips, crime scene photos, or photos as part of the set design, all meticulously created to fit in with the item’s use within a scene. The UFO photo from Deep Throat; the DAT tape from Anasazi; the thought photos from Unruhe; young Fox and Samantha’s photo that the CSM had from Redux II; etc, etc.

In the late 90s, the “Unrestricted Access” CD-ROM showcased his work, with photos and videos and detail that was not visible on the few seconds these things are visible on the screen (although retrospectively this was very low-resolution!).

Ken also had a cameo appearance in the show as Byers’ co-worker in Unusual Suspects. He contributed with a script for the show, season 6’s Trevor. And he was also someone full of stories to tell, about his creative process and the behind the scenes adventures that went into making the show. Apart from TXF, he worked on “Battlestar Galactica” and many other shows shot in Vancouver. We covered here some of his long and detailed recent interviews (Conspiracy, TXF docu) and we reposted some behind the scenes photos he published on his social media Sci Fi Props Guy.

Please consider donating to the GoFundMe set up to support his wife and two minor children during this devastating time — his last credited work dates back to 2020, and the page explains Ken’s family’s situation. If you’re unable to donate, please share.

The image above was sent from Ken to Jesse J. Adams who shared it with me.

I also want to take this opportunity to share a piece of work from Ken, along with his assistant Jim Pate. I cannot tell you how elated and nervous I was when I acquired this recently. I have in my possession Scully’s medical file in the Strughold Mine from 3X02: Paper Clip, and this is the screen-used item. It is an excellent example of an expertly created prop fit for purpose. The paperwork, the numbers pointing to an archiving system, the pages design mimicking medical forms with fields to fill in, additional material such as a WHO vaccination card, and of course the biological sample box containing Scully’s DNA sample. An iconic prop for an iconic scene.

RIP art director Graeme Murray

We close the year with, unfortunately, another death in The X-Files family! Graeme Murray passed away earlier this year in April, in his native Vancouver. Together with John Bartley, who also passed away in 2025, he was one of the most important members of the crew that defined the visual style and quality of the show.

He is credited as art director for the first 3 seasons (starting from 1X06: Ghost in the Machine) and as production designer for seasons 4 and 5, plus as production designer for the pilot of Harsh Realm. One of his first credits was actually on John Carpenter’s The Thing, and interestingly his second episode was Ice — here’s an interview of the time with Glen Morgan being impressed with his sets!

His work along with colleagues Shirley Inget, Gary Allen and Greg Loewen got them a nomination for an Emmy in Outstanding Art Direction for a Series in 1996 (for 3X20: Jose Chung’s “From Outer Space”); they would win the award in both 1997 (for 4X15: Memento Mori) and 1998 (for 5X06: The Post-Modern Prometheus).

Here are photos from the Vancouver Sun articles on those wins, taken from a 2024 exhibit in Graeme’s honor around the set of 3X19: Hell Money.

RIP Ted Mann

2025 has been a tough year! Writer-producer Ted Mann died earlier this year, in September, aged 72, as reported by Variety.

He was a consulting producer in season 1 of Millennium and wrote 4 episodes: “The Judge“, “Loin Like A Hunting Flame“, “Powers, Principalities, Thrones and Dominions” and the season finale “Paper Dove“.

His credits also include David Milch’s NYPD Blue and Deadwood and Gordon & Gansa’s Homeland. He also did a short cameo in the Morgan & Wong series Space: Above And Beyond!

The Judge” included the first mention of Legion, before anybody thought it would become an important part of the show’s mythology.

The sequel to Carter’s landmark episode “Lamentation“, “Powers, Principalities, Thrones and Dominions” was no less memorable, with Lucy Butler and attorney Al Pepper tempting Frank Black, and the series’ first appearance of an angel, Sammael.

In related news, the Millennium After The Millennium documentary is getting a re-relase with more footage and bonus material! Find all that here.

RIP cinematographer John Bartley

Another death in the Ten Thirteen family! 2025 is a tough year. Cinematographer John S. Bartley (ASC, CSC) died at age 78, as reported by an ASC memorial. As the director of photography for a show known for its cinematic look, he was one of the most important people involved in The X-Files. He defined the look of the show with its characteristic use of darkness, heavy contrast and abstract light sources. His use of darkness was so extensive and unprecedented that he won the nickname “Prince of Darkness” among the crew! He also introduced the definitive Xenon flashlights for Mulder and Scully and experimented with color (see episodes like “3”).

“The X-Files uses darkness as a character”

“we didn’t have any money, and that had a lot to do with the look. Most of our sets weren’t finished; if you looked down the end of a hallway, there was nothing there, or there might be the sets of some other production, so we’d put something down there like a bright light or an object that couldn’t be identified.”

He was originally from New Zealand. Taking over from Tom Del Ruth who shot the pilot, Bartley was brought over to the show by producer Bob Goodwin. He started work with the first episode, “Deep Throat”, and stayed for the first three seasons, for a total of 72 episodes. He was nominated for an Emmy Award in season 2 (for “One Breath”) and won it in season 3 (for “Grotesque”). According to IMDB, his daughter Amanda was an extra in the opening of “Talitha Cumi” (and was later second unit assistant director in the second movie!). When Bartley left in the fourth season, the producers struggled to replace him, alternating between Ron Stannett and Jon Joffin before settling with Joel Ransom for the rest of the Vancouver years. Bartley went on to work on shows like “Roswell”, “Lost” and “Bates Motel”.

“I still remember shooting episode six that was directed by David Nutter. It was called ‘Ice.’ I think that episode took the series to the next level. David pushed the envelope and challenged me to make every shot better. We blended light and darkness. The audience saw some things, and they weren’t sure whether they saw other things. That added to the aura of mystery.”

We owe it partly to Bartley that the show was shot on 35 mm and looks as great as it does in high definition.

“The show is shot on 35mm film for a couple of reasons. Fox wanted to shoot the show in Super 35 format, providing a wide frame for future HDTV syndication. Using a large negative also gives Bartley the freedom to work with low-key lighting and maintain the richness of the show’s high-impact images. ‘If we were shooting in a smaller format, we’d need a lot more light to keep grain from building up. That means we’d have to give up our minimalist approach to low-key lighting. We’ve done many scenes with just practicals. That’s living on the edge.'”

Read more interviews on Eat The Corn from 1995 and from 2011.

Watch an extensive interview for the Archive of American Television from 2009.

Watch him comment on his work in a season 3 behind the scenes short.

Here is a small sample of Bartley’s immense work on the series:

RIP main title designers Bryant and Johnsen

Bruce Bryant and Carol Johnsen were two of the three designers of the opening credits sequence of The X-Files. They were married since 1985 and both died within a few months of each other, in December and April.

Together with Jim Castle, they formed the company Castle/Bryant/Johnsen in 1987, which designed, produced and directed opening titles for hundreds of shows, such as Cheers, Frasier or The X-Files. In 1997 the trio continued as a duo, as Bryant/Johnsen Media Design. (Dates from Fandom.com)

They had little online presence. The photos of them I could gather are from their obituaries, obviously from very different time periods. There’s nothing I can find about Jim Castle, either. Their professional website is accessible via archive.org.

In 2013 they did an interview for Empire, where they shed light on a lot of the details behind the opening credits of our favourite series — for which they received an Emmy Award. They appear several times in the credits! That’s Carol in that photo pointing to a UFO, and also as the figure falling into the hand, and that’s her eye at the end. Carol signed Scully’s badge and Jim Mulder’s. That’s Bruce as a ghost behind “Government denies knowledge”.

“We had a deadline of maybe a couple of months until the airdate.”
“Chris Carter had already designed the logo itself. So he gave us “The X-Files” in that typeface. Midway into the project, we were given Mark Snow’s theme tune. When we’re working on a project, we do like to have the music.”
“It helps us to create the cuts, the mood, the timing. Everything.”
“We’re enormously proud of our work on The X-Files. It won the show its very first Emmy.”

These opening credits are instantly recognizable and were definitely part of the show’s success in the 90s. As time passes, we continue to acknowledge, remember and cherish the people behind the scenes that contributed in making this show, especially those that are not as well-known at large.

RIP editor Chris Willingham

Another loss in the Ten Thirteen family — editor Chris Willingham passed away aged 74. He had worked on all four of Ten Thirteen’s shows, most importantly in all thee of Millennium‘s seasons (16 episodes, among them Lamentation). He also worked on The X-Files (7 episodes during season 8, including This Is Not Happening), Harsh Realm (2 episodes) and The Lone Gunmen (pilot).

He also worked on productions led by Ten Thirteen alumni (Morgan & Wong’s Space: Above and Beyond, Howard Gordon’s 24, for which he won several Emmy awards).

He is survived by his wife Lynne, also an editor, also worked on The X-Files (36 episodes over seasons 5 to 9, nominated for an Emmy for The Post-Modern Prometheus). They are pictured above with their Emmys, from an interview with them at the TCA website!

https://www.deadline.com/2025/07/chris-willingham-dead-24-editor-three-emmys-1236472500