IWTB Special Features Part 1: You Can Go Home Again
December 2nd 2008 22:59
Okay, this is for all you international X-philes who don't get the pleasure of the 3-disk "Ultimate Phile" edition. The second disk on the US version of the DVD comes with a 3-part documentary of the making of the movie entitled "Trust No One: Can The X-Files Remain a Secret?", and yes, it's awesome and packed with all things X-files. And so, knowing that many of you are not from the US, I decided it was only kind to transcribe it for you. 
So, Merry Christmas!! Each part is about 30 minutes long, so it takes me about two hours to transcribe, so I'll be doing it in sections. LOL Here's part one entitled "You Can Go Home Again"
Enjoy!!
Trust No One: Can The X-Files Remain a Secret?
Part 1: “You Can Go Home Again”
The documentary begins with Chris Carter and Frank Spotnitz talking about how Fox came to them to do another X-files movie 7 years ago back when they were still doing Season 9 of the show. They talk about the lawsuit, and then losing the story card (LoL) and how, as CC puts it, “It was the best thing that could have happened to us.” *insert bedroom scene here with Frank Spotnitz VO*
FS: Six years had passed, and so we were different, and the way we looked at these characters were different. And the emotional story for Mulder and Scully had to reflect the passage of time. So even if we had had those cards I think we would have thrown out that part of the story.
*behind-the scenes on the shooting of the scene where Scully walks into Mulder’s new office*
FS: So what was really exciting when Chris and I got back together in the spring of 2007 was all the character stuff. *more bts shots in the Russian operating room, and then the end scene with Mulder and Scully* Where are Mulder and Scully in their lives? What’s the state of their relationship? What matters to them now? And what’s this movie about?
TRUST NO ONE: CAN THE X-FILES REMATIN A SECRET?
CC talks about how The X-files grew up with the Internet. “We were one of the first TV shows to really have a connection with our audience via the Internet. We’d actually go online right after the show, and sometimes chat with the fans about what they liked and what they didn’t like, and that was a very new thing. Now that’s sort of, uh, that whole internet relationship has kind of changed. The fans now have a tremendous opportunity to find out what we’re doing. It’s very hard to keep it a secret, and we’re determined, for this movie, when it opens, to be a surprise. I don’t know if we’ll succeed, but so far we’ve been able to keep it under wraps, and we’ve done that by having a very tight security on the story, the script, the production, um…so far so good.
*bts shot of the scene where Mulder comes back to talk to Scully in the hospital and wants to talk to Father Joe—aka the handholding scene*
Mulder: I know you prefer I stay away.
Scully: *takes his hand* It’s okay…
FS: The nicest thing about doing this movie is really the chance to be together again with David and Gillian and so many of the people who made the show a success in the first place. And that is something that is so rare in the business, the chance to bring together a family again. And so, David I’d seen a few times over the years since the show ended. Gillian I hadn’t seen at all because she’d moved to London!
*still of the First script read through*
FS: And it, you know, it was wonderful and powerful to see them again, particularly to see them become Mulder and Scully again.
*back to hospital scene*
Mulder: I’m a little tired, confused, yeah…I forgot how fast it can turn.
DD: It was great, you know, we hadn’t seen each other. I hadn’t seen Gillian for like five years I think? Since we ended the show. It was great to see her personally, and then when we started working together, that was really interesting. To kind of feel, you know, the Mulder-Scully thing happening again, which was nice, you know, nice that that’s there. It’s kind of just one of those things that you can rely on.
GA: I think that we both felt on the one hand that we’d, uh, you know, that time has passed, and we’ve matured in different ways, and I think that there’s a certain level, a different appreciation that we both have for the series that we worked so hard on for such a long time.
*bts of CC directing, watching the monitor around the corner from the hospital scene that’s being shot*
GA: And that we both have an individual and unique experience that nobody else really has. And that’s something that we can relate to each other on.
*the scene ends, Scully walks off, and CC calls “cut”*
~*~*~
FS: From the beginning we liked the idea of coming back home--coming back to the city where it all began, and the city that made the show a success. You know, it was a real heartbreaker for us leaving Vancouver after season 5. I mean, there’s a lot of tears shed, it was very tough.
*stills of the crew*
FS: And so to revisit The X-files, it gave us a chance to revisit all these familiar faces and friends that we’d left behind.
CC: I think the truth about movie-making, is uh, it is not a process of individuals. It’s a collaborative process in the best way, and the best way to do the job, I found, is to rely on, depend on, listen to, and value the input of everyone you’ve hired around you.
*bts video of Chris serving dinner to the crew
*
“Can you serve it up with some love please?”
“Comin’ up!”
*everyone laughs*
CC: I’ve learned the great value that I wouldn’t be sitting here today talking about The X-files if I hadn’t gathered the right group of people early on. And I have to say, with making the movie now, I have to say the same thing. I’m very very lucky to have hired the right people at the right time.
*A newspaper clipping is electrical-taped up to the side of the food trailer showing CC, DD, and FS at the Vancouver press conference. The headline reads: AVENUE: THEY LOVE VANCOUVER*
FS: In terms of making the movie, we brought together as many people as we can. Not just from The X-files, but from all the shows we did here in Vancouver: Harsh Realm, Millennium, and The Lone Gunmen.
*pictures of the crew shooting*
FS: And our crew is populated with all these faces that we’ve worked with over the past 15 years. And there’s even some people from the LA crew.
DD: Bill Roe, our DP, did the four years of the show that were in LA. And Marty McInally, who is our A-camera operator, he was the focus-puller on the first five years on the show up here, so there’s a lot of stories like that that make it very nice to come to set.
CC: Action!
*bts on filming the scene with Scully and Skinner in the car looking for Mulder*
GA: It’s been incredible to come back really, you know to come back with some of the same guys that we worked with back then. Not only in just trusting that they know what we’re up to and know how to deliver, but also there’s a familiarity and a comfortability there that we automatically fell into.
Michael Williamson (Sound Mixer): In the middle of the scene, when Gillian saw me for the first time, she missed the cue to go in because she had to come over and give me a hug. You know, which was kind of nice. And, you know, David, who yes I worked with forever before, but you know, you can’t expect to always be remembered by everybody, but David, first day, right in the parking lot, goes “My God it’s Michael Williamson, you’re here too!” And I was like, “Yeah, why wouldn’t I be? How could I not be?” *laughs*
*bts of shooting Mulder digging out of the snow after the car wreck*
DD: It all makes sense, you know when Chris and I first talked about doing this movie, we kind of unconsciously both said, you know I guess it should be in Vancouver, it really should be. And it just felt like almost superstitiously like the right thing to do.
“And cut!” *camera swings from David climbing the snow bank to the crew* “GREAT!”
FS: The only people we couldn’t hire now were people who are so successful now, they’ve risen to higher posts, like there’s no job to offer them anymore! But, it is like a homecoming and a reunion, you have a sense of history.
*more pictures of the cast and crew bts*
FS: I guess that’s part of time passing too, is you sort of realize that this is your generation. This is your cast of characters for your life, and there’s a real appreciation.
~*~*~
FS: It wasn’t tough for Chris and I to get the wheels going again because we’d been living with it for quite awhile, you know, having worked on the script and our imaginations were firmly back in this world. I imagine it was challenging for David and Gillian. You know, to come back and be those people again after all those years.
DD: Well it was interesting, because at first, I felt like, you know, I’ve been away from the show for five years, but we did it so long, that we could just kind of jump right back into to it as if we were doing another episode. But then after the first couple of days, I realized that I hadn’t done any work, and I was woefully unprepared to perform!
*stills of David as Mulder on set*
DD: So then I got, I got back into it. It took a little while though, took a few days, took a week. Which was lucky, because the first week we were just running around like idiots, a lot of action, so that was, kid of served as a nice re-introduction.
*Gillian’s first scene*
Father Joe: Sit…Please, I insist.
GA: David’s getting to do all the physical work. I get to sit on my fat ass. *Scully sits, back to Gillian, grinning, looking around* Am I allowed to say “ass?”
*Back to the scene*
GA: My first day at work, I showed up, you know, expecting to just slide into it. You know, I’d thought about, I’d worked on the script, and uh…First of all, the particular scene that they had me do that day is a scene where, I uh, want to talk to Father Joe in his apartment and I end up yelling at him. I—they--*baffled* They couldn’t have picked a worse scene to start on a Day One. And I’d, you know, just flown in from London, and the day before that flown in from India. *laughs* And it was just—it was wrong!
Scully: Don’t you quote scripture to me!
Father Joe: What are you doing here?! What are you afraid of?!
GA: This week, I walked down the same hallway 15 bloody times, they couldn’t have slid one of those in my first day. But, so no, it was right into persecuting, and saving, and yelling and all that kind of stuff.
Scully: They were your words!
Father Joe: I don’t know why I said it!
Scully: YOU SAID THEM TO MY FACE!!
GA: And I just couldn’t—I felt like I was on another planet. I thought, I just—Chris was saying stuff to me and it was like, nothing—it was like he was talking gibberish. Nothing was landing, nothing was making sense. I felt like I didn’t know who I was, *laughs* or what it was, or what I was doing, and I have no idea how that scene turned out, so um, audience members, when you’re watching it, be kind.
*Scene where Scully asks Father Joe what he was praying about. Mulder silently glances back and forth between Scully and Father Joe*
Scully: What was it you were praying for in there, sir?
Father Joe: For the salvation of my immortal soul.
Scully: And do you think God hears your prayers?
Father Joe: Do you think he hears yours?
Scully: I didn’t bugger 47 altar boys.
*Agents Drummy and Whitney glance at each other as Father Joe sits down, and Mulder gives Scully an amused look*
Mulder: That’s a colorful way of puttin’ it.
Scully: Well I have another word if you’d like.
Mulder: I’m sure you do.
Billy Connolly: As soon as the writer/director Chris Carter told me about the guy, I thought oooooo! Oh I must do that and horrify my family! You know, my friends will never speak to me again, it’s wonderful!
*bts picks of Chris directing Billy*
BC: But it was even worse than that because he said, when he met me, “I wrote this with you in mind.” *laughs* And then when I saw who the character was, I thought, how did you make the leap from Billy Connolly to this guy? And it was the weirdest thing, his friend had met me in Mexico—Chris Carter’s friend had met me in the middle of the night, walking along the street in the middle of Mexico—I was down their fishing, and he was on holiday or something, and told him, and it just got something in his mind and he started to write the character for me! Which is kind of bizarre.
*bts on filming the car scenes where they take Father Joe out to see if he can find the crime scene*
BC: There was nothing to discuss about the script, because we met I hadn’t seen it. And he just told me, roughly, the kind of man that I was going to be playing, and he gave me his copy of the script. They didn’t have a copy for me, because you don’t get a copy on this film. I was in Los Angeles and he gave me a copy of the script to fly back to New York with, and a FedEx envelope all addressed. So when I finished it, I had to put in the--*mimes putting it into the letter and flying it off*
*bts of how they filmed the car scenes, using a screen to project the moving background behind the stationary car with the actors inside. Chris pretends to run with the car. Everyone laughs, Xzibit yells, “Faster!”*
FS: We knew going in that people were going to be wanting to know what was going on in the movie, and we knew there’d be a lot of attempts to find out. But to us, it’s sort of like opening your presents before Christmas morning. It’s tempting, you know, and part of you wants to do it but really, most of you doesn’t want to do it. It’s really spoiling the fun.
*bts of the car scene, a guy sits just off camera running a tree branch over the light to make it appear as if the car is really driving*
FS: It’s just good showmanship, it’s part of our job as producers to keep that element of surprise.
DD: And I think also, it was important throughout the creation of the movie from, say a year ago through right now, for that mystery idea not to be public, in that it’s copy-able. You know, it’s—once you’ve had that idea, you can envision a story around it, and Chris, very rightly, didn’t want to see his big movie idea on Law and Order, you know, a week before the movie came out.
*bts on the driving scene*
Chris: Cut! Very nice.
~*~*~
FS: None of our agents or managers ever read the script. They don’t know. At the studio, there were only three copies, three hard copies, and they’re locked in a safe.
CC: It’s not the people that you give the script to that are going to leak the story. It’s their friends, their family, it’s the people who see it sitting on the coffee table that, you know, when you walk out of the room, are going to start leafing through the script; that’s usually who coughs it up.
FS: We didn’t let anybody have the script, I mean NOBODY. And when David and Gillian first read the script, we hand delivered it to them, and sat there waiting. We waited at David Duchovny’s pool in Malibu while he read the script, and then we took it away from him.
Xzibit: Well I had a f----ing gun to my head when I read it! It was like *mimes a gun* You have to give it back! *laughs* You know, no seriously, there was a guy sitting outside my house when they dropped the script off to me, and I had to read it for four hours and give it back to ‘em, so they had to bring it back to the studio.
Amanda Peet: I was working, strangely, at the time, and so because they only gave me about 12 hours to read it, I was kind of reading it piecemeal between shooting, and then I had to send it back.
Gillian: I was flown to the top of a mountain, because Chris was afraid that if I was sitting in my apartment, that somebody might be able to read it through the window. So he arranged for a helicopter to take me to the top of the highest point, because I was on vacation, and so we did. And I waited there, and he waited outside while I was sitting in the helicopter and read it, and then he came in and we both flew back together. *beat, then she cracks up* I couldn’t hold it together! No, no, no it wasn’t that bad. But I did have to read it on his computer while he was sitting in the other room, so um, that was only a tiny bit of pressure.
AP: It was a little bit of one of those cringey scenarios where as an actor, you kind of like, skip to your part *makes an ‘I’m sorry face* to see if your part’s good, because I didn’t have time to read everybody else!
~*~*~
FS: The crew never read the script. We just didn’t even distribute it to most of the crew. They had to do their jobs not knowing what the movie was about, and they would, sort of see the scene and realize, “Oh I see!” But that—we went to incredible lengths, which, by the way, made it a little more difficult that it would have been otherwise.
Marcie Larson (Producer’s Assistant/Clearances): Anybody who read the script, basically they had to…they asked for about a month, and then it was finally approved and they’d come in and read it in a room that had three cameras in them, and it was about a 6x6 room. And then they would sign in, and then they would sign out, and it was a pretty heavy process.
David Tickell (Gaffer): I got to read a full script. But you had to go into a room under video surveillance and read it. And I’ve only read it, you know, during prep.
Mark S. Freeborn (Production Designer): From a production point of view, it was a bit painful, because I, during the course of a film, will probably read a script 30 times, and I think I MAY have read it cover-to-cover four times on this.
Sean Finnan (Assistant Location Manager) Even myself, as the assistant location manager, I was not approved to read the script. My boss, Debra Bose, had read the script, so any questions I had for her, for content, I would ask her and then she would tell me what I would need to know. For example, a permit—if there’s going to be guns, then we need to notify the police or notify the municipalities of what we’re doing on the streets. And that information I got from her, and it was sort of on a need to know basis.
Dawn Climie (Costume Set Supervisor): I take a lot of photos on set, for continuity purpose, and I have to keep those in the truck. So we have a binder in the truck, but the binder isn’t allowed to be seen by anybody. So if we have a second unit person coming in, to show them the picture, I can only give them exactly what they need. And I can’t necessarily prepare them for what they’re going to have because I can’t tell them what’s going to happen in the scene, or why they’re here, or why they’re shooting it!
Mark S. Freeborn: There’s a running joke amongst some of us, which goes along the lines of, “Well let me check my script—oh wait a minute, I don’t have one!”
Brent O’Connor (Executive Producer): *on set, as they’re getting ready to film the last scene with Mulder and Scully* I understand the need for it, and I hope we accomplish what we’re trying to accomplish by not ruining it for people, and letting everything out that’s going on. But I’m also hopeful that I don’t have a lot of these in the rest of my career because it is a lot more difficult!
~*~*~
*Promo shots of Mulder and Scully, then the scene of Scully driving up to the house*
FS: I was surprised by how quickly I reconnected with the characters and the world of The X-files. I think because I’d spent so many years living with the characters of Mulder and Scully, spent so many hours of my professional life thinking about these characters—
* bts video of Chris directing the scene when Scully first comes home and enters Mulder’s office*
FS:--w ho they were, what mattered to them, that when I sat down with Chris to revisit them, they were still there in my subconscious mind. And I’d actually missed them! It’s a very strange thing, but you know—they’re not living people, but in some ways they feel like that, you know? They’re alive in my imagination. And I very quickly had strong feelings about where they’d be in their lives, what would matter to them now.
*Gillian walks off camera and hits her nose on the edge of the camera*
“Oh!”
“Cut, very nice.”
*Laugher* “You alright?”
*bts of slating: Scene 22E, Take 2…*
“Set…and, action.”
The scene plays out, only this time we get to see it from behind-the-scenes, camera and boom in view.
Mulder: What’s up doc?
Scully: You’ve become awfully trusting, Mulder. For somebody wanted by the FBI.
Mulder: Eyes in the back of my head, Scully.
CC: I remember I wrote a scene, I kind of monkeyed with this scene for the longest time. It was easy to write Mulder and Scully and hear their voices again. It was difficult, for me, once I actually put them back into a room together to, uh, work past, the, I would call it the ‘opening Mulder and Scully introduction’. The scene where Scully arrives at the house and Mulder is sitting with his back to her. There are more versions of that scene than I would care to admit.
*scene continues, we see it from behind the camera and through the viewfinder*
CC: I kept making it silly. I kept making it about nothing, and I was having Mulder crack wise as he always does, and I wanted him to be funny, but it was beside the point, and in a movie you can never be beside the point.
Scully: Someone has come forward with promising evidence.
CC: David Duchovny was, I’d say, probably as responsible as anyone for getting this movie made. He wanted to do it, campaigned for it, was enthusiastic about it.
Scully: They’re just happy to have you out of their hair.
Mulder: Well that’s good, because I am just as happy having them out of mine.
DD: The most important demand for me, was that this be a stand-alone, episodic type of movie. That it wasn’t part of the mythology, that it wasn’t too much of an inside job that people wouldn’t be into it who are coming to the show who have never seen it. So this is something that Chris and I had talked about for the years since we’d been planning on doing another movie. I always know that we can make a good show, it’s just a matter of whether it can be kind of relevant or viable, like commercially at this point.
Scully: I’ll tell them your answer.
*she walks off*
“Cut.”
~*~*~
*still pictures of filming in the snow*
Billy Connelly: Vancouver’s great! And we’d been up in Whistler, up there in the real big snow, up the ski line there, which was very uncomfortable. You know, we didn’t have the Frankenstein boots like all those skiers, we were creepin’ around looking for weird stuff in the snow in the middle of the night.
*Chris on set talking to Xzibit and the actors playing the FBI Agents who will be searching*
“I want you breathing hard, you know, it’s been an exertion coming across this field. Everyone should do that. And Ron, out there before we roll? I want you to do a drill where everyone runs in a circle.”
“I got something better.”
*everyone laughs*
“Push-ups! I can tell they’re coming, the pushups are coming.”
One of the extras asks if they’re all supposed to go in there when he calls for shovels, and Chris tells them “you show up, and then uh, I’m gonna have him tell you where to shovel: Here, here, you go here.”
Xzibit: Okay, I’ll point ‘em.
Chris: Alright, great.
DD: Xzibit I didn’t know and I didn’t know his music, and I think he’s done a great job. He’s got a lot of strength and he’s really willing to learn and to work. You know, he’s really observant and really—I think he did a great job.
*back on set, the FBI agents are searching*
Xzibit: I take it very seriously. You know, I don’t go on the merit of being a musician and just gettin’ in like that, I respect the craft of acting and filmmaking, so the more I learn, and the more I have to conduct myself like a traditional actor the better. You know, I want to learn the ropes and do it the right way.
*Scully watches Mulder walk off*
Agent Whitney: We need equipment! We need concrete saws and a backhoe.
AP: Where we were shooting north of Whistler was almost intolerable. I brought my baby out on set and she looked like that thing in that Woody Allen movie where he’s like in a flying bubble, where like—he actually takes off cuz he’s got this huge bubble around him.
*On a night set, in the snow outside, lots of great shots and pictures of the contrast of the snow, the light and shadows, the black costumes, etc.*
Bill Roe (DP): There’s not many jobs that you get an opportunity to do this. You know, obviously nights are really tough. I like to light ‘em. I don’t know, there’s something about me that likes to light that stuff. I had a whole system of how to do it at night with the snow.
*shots of lights on cars, many lights lit up on the ground level to sent beams across the snow, very beautiful*
Bill: I didn’t put lights up in the air too much, I wanted to rake the snow. Because I like the shadows to come across the ground. I wanted to feel the effect of trees and shadows, and not just lights in the air, and balloons, and things like that. I wanted to feel this mood that’s a long—because we had vast places of snow. And it’s real snow! I mean we had it there and we were in the middle of nowhere.
Lisa Tomczeszyn (Costume Designer): Poor Bill, especially in this movie, is just presented with so much black! And it’s like, I’m sorry I can’t do anything about it. The FBI is a navy in black. It’s just such a challenge for a DP to get that much black against that much white.
*bts of shooting everyone in black in the snow*
Lisa: You put a black wool coat in night and it just disappears. It becomes part of night. And it’s why I tried to get a semblance of at least some shine or texture in fabric whenever I could, just so that he would have SOMETHING to shoot.
~*~*~
Scene 61C Take 3
*Chris calls action on the scene where Mulder is trying to get a hold of Scully on the phone while he’s watching the FBI team try to de-ice all the body parts they found*
Mulder hangs up the phone and Agent Whitney asks, “Anything?”
“No I can’t reach her, but this is a break. It’s gonna make sense, I’m feelin’ it.”
“You’re feeling it, Father Joe’s feeling it, all I’m feeling in my head spinning.”
DD: Amanda Peet, you know, a great comedian—which she doesn’t get to use at all in this film. Which, I think is one of the reasons she took it, you know, she wanted to play—wanted to see if she could play kind of like this all-business FBI agent.
Mulder: We’re gonna find her. I know it.
Agent Whitney: Well she may have to stand in line.
*Chris calls for another take*
AP: My character’s supposed to have feelings for Mulder and feel a connection to him outside the office. Which is very difficult to have chemistry with David Duchovny because there’s nothing goin’ on there, you know? *can’t keep a straight face and laughs*
Agent Whitney: Anything?
Mulder: No I can’t reach her. But it’s gonna make sense.
AP: *teasing* He’s a really big diva cuz he’s like, “I’m on the X-files for nine years, and now I’m on Californication, and I’ve got 8 Golden Globes, and you know, who are you?” So it’s a little exhausting, but you know, it’s okay.
Agent Whitney: Well she may have to stand in line.
Chris: Cut! Very nice.
*Mulder and Agent Whitney walk over to Father Joe sitting at the table*
Billy Connelly: David Duchovny is a thinking guy. He’s a very intelligent guy. And he’s done so much work apart from The X-files, you know? He’s done a lot of television, a lot of movies now, and he’s very bright, and his mother is Scottish! I didn’t know that, you know? His father’s Russian and his mother’s Scottish and so we talked about Scotland a lot.
DD: It was always a pleasure in between takes just to be talking to Billy. To listen to Billy, to talk to Billy. He’s an engaged mind, you know? He’ a restless mind, and he’s very restless mentally, and it’s fun to be around him.
*On set, David pretends to loosen his lips for the scene and Billy and Xzibit laugh*
Billy: We had a scene where we had to stare at each other for a long long time and it was quite difficult sometimes, you know? Apart from the fact that you want to laugh all the time.
*Billy cracks up on set just as they’re about to roll*
Billy: I get it at funerals and everything, I just start—I get this overwhelming desire to laugh sometimes.
*Now Xzibit and David are laughing too*
Billy: Excuse me.
He puts his face in his hands as everyone cracks up.
Billy: I think it’s fear. We did it last night and I was very comfortable with it. He’s a very comfortable guy to act with.
David: *on set* An actor relaxes, an actor prepares.
He starts to wiggle his cheeks and soon Billy starts in too.
Billy: *Back in the interview* It sounds like a gay love story, you know? You can hear the music, I look David in the eye, his mother is Scottish. Neeeee, I can hear the bagpipes in the background, needle-dee-deeee, deedledeee, Oh David!
Amanda Peet: You know, we’re not sane here because it’s too late and we’re in a mental hospital and we’ve been shooting in Pemberton, and in the snow we’re—none of us are sane anymore. *laughs* We’ve all really lost our minds. It’s like a communal The Shining.
*bts of filming the hospital scenes*
Billy: Well this is an old old mental hospital. It was opened in the first World War for people with shell shock. I think they now call that Post Traumatic Stress Disorder. We used to call in shell shock. We had a wonderful expression for that in Scotland for that, they said you were “bomb-happy!” People would come home from the war and they’d be a bit cookoo, they’d say, “Oh he’s bomb happy.” *laughing* Isn’t it weird? People are more sensitive. *still laughing* I’m not but most people are! *cracks up* I belong in here!
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Haha! I love this!
So, Merry Christmas!! Each part is about 30 minutes long, so it takes me about two hours to transcribe, so I'll be doing it in sections. LOL Here's part one entitled "You Can Go Home Again"
Enjoy!!
Trust No One: Can The X-Files Remain a Secret?
Part 1: “You Can Go Home Again”
The documentary begins with Chris Carter and Frank Spotnitz talking about how Fox came to them to do another X-files movie 7 years ago back when they were still doing Season 9 of the show. They talk about the lawsuit, and then losing the story card (LoL) and how, as CC puts it, “It was the best thing that could have happened to us.” *insert bedroom scene here with Frank Spotnitz VO*
FS: Six years had passed, and so we were different, and the way we looked at these characters were different. And the emotional story for Mulder and Scully had to reflect the passage of time. So even if we had had those cards I think we would have thrown out that part of the story.
*behind-the scenes on the shooting of the scene where Scully walks into Mulder’s new office*
FS: So what was really exciting when Chris and I got back together in the spring of 2007 was all the character stuff. *more bts shots in the Russian operating room, and then the end scene with Mulder and Scully* Where are Mulder and Scully in their lives? What’s the state of their relationship? What matters to them now? And what’s this movie about?
TRUST NO ONE: CAN THE X-FILES REMATIN A SECRET?
CC talks about how The X-files grew up with the Internet. “We were one of the first TV shows to really have a connection with our audience via the Internet. We’d actually go online right after the show, and sometimes chat with the fans about what they liked and what they didn’t like, and that was a very new thing. Now that’s sort of, uh, that whole internet relationship has kind of changed. The fans now have a tremendous opportunity to find out what we’re doing. It’s very hard to keep it a secret, and we’re determined, for this movie, when it opens, to be a surprise. I don’t know if we’ll succeed, but so far we’ve been able to keep it under wraps, and we’ve done that by having a very tight security on the story, the script, the production, um…so far so good.
*bts shot of the scene where Mulder comes back to talk to Scully in the hospital and wants to talk to Father Joe—aka the handholding scene*
Mulder: I know you prefer I stay away.
Scully: *takes his hand* It’s okay…
FS: The nicest thing about doing this movie is really the chance to be together again with David and Gillian and so many of the people who made the show a success in the first place. And that is something that is so rare in the business, the chance to bring together a family again. And so, David I’d seen a few times over the years since the show ended. Gillian I hadn’t seen at all because she’d moved to London!
*still of the First script read through*
FS: And it, you know, it was wonderful and powerful to see them again, particularly to see them become Mulder and Scully again.
*back to hospital scene*
Mulder: I’m a little tired, confused, yeah…I forgot how fast it can turn.
DD: It was great, you know, we hadn’t seen each other. I hadn’t seen Gillian for like five years I think? Since we ended the show. It was great to see her personally, and then when we started working together, that was really interesting. To kind of feel, you know, the Mulder-Scully thing happening again, which was nice, you know, nice that that’s there. It’s kind of just one of those things that you can rely on.
GA: I think that we both felt on the one hand that we’d, uh, you know, that time has passed, and we’ve matured in different ways, and I think that there’s a certain level, a different appreciation that we both have for the series that we worked so hard on for such a long time.
*bts of CC directing, watching the monitor around the corner from the hospital scene that’s being shot*
GA: And that we both have an individual and unique experience that nobody else really has. And that’s something that we can relate to each other on.
*the scene ends, Scully walks off, and CC calls “cut”*
~*~*~
FS: From the beginning we liked the idea of coming back home--coming back to the city where it all began, and the city that made the show a success. You know, it was a real heartbreaker for us leaving Vancouver after season 5. I mean, there’s a lot of tears shed, it was very tough.
*stills of the crew*
FS: And so to revisit The X-files, it gave us a chance to revisit all these familiar faces and friends that we’d left behind.
CC: I think the truth about movie-making, is uh, it is not a process of individuals. It’s a collaborative process in the best way, and the best way to do the job, I found, is to rely on, depend on, listen to, and value the input of everyone you’ve hired around you.
*bts video of Chris serving dinner to the crew
*“Can you serve it up with some love please?”
“Comin’ up!”
*everyone laughs*
CC: I’ve learned the great value that I wouldn’t be sitting here today talking about The X-files if I hadn’t gathered the right group of people early on. And I have to say, with making the movie now, I have to say the same thing. I’m very very lucky to have hired the right people at the right time.
*A newspaper clipping is electrical-taped up to the side of the food trailer showing CC, DD, and FS at the Vancouver press conference. The headline reads: AVENUE: THEY LOVE VANCOUVER*
FS: In terms of making the movie, we brought together as many people as we can. Not just from The X-files, but from all the shows we did here in Vancouver: Harsh Realm, Millennium, and The Lone Gunmen.
*pictures of the crew shooting*
FS: And our crew is populated with all these faces that we’ve worked with over the past 15 years. And there’s even some people from the LA crew.
DD: Bill Roe, our DP, did the four years of the show that were in LA. And Marty McInally, who is our A-camera operator, he was the focus-puller on the first five years on the show up here, so there’s a lot of stories like that that make it very nice to come to set.
CC: Action!
*bts on filming the scene with Scully and Skinner in the car looking for Mulder*
GA: It’s been incredible to come back really, you know to come back with some of the same guys that we worked with back then. Not only in just trusting that they know what we’re up to and know how to deliver, but also there’s a familiarity and a comfortability there that we automatically fell into.
Michael Williamson (Sound Mixer): In the middle of the scene, when Gillian saw me for the first time, she missed the cue to go in because she had to come over and give me a hug. You know, which was kind of nice. And, you know, David, who yes I worked with forever before, but you know, you can’t expect to always be remembered by everybody, but David, first day, right in the parking lot, goes “My God it’s Michael Williamson, you’re here too!” And I was like, “Yeah, why wouldn’t I be? How could I not be?” *laughs*
*bts of shooting Mulder digging out of the snow after the car wreck*
DD: It all makes sense, you know when Chris and I first talked about doing this movie, we kind of unconsciously both said, you know I guess it should be in Vancouver, it really should be. And it just felt like almost superstitiously like the right thing to do.
“And cut!” *camera swings from David climbing the snow bank to the crew* “GREAT!”
FS: The only people we couldn’t hire now were people who are so successful now, they’ve risen to higher posts, like there’s no job to offer them anymore! But, it is like a homecoming and a reunion, you have a sense of history.
*more pictures of the cast and crew bts*
FS: I guess that’s part of time passing too, is you sort of realize that this is your generation. This is your cast of characters for your life, and there’s a real appreciation.
~*~*~
FS: It wasn’t tough for Chris and I to get the wheels going again because we’d been living with it for quite awhile, you know, having worked on the script and our imaginations were firmly back in this world. I imagine it was challenging for David and Gillian. You know, to come back and be those people again after all those years.
DD: Well it was interesting, because at first, I felt like, you know, I’ve been away from the show for five years, but we did it so long, that we could just kind of jump right back into to it as if we were doing another episode. But then after the first couple of days, I realized that I hadn’t done any work, and I was woefully unprepared to perform!
*stills of David as Mulder on set*
DD: So then I got, I got back into it. It took a little while though, took a few days, took a week. Which was lucky, because the first week we were just running around like idiots, a lot of action, so that was, kid of served as a nice re-introduction.
*Gillian’s first scene*
Father Joe: Sit…Please, I insist.
GA: David’s getting to do all the physical work. I get to sit on my fat ass. *Scully sits, back to Gillian, grinning, looking around* Am I allowed to say “ass?”
*Back to the scene*
GA: My first day at work, I showed up, you know, expecting to just slide into it. You know, I’d thought about, I’d worked on the script, and uh…First of all, the particular scene that they had me do that day is a scene where, I uh, want to talk to Father Joe in his apartment and I end up yelling at him. I—they--*baffled* They couldn’t have picked a worse scene to start on a Day One. And I’d, you know, just flown in from London, and the day before that flown in from India. *laughs* And it was just—it was wrong!
Scully: Don’t you quote scripture to me!
Father Joe: What are you doing here?! What are you afraid of?!
GA: This week, I walked down the same hallway 15 bloody times, they couldn’t have slid one of those in my first day. But, so no, it was right into persecuting, and saving, and yelling and all that kind of stuff.
Scully: They were your words!
Father Joe: I don’t know why I said it!
Scully: YOU SAID THEM TO MY FACE!!
GA: And I just couldn’t—I felt like I was on another planet. I thought, I just—Chris was saying stuff to me and it was like, nothing—it was like he was talking gibberish. Nothing was landing, nothing was making sense. I felt like I didn’t know who I was, *laughs* or what it was, or what I was doing, and I have no idea how that scene turned out, so um, audience members, when you’re watching it, be kind.
*Scene where Scully asks Father Joe what he was praying about. Mulder silently glances back and forth between Scully and Father Joe*
Scully: What was it you were praying for in there, sir?
Father Joe: For the salvation of my immortal soul.
Scully: And do you think God hears your prayers?
Father Joe: Do you think he hears yours?
Scully: I didn’t bugger 47 altar boys.
*Agents Drummy and Whitney glance at each other as Father Joe sits down, and Mulder gives Scully an amused look*
Mulder: That’s a colorful way of puttin’ it.
Scully: Well I have another word if you’d like.
Mulder: I’m sure you do.
Billy Connolly: As soon as the writer/director Chris Carter told me about the guy, I thought oooooo! Oh I must do that and horrify my family! You know, my friends will never speak to me again, it’s wonderful!
*bts picks of Chris directing Billy*
BC: But it was even worse than that because he said, when he met me, “I wrote this with you in mind.” *laughs* And then when I saw who the character was, I thought, how did you make the leap from Billy Connolly to this guy? And it was the weirdest thing, his friend had met me in Mexico—Chris Carter’s friend had met me in the middle of the night, walking along the street in the middle of Mexico—I was down their fishing, and he was on holiday or something, and told him, and it just got something in his mind and he started to write the character for me! Which is kind of bizarre.
*bts on filming the car scenes where they take Father Joe out to see if he can find the crime scene*
BC: There was nothing to discuss about the script, because we met I hadn’t seen it. And he just told me, roughly, the kind of man that I was going to be playing, and he gave me his copy of the script. They didn’t have a copy for me, because you don’t get a copy on this film. I was in Los Angeles and he gave me a copy of the script to fly back to New York with, and a FedEx envelope all addressed. So when I finished it, I had to put in the--*mimes putting it into the letter and flying it off*
*bts of how they filmed the car scenes, using a screen to project the moving background behind the stationary car with the actors inside. Chris pretends to run with the car. Everyone laughs, Xzibit yells, “Faster!”*
FS: We knew going in that people were going to be wanting to know what was going on in the movie, and we knew there’d be a lot of attempts to find out. But to us, it’s sort of like opening your presents before Christmas morning. It’s tempting, you know, and part of you wants to do it but really, most of you doesn’t want to do it. It’s really spoiling the fun.
*bts of the car scene, a guy sits just off camera running a tree branch over the light to make it appear as if the car is really driving*
FS: It’s just good showmanship, it’s part of our job as producers to keep that element of surprise.
DD: And I think also, it was important throughout the creation of the movie from, say a year ago through right now, for that mystery idea not to be public, in that it’s copy-able. You know, it’s—once you’ve had that idea, you can envision a story around it, and Chris, very rightly, didn’t want to see his big movie idea on Law and Order, you know, a week before the movie came out.
*bts on the driving scene*
Chris: Cut! Very nice.
~*~*~
FS: None of our agents or managers ever read the script. They don’t know. At the studio, there were only three copies, three hard copies, and they’re locked in a safe.
CC: It’s not the people that you give the script to that are going to leak the story. It’s their friends, their family, it’s the people who see it sitting on the coffee table that, you know, when you walk out of the room, are going to start leafing through the script; that’s usually who coughs it up.
FS: We didn’t let anybody have the script, I mean NOBODY. And when David and Gillian first read the script, we hand delivered it to them, and sat there waiting. We waited at David Duchovny’s pool in Malibu while he read the script, and then we took it away from him.
Xzibit: Well I had a f----ing gun to my head when I read it! It was like *mimes a gun* You have to give it back! *laughs* You know, no seriously, there was a guy sitting outside my house when they dropped the script off to me, and I had to read it for four hours and give it back to ‘em, so they had to bring it back to the studio.
Amanda Peet: I was working, strangely, at the time, and so because they only gave me about 12 hours to read it, I was kind of reading it piecemeal between shooting, and then I had to send it back.
Gillian: I was flown to the top of a mountain, because Chris was afraid that if I was sitting in my apartment, that somebody might be able to read it through the window. So he arranged for a helicopter to take me to the top of the highest point, because I was on vacation, and so we did. And I waited there, and he waited outside while I was sitting in the helicopter and read it, and then he came in and we both flew back together. *beat, then she cracks up* I couldn’t hold it together! No, no, no it wasn’t that bad. But I did have to read it on his computer while he was sitting in the other room, so um, that was only a tiny bit of pressure.
AP: It was a little bit of one of those cringey scenarios where as an actor, you kind of like, skip to your part *makes an ‘I’m sorry face* to see if your part’s good, because I didn’t have time to read everybody else!
~*~*~
FS: The crew never read the script. We just didn’t even distribute it to most of the crew. They had to do their jobs not knowing what the movie was about, and they would, sort of see the scene and realize, “Oh I see!” But that—we went to incredible lengths, which, by the way, made it a little more difficult that it would have been otherwise.
Marcie Larson (Producer’s Assistant/Clearances): Anybody who read the script, basically they had to…they asked for about a month, and then it was finally approved and they’d come in and read it in a room that had three cameras in them, and it was about a 6x6 room. And then they would sign in, and then they would sign out, and it was a pretty heavy process.
David Tickell (Gaffer): I got to read a full script. But you had to go into a room under video surveillance and read it. And I’ve only read it, you know, during prep.
Mark S. Freeborn (Production Designer): From a production point of view, it was a bit painful, because I, during the course of a film, will probably read a script 30 times, and I think I MAY have read it cover-to-cover four times on this.
Sean Finnan (Assistant Location Manager) Even myself, as the assistant location manager, I was not approved to read the script. My boss, Debra Bose, had read the script, so any questions I had for her, for content, I would ask her and then she would tell me what I would need to know. For example, a permit—if there’s going to be guns, then we need to notify the police or notify the municipalities of what we’re doing on the streets. And that information I got from her, and it was sort of on a need to know basis.
Dawn Climie (Costume Set Supervisor): I take a lot of photos on set, for continuity purpose, and I have to keep those in the truck. So we have a binder in the truck, but the binder isn’t allowed to be seen by anybody. So if we have a second unit person coming in, to show them the picture, I can only give them exactly what they need. And I can’t necessarily prepare them for what they’re going to have because I can’t tell them what’s going to happen in the scene, or why they’re here, or why they’re shooting it!
Mark S. Freeborn: There’s a running joke amongst some of us, which goes along the lines of, “Well let me check my script—oh wait a minute, I don’t have one!”
Brent O’Connor (Executive Producer): *on set, as they’re getting ready to film the last scene with Mulder and Scully* I understand the need for it, and I hope we accomplish what we’re trying to accomplish by not ruining it for people, and letting everything out that’s going on. But I’m also hopeful that I don’t have a lot of these in the rest of my career because it is a lot more difficult!
~*~*~
*Promo shots of Mulder and Scully, then the scene of Scully driving up to the house*
FS: I was surprised by how quickly I reconnected with the characters and the world of The X-files. I think because I’d spent so many years living with the characters of Mulder and Scully, spent so many hours of my professional life thinking about these characters—
* bts video of Chris directing the scene when Scully first comes home and enters Mulder’s office*
FS:--w ho they were, what mattered to them, that when I sat down with Chris to revisit them, they were still there in my subconscious mind. And I’d actually missed them! It’s a very strange thing, but you know—they’re not living people, but in some ways they feel like that, you know? They’re alive in my imagination. And I very quickly had strong feelings about where they’d be in their lives, what would matter to them now.
*Gillian walks off camera and hits her nose on the edge of the camera*
“Oh!”
“Cut, very nice.”
*Laugher* “You alright?”
*bts of slating: Scene 22E, Take 2…*
“Set…and, action.”
The scene plays out, only this time we get to see it from behind-the-scenes, camera and boom in view.
Mulder: What’s up doc?
Scully: You’ve become awfully trusting, Mulder. For somebody wanted by the FBI.
Mulder: Eyes in the back of my head, Scully.
CC: I remember I wrote a scene, I kind of monkeyed with this scene for the longest time. It was easy to write Mulder and Scully and hear their voices again. It was difficult, for me, once I actually put them back into a room together to, uh, work past, the, I would call it the ‘opening Mulder and Scully introduction’. The scene where Scully arrives at the house and Mulder is sitting with his back to her. There are more versions of that scene than I would care to admit.
*scene continues, we see it from behind the camera and through the viewfinder*
CC: I kept making it silly. I kept making it about nothing, and I was having Mulder crack wise as he always does, and I wanted him to be funny, but it was beside the point, and in a movie you can never be beside the point.
Scully: Someone has come forward with promising evidence.
CC: David Duchovny was, I’d say, probably as responsible as anyone for getting this movie made. He wanted to do it, campaigned for it, was enthusiastic about it.
Scully: They’re just happy to have you out of their hair.
Mulder: Well that’s good, because I am just as happy having them out of mine.
DD: The most important demand for me, was that this be a stand-alone, episodic type of movie. That it wasn’t part of the mythology, that it wasn’t too much of an inside job that people wouldn’t be into it who are coming to the show who have never seen it. So this is something that Chris and I had talked about for the years since we’d been planning on doing another movie. I always know that we can make a good show, it’s just a matter of whether it can be kind of relevant or viable, like commercially at this point.
Scully: I’ll tell them your answer.
*she walks off*
“Cut.”
~*~*~
*still pictures of filming in the snow*
Billy Connelly: Vancouver’s great! And we’d been up in Whistler, up there in the real big snow, up the ski line there, which was very uncomfortable. You know, we didn’t have the Frankenstein boots like all those skiers, we were creepin’ around looking for weird stuff in the snow in the middle of the night.
*Chris on set talking to Xzibit and the actors playing the FBI Agents who will be searching*
“I want you breathing hard, you know, it’s been an exertion coming across this field. Everyone should do that. And Ron, out there before we roll? I want you to do a drill where everyone runs in a circle.”
“I got something better.”
*everyone laughs*
“Push-ups! I can tell they’re coming, the pushups are coming.”
One of the extras asks if they’re all supposed to go in there when he calls for shovels, and Chris tells them “you show up, and then uh, I’m gonna have him tell you where to shovel: Here, here, you go here.”
Xzibit: Okay, I’ll point ‘em.
Chris: Alright, great.
DD: Xzibit I didn’t know and I didn’t know his music, and I think he’s done a great job. He’s got a lot of strength and he’s really willing to learn and to work. You know, he’s really observant and really—I think he did a great job.
*back on set, the FBI agents are searching*
Xzibit: I take it very seriously. You know, I don’t go on the merit of being a musician and just gettin’ in like that, I respect the craft of acting and filmmaking, so the more I learn, and the more I have to conduct myself like a traditional actor the better. You know, I want to learn the ropes and do it the right way.
*Scully watches Mulder walk off*
Agent Whitney: We need equipment! We need concrete saws and a backhoe.
AP: Where we were shooting north of Whistler was almost intolerable. I brought my baby out on set and she looked like that thing in that Woody Allen movie where he’s like in a flying bubble, where like—he actually takes off cuz he’s got this huge bubble around him.
*On a night set, in the snow outside, lots of great shots and pictures of the contrast of the snow, the light and shadows, the black costumes, etc.*
Bill Roe (DP): There’s not many jobs that you get an opportunity to do this. You know, obviously nights are really tough. I like to light ‘em. I don’t know, there’s something about me that likes to light that stuff. I had a whole system of how to do it at night with the snow.
*shots of lights on cars, many lights lit up on the ground level to sent beams across the snow, very beautiful*
Bill: I didn’t put lights up in the air too much, I wanted to rake the snow. Because I like the shadows to come across the ground. I wanted to feel the effect of trees and shadows, and not just lights in the air, and balloons, and things like that. I wanted to feel this mood that’s a long—because we had vast places of snow. And it’s real snow! I mean we had it there and we were in the middle of nowhere.
Lisa Tomczeszyn (Costume Designer): Poor Bill, especially in this movie, is just presented with so much black! And it’s like, I’m sorry I can’t do anything about it. The FBI is a navy in black. It’s just such a challenge for a DP to get that much black against that much white.
*bts of shooting everyone in black in the snow*
Lisa: You put a black wool coat in night and it just disappears. It becomes part of night. And it’s why I tried to get a semblance of at least some shine or texture in fabric whenever I could, just so that he would have SOMETHING to shoot.
~*~*~
Scene 61C Take 3
*Chris calls action on the scene where Mulder is trying to get a hold of Scully on the phone while he’s watching the FBI team try to de-ice all the body parts they found*
Mulder hangs up the phone and Agent Whitney asks, “Anything?”
“No I can’t reach her, but this is a break. It’s gonna make sense, I’m feelin’ it.”
“You’re feeling it, Father Joe’s feeling it, all I’m feeling in my head spinning.”
DD: Amanda Peet, you know, a great comedian—which she doesn’t get to use at all in this film. Which, I think is one of the reasons she took it, you know, she wanted to play—wanted to see if she could play kind of like this all-business FBI agent.
Mulder: We’re gonna find her. I know it.
Agent Whitney: Well she may have to stand in line.
*Chris calls for another take*
AP: My character’s supposed to have feelings for Mulder and feel a connection to him outside the office. Which is very difficult to have chemistry with David Duchovny because there’s nothing goin’ on there, you know? *can’t keep a straight face and laughs*
Agent Whitney: Anything?
Mulder: No I can’t reach her. But it’s gonna make sense.
AP: *teasing* He’s a really big diva cuz he’s like, “I’m on the X-files for nine years, and now I’m on Californication, and I’ve got 8 Golden Globes, and you know, who are you?” So it’s a little exhausting, but you know, it’s okay.
Agent Whitney: Well she may have to stand in line.
Chris: Cut! Very nice.
*Mulder and Agent Whitney walk over to Father Joe sitting at the table*
Billy Connelly: David Duchovny is a thinking guy. He’s a very intelligent guy. And he’s done so much work apart from The X-files, you know? He’s done a lot of television, a lot of movies now, and he’s very bright, and his mother is Scottish! I didn’t know that, you know? His father’s Russian and his mother’s Scottish and so we talked about Scotland a lot.
DD: It was always a pleasure in between takes just to be talking to Billy. To listen to Billy, to talk to Billy. He’s an engaged mind, you know? He’ a restless mind, and he’s very restless mentally, and it’s fun to be around him.
*On set, David pretends to loosen his lips for the scene and Billy and Xzibit laugh*
Billy: We had a scene where we had to stare at each other for a long long time and it was quite difficult sometimes, you know? Apart from the fact that you want to laugh all the time.
*Billy cracks up on set just as they’re about to roll*
Billy: I get it at funerals and everything, I just start—I get this overwhelming desire to laugh sometimes.
*Now Xzibit and David are laughing too*
Billy: Excuse me.
He puts his face in his hands as everyone cracks up.
Billy: I think it’s fear. We did it last night and I was very comfortable with it. He’s a very comfortable guy to act with.
David: *on set* An actor relaxes, an actor prepares.
He starts to wiggle his cheeks and soon Billy starts in too.
Billy: *Back in the interview* It sounds like a gay love story, you know? You can hear the music, I look David in the eye, his mother is Scottish. Neeeee, I can hear the bagpipes in the background, needle-dee-deeee, deedledeee, Oh David!
Amanda Peet: You know, we’re not sane here because it’s too late and we’re in a mental hospital and we’ve been shooting in Pemberton, and in the snow we’re—none of us are sane anymore. *laughs* We’ve all really lost our minds. It’s like a communal The Shining.
*bts of filming the hospital scenes*
Billy: Well this is an old old mental hospital. It was opened in the first World War for people with shell shock. I think they now call that Post Traumatic Stress Disorder. We used to call in shell shock. We had a wonderful expression for that in Scotland for that, they said you were “bomb-happy!” People would come home from the war and they’d be a bit cookoo, they’d say, “Oh he’s bomb happy.” *laughing* Isn’t it weird? People are more sensitive. *still laughing* I’m not but most people are! *cracks up* I belong in here!
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Haha! I love this!
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Comment by Lilith
Comment by Meggie
TV Chit Chat
Comment by DreamboatAmy84
Comment by Lilith
Comment by Lilith
I just checked IWTB blu-ray and it has that specal features... I guess I'll be buying blu-ray player sooner than I thought
Comment by DreamboatAmy84
Comment by Meggie
TV Chit Chat
Wow as tempting as that offer is, I think I'm going to have to pass...
Comment by Lilith
Comment by Kleonaptra
Kalikapsychosis
Since starting at the beginning we have noticed how Skinner loves to punch on...Whenever he enters a scene we chorus - Watch out dude! He punches on!
Even if its not going to be released in Australia, surely we can order this over the internet somehow? There are a lot of games and DVDs that arent released here - deemed 'too violent' or whatever, but we can always get around it by special order. I cant imagine that so much X files lore would just simply be unavailable.
And its hard for me sometimes to watch Fox Mulder....Im SO into Californication, its my favourite show right now...In the midst of a scary X files Im just expecting him to spark up a smoke, swig a beer, and bend Scully over....Such different characters! Mulder was often known as 'The King of Nerds'
Comment by Meggie
TV Chit Chat
Welcome to the land of The X-files!
And that's funny that you should mention having a hard time watching Fox Mulder because of Californcation, because I thought I'd have that exact same problem with Hank because of The X-files! haha
Thanks for stopping by!
~Meggie~
Comment by Lilith
Ahahaha...... oh man, I needed a good laugh....
Comment by DreamboatAmy84
Perhaps that would have saved them both a lot of grief for seven years? Yeah, I think Moody is Mulder's id... At Wondercon, they did joke about GA appearing on Cali as a woman who gets off on dressing up as Scully. That's probably not going to happen but ya never know. Plus, isn't he trying to be more faithful this year? Perhaps she would be the key to his undoing... lol I'll stop now.
Comment by Lilith
Comment by Kleonaptra
Kalikapsychosis
I think its safe to say we are all heavy DD fans huh....We'd have him whoever he was playing!
Id like to mention how much I adore Gillians long hair in those pics, she looks really gorgeous, and the Scully fashion sense has marktly improved from thick white tights and badly cut pant suits. Would it have killed them to put a bit of ankle flare in it to balance out her nice hour glass hips?