X-Files mythology, TenThirteen Interviews Database, and more

Posts Tagged ‘thexfiles’

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.

The Demijan collection

A new fan site is around: a showcase of prop replicas and costumes related to , by fellow fan and friend Demijan Omeragic! Among others, the Tulpa statuette from “Arcadia”, the Alien Bounty Hunter stiletto weapon, Krycek’s leather coat from “Patient X”, Frank Black’s iconic coat. More and more fans delve into the details of the making of the show, and two aspects are the props and costumes.

The props replicas is a world in of itself, with fans obsessively trying to get information out of screen captures and auctioned props to make their replicas as screen-accurate as possible. The costumes is another world, where fans either make replicas of their own or try to track down the exact commercial model (from 30+ years ago) that was used by the production. All good stuff, with great personal stories behind each item — I encourage you to look around!

https://www.alienstiletto.com

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.

Interview: pilot director Robert Mandel

Happy solstice! Here is something out of the ordinary: an interview with Robert Mandel, the director of The X-Files pilot episode in 1993, by the people at the “Hey, That’s Me!” podcast. This is I think the only interview he has ever given on TXF, he is somebody who goes from project to project and doesn’t look back. The pilot is of course full of iconic moments and it is still very well-remembered. He only did the pilot but he sounds like somebody who could have been a good fit for the show long-term.

The episode runs like a live commentary on the episode itself. Some highlights:

  • Before, he did a lot of theatre, then AFI, short films, then features. This was his first TV experience, he wanted to do more movies.
  • A great experience overall. He and Carter were in complete agreement.
  • He had seen “Prime Suspect” [1991 TV movie with Helen Mirren, police investigation on serial killer with the lead dealing with workplace sexism], he discussed it with Carter and they wanted the same approach for TXF, low-key mystery, play it straight.
  • He came in when Mulder had been cast, they were still looking for a Scully.
  • Carter was more familiar with TV production than him. As writer and producer, Carter was on set every day, but the cooperation with Mandel went fine, there was trust.
  • He specifically remembers shooting a lot of dialogue under the cold and the rain, and Mulder talking about his sister, working with director of photography Tom Del Ruth [also only worked on the pilot].
  • Tight shooting schedule, hardly any time for rehearsals. Now pilots get more time.
  • They did 5-7 takes, tops; anything more than 3 takes was a lot already.
  • Carter liked people sticking to the script.
  • Carter found a lot of the set dressing himself, like Mulder’s wall. He worked a lot on the Pentagon set, for him it was key.
  • He and Carter showed the pilot to two executives. They expected or wanted more humor, they were looking at each other, trying to anticipate the audience reaction.
  • They really didn’t expect success, even after it came out.
  • He thinks Carter was genius keeping Mulder and Scully apart.
  • He has bumped into Duchovny since.

https://linktr.ee/heythatsmepod

Interview: Glen Morgan on Gold Derby

Another recent interview with Glen Morgan on The X-Files, this time text-based and not an audio podcast, on the website Gold Derby. Many points repeat the Strange Arrivals interview I covered recently, or other past interviews. Here are some tidbits that sound new to me:

On the monsters-of-the-week: “Chris would’ve done UFO episodes every week. The network didn’t want that. They wanted a monster show. I remember being in the office late at night — which was like a box; it was just a dump on the Fox lot — and we’re just sitting there trying to think of ideas.”

On 1X02: Squeeze: “Regarding the 30 years, my brother told me, “I think that you stole a Night Stalker. There was a thing where there was a guy who comes out every 30 or 50 years.” I’m like, “What?!” We loved that show with Darren McGavin. The episodes weren’t readily available until recently, so I don’t know if I lodged that in my subconscious. Chris had been in France, and he was fascinated by how they make foie gras, so that’s where it came about that Tooms ate livers.”

On 1X20: Tooms: “Skinner was named after my mom’s friend.”

On 1X07: Ice: “When I was a kid, there was an unknown movie called Report to the Commissioner, and at the end of the trailer, the two people were in an elevator with guns on each other. That image had a big effect on me — so let’s do that!”

On 1X12: Beyond the Sea: “we wanted to introduce [Scully] to the possibility of a paranormal event. We felt that the one thing that people might be open to is wanting to see a loved one that had moved along. The experience has a great deal of watching my mom when my grandfather passed away.”

On 2X14: Die Hand Die Verletzt: “John Bartley was the director of photography, and he lit that fourth act essentially with two flashlights, which were I think $3,000 each and the wire went up Duchovny’s coat. It was not done on TV where an entire act was just that level of darkness.”

On 4X03: Home: “My grandmother and grandfather, my mom’s parents, lived in Rochester, and they had a family next door who was a very nice family, maybe a little chaotic, named the Peacocks. I just thought, what a great name, and so we named [the “Home” family] the Peacocks.”

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.