Some Filish Fun as we count down to the movie:

GaDawg creates hilarious cartoons about the online X Files
community and the war between the Noromos and the
Shippers. Whatever side you fall on, you'll probably find
them funny if you can laugh at yourself. She started with
the now-classic "Attack of the Shippers" and moved on
to chronicle the adventures of "Noromo Ninja" and those
little aliens who are obsessed with the X Files, much to
the annoyance of their commanding officer.

Here is the URL (warning, these are high-graphics content
pages and will take a long time to load if your connection
is slow.)

http://members.aol.com/gadawg123/index.html

Also, the syndicated comic strip FoxTrot has been
discussing the impending movie premiere - it seems
that Jason, the youngest boy, is a sci-fi freak and eagerly
awaiting the premiere (as is the creator of this strip,
I imagine). If you don't get the paper, you can read the
strips online by going to http://www.foxtrot.com and then
clicking on the link below the strip to read the today's
current entry. (the X Files pertinent ones seem to be
from today and yesterday, and will continue all week,
I imagine.)


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[from US TV Guide WWW site]

The master of shadowy mystery sheds light on The X-Files' high-risk journey
to the big screen

B Y   M A T T   R O U S H

There's not much time left. It's early May, two weeks before The X-Files'
fifth-season finale airs and just little more than a month before "The
X-Files" opens. The deadlines are fast approaching, but for a man who's
spending every waking minute in editing rooms putting the finishing touches
on his TV and movie projects, creator-executive producer Chris Carter shows
little sign of wear. Sporting a deep tan magnified by the white T-shirt he
wears in his unassuming bungalow office on the Twentieth Century Fox lot,
Carter admits he was able to sneak away from Los Angeles amid the chaos for
a four-day surfing weekend at Cabo San Lucas in Mexico. "I've got a ways to
goto get back in any kind of respectable surfing shape, but it was really a
good balance for me," says Carter, 41, who was an editor of Surfing
magazine before turning his attention to the darker, murkier,
conspiracy-riddled waters of The X-Files. Surfing, he says, is "one of the
few times I enjoy the fruits of my labors." A surfboard with the X-Files
logo is on display in his office, a symbol of his dual obsessions.

  For now, Carter concedes it's a "nutty job" to juggle movie and TV
production. "I've been running on adrenaline for the last five years and I
continue to. And I rarely get sick, because I think my body is working at a
peak level." A good thing, considering what's at stake.

  TV Guide critic Matt Roush sat down with Carter to talk about this pivotal
moment in his series' history.

TV Guide: Making an X-Files movie during the run of the series could be
considered the riskiest thing you've ever done.

Chris Carter: I guess the perceived risk is that you can answer too many
questions. The X-Files has always been about posing questions, and any time
you give an answer, then you pull the rug out from under people. But in a
movie, you can't do that. You have to have a beginning, middle and end, and
there has to be a big revelation, there has to be something monumental in
the movie. Something has to change for the characters. And of course, this
is a movie that is going to be sandwiched between years five and six, so
I've got to carry on with the television series. What it allowed me to do
was explode many of the themes we've been playing with and perhaps give
some big answers but suggest other big questions at the same time. I think
it will be rejuvenating for the series and hopefully will bring more
viewers to the show.

TVG: Isn't there a danger that if you leave questions unanswered,
moviegoers might consider this film a big tease?

CC: I think the movie delivers in a big way, in terms of the plot and the
characters. I don't believe it's going to give anyone the impression we've
held back or pulled punches.

TVG: Even a fan like Rosie O'Donnell recently complained the show can be so
dense and confusing you almost need Cliffs Notes to figure it out. Are you
worried that someone who doesn't know the show will be too intimidated to
turn out for the movie?

CC: We brought a lot of people who were not familiar with the show into the
theater [for test screenings], and they liked the movie. But that was one
of the hurdles in doing it. There are a lot of people who don't watch The
X-Files, and we wanted the movie to appeal to those people as well. But
what you never want to do is forsake your hard-core fans, to take them
through the tedious process of character exposition -- to redefine and
reestablish those characters. This required a cleverness that I hope we
accomplished in the course of the picture.

TVG: Without getting into the specifics of the movie's plot, was this a
particular story you have wanted to tell from the very start of the series,
or did the movie just come along at the right time for you to tell the next
chapter on a larger canvas?

CC: It's kind of a combination of all these things. The series' mythology
really grew organically. It wasn't something that had been completely
mapped out. But I remember saying to [former Fox programming executive] Bob
Greenblatt, who bought the show so long ago, "I promise you Mulder won't
see a spaceship on this show for five years." And although he has seen
things that he believes to be spaceships, we have always suggested that
they might in fact be military hardware. I have sort of made good on my
promise, and that should give you some idea of what happens in the movie.

TVG: There has also been a lot of buzz in the press about a scene in which
Mulder and Scully kiss. You've often said you wouldn't play that card, that
they will never really take their professional relationship to an intimate,
romantic level.

CC: Nor should they. I'm not saying it would never happen, but I think the
characters, if they're being true to themselves, would be careful about
finding themselves in that entanglement.

TVG: After this high-profile movie experience, will it be tough to go back
to the weekly TV grind?

CC: What I learned in this process is that there are a lot of things you
can do on the small screen that you can't on the big screen. You can have
characters talk at length on the small screen, and a scene that could be
interesting and complex and dense [on TV] would be deadly on the big
screen, which ironically is really a minimalist form in this regard. I'm
very interested in going back to small-screen stories.

TVG: But what if the movie takes off and becomes a Star Trek-style
franchise? Would the TV series be over at that point?

CC: That's one of those hypothetical questions that, because there are so
many variables in it, it's very hard to answer. Could the series continue
without Mulder and Scully but the movies continue with them? If you were
clever enough, I'm sure you could.

TVG: Looking back at last season, it was very interesting to see how you
played with issues of religion and faith, especially where Scully was
concerned, as she survived cancer and learned she had a daughter who would
later die.

CC: We began the season with the loss of Mulder's belief [in
extraterrestrials]. You were stealing something from the character, taking
away the foundation for his existence. At the same time, we were playing
with Scully's religious beliefs, so the characters were shifting places. It
wasn't that Scully was believing in the paranormal as much as in the
miraculous. As a lapsed Catholic, she had the foundation of religious
fundamentals, but as a scientist, she pushed away from that. Now all of a
sudden, she's accepting things that are beyond her ability to see, touch,
taste and feel, and that's a big step for her character. I've always
thought of this show as extremely religious. When you say, "The Truth Is
Out There," if you substitute God for the truth, it's really a search for
meaning, a search for faith.

TVG: I know you're especially proud of last season's black-and-white
episode "The Post-Modern Prometheus," based on the Frankenstein story,
which you wrote and directed. Your version of the monster ends up as a
guest on The Jerry Springer Show, months before it took off in the ratings.
Did you know something we didn't?

CC: It's just a strange coincidence. It's not like I was prescient. I
actually took an interest in Jerry Springer. I came home late at night and
turned it on and was just amazed by it. It seemed to me a perfect place for
these characters I had rolling in my head to end up. I figured he'd say no,
but he said yes. It's serendipitous.

TVG: What do you think compels people, even yourself, to watch his show?

CC: I think it's the anything-can-happen aspect for me. I'm just very
amused by it.

TVG: Working under such scrutiny now, do you ever long for the early
seasons when the show was still something of a well-kept Friday-night secret?

CC: It hasn't changed that much for me. As the audience and popularity
grows, that has certain gravitational aspects, but the work and my life are
almost exactly the same. I always eat lunch at my desk, rarely eat dinner
anyplace other than my desk. My fine china is Styrofoam. This is our
existence. Everybody who works here has never slowed down. The success
allows you certain freedoms, because people start not to question what it
is you're doing. The popularity of the show is a good thing, but the ethic
and the approach is still the same. It's still a cult TV show in my mind.









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X-FILES: The movie

TV Guide investigates the story behind Scully and Mulder's dramatic
feature-film debut

B Y   M A R K   N O L L I N G E R

Paranoia, doubt and fear are feelings X-Files creator-executive producer
Chris Carter usually relishes stirring up. But not among the studio sultans
bankrolling his first feature film. When executives heard about Carter's
unprecedented plan to open the "X-Files" movie where the TV series' May
cliff-hanger left off, it inspired dread all over the Fox lot, according to
Carter. "The movie guys were like, 'What's going on here? We're not sure
about the idea,'" he recalls. "And the TV guys were afraid we were going to
destroy the series, that this was just some big plot to end it all. I had
to convince them through the work that that wasn't the case."

The truth will finally be out there June 19, when "The X-Files" arrives on
big screens everywhere. Among the questions it's expected to answer: Do
aliens really exist? Who really runs the conspiracy? What happened to
Mulder's sister? And perhaps most important, will the answers please the
series' die-hard fans and still be comprehensible to those who don't know
Scully and Mulder from Dharma and Greg? "Chris made a lot of effort to
write the script to attract both X-philes and people who had never seen the
show," says Anderson. Says Duchovny: "We don't take for granted that people
know who Mulder and Scully are. Yet it's not so heavy-handed that fans of
the show are gonna come away in those scenes going, 'I know, I know, I know
that!'"

It better not be -- there's much more riding on the picture's success than
the $60 million price tag. The future of the X-Files franchise, for
instance, not to mention Duchovny and Anderson's budding film careers.
"What's at stake are people's perceptions," Duchovny says. "Can a TV show
be a movie? Can a TV actor be a movie star? We'll see what happens."

Just what happens in "The X-Files" has been the object of speculation since
the day the film was announced. Thanks to the conspiracy of silence
orchestrated by Carter and his cohorts, nailing down details of the movie's
plot has proved only a tad less difficult than proving the existence of
UFO's. "It's about what the show's about," Duchovny says of "The X-Files."
"It's shadowy. Even if I wanted to spoil it for everybody, it still
wouldn't achieve total clarity for you. And I think that's one of the
strengths of the show, that we deny that kind of clarity."

While pieces of the purported story have surfaced on the Internet,
including a couple of anonymous reviews of the film by people claiming to
have attended a test screening, Carter's devious announcement early on that
he was spreading disinformation to throw people off the track implies that
all such reportage has to be taken with at least a grain of salt. What is
known, however, is that the bombing of an office building sets off a chain
of events involving Neanderthal cavemen, an alien plot to colonize the
earth and, of course, a government conspiracy involving the Syndicate and
the Elders that takes Mulder and Scully from dusty North Texas to icy
Antarctica in the process. Series regulars Mitch Pileggi (FBI assistant
director Skinner), William B. Davis (the Cigarette Smoking Man), John
Neville (the Well-Manicured Man) and the trio of Bruce Harwood, Dean
Haglund and Tom Braidwood (the Lone Gunmen) are along for the ride, with
veteran character actors Martin Landau ("Ed Wood") and Armin Mueller-Stahl
("Shine") in supporting roles.

"The movie reaffirms Mulder's impenetrable sense of wonder," says "X-Files"
director Rob Bowman, who's also helmed 25 episodes of the series. "It takes
him through discoveries and adventures that confirm his darkest beliefs."
Well, not all of them are that dark. One of those discoveries apparently
involves a certain redheaded government employee. "Mulder is forced to tell
Scully what she means to him," Duchovny reveals. "And that can lead to
personal involvement. There's definitely some physical contact." A kiss?
"Some kind of screen kiss," he says.

(When asked about Duchovny's comment, Anderson seems stunned. "David said
there was a screen kiss?" She pauses. "There's an interesting screen kiss,"
she continues. "But it's questionable whether it's Mulder or Scully, or
either of them with anybody else." Gee, thanks for clearing that up.)

Whatever the truth turns out to be, everyone involved promises that "The
X-Files" is more than just a two-hour episode of the series. "The thing we
cannot do in the series is have giant set-pieces containing action
sequences or spooky sequences," Bowman explains. "There's just not the time
or money. In the movie, we've got several." Anderson agrees. "The whole
scope of it is so much bigger," she says. Just how big didn't hit home
until recently, when she saw parts of the film for the first time while
re-recording dialogue. "I actually got distracted from doing my lines,"
Anderson says, "Because I was screaming, 'Oh my God! That shot!'"

And while the movie is rated PG-13, there is a bit more adult content than
in the series. "One of the advantages of doing a film is that the richness
of the English language in its cursing forms is open to you," Duchovny
explains. "So Mulder and Scully are a lot more gutter-mouth. They're still
FBI agents, so it's not like The Jerry Springer Show. But you hear more
than dammit, which is as far as we go on TV."

There's more to see, too. In one sequence, Anderson says, "clear, mucky
goo" appears to be all she's wearing. "I wasn't completely naked when we
were shooting it," she confesses. "But it will look like I'm naked on
film." For his part, Duchovny confirms that the movie contains a shot of
his bare behind. However, it doesn't relate to any of the film's big
secrets, he quips, "unless the influence of a moon can be seen as an
extraterrestrial phenomenon."

No matter how the movie ultimately addresses the long-standing questions at
the heart of the series, Mulder and Scully will undoubtedly find new
reasons to carry on when The X-Files resumes production this summer. The
success -- or failure -- of the film is likely to affect the real folks
behind the TV series as well. "If we come back in July with a hit movie
behind us, certainly people are going to be hell-bent not to have any
drop-off because we're going to think the whole world is watching,"
Duchovny says. "If the movie fails, it could be similar pressure in that
we've got to show [people] we haven't lost it." He pauses and laughs. "Or
we could all give up and say it was a good run. I don't know."

That's not the only uncertainty facing The X-Files. Carter, who has long
indicated that he planned to leave the series after season five, is
negotiating with the studio to stay but has yet to sign a new contract. And
while Duchovny is reportedly committed for two more years and Anderson for
three, burn-out is a real possibility as they head into their sixth season.
"It's hard to have a lot of enthusiasm," Duchovny admits. "I have a certain
amount of loyalty to the show. But at a certain point doing a TV show of
this magnitude is just too tough." Adds Anderson: "I'm hoping that it
doesn't go [another three years]. I'm all for it if it does. I just hope
that they're able to stop it when it has run its course and not try to
squeeze out any juice that's not tasteful any more."

A more immediate question is the potential impact of The X-Files'
much-publicized relocation from misty Vancouver to sunny Los Angeles. "I
think it will be good for everybody involved," Anderson says. Especially
Duchovny, who began agitating for the change of scenery following his
marriage to actress Téa Leoni just over a year ago. "I'm looking forward to
living with Téa," says the actor, who bought a house with Leoni north of
Malibu that he has yet to spend much time in. "Even if I'm working longer
hours, I get to come home to my wife rather than a phone."

While it wasn't his idea, Carter says he's excited by the visual and
thematic possibilities the move offers. "We may not have the rain and the
condensation coming out of people's mouths," he says. "But we're going to
shoot at night, and we're going to make it creepy. We may have to shoot
around a few palm trees, but I feel confident we'll be able to tell some
really good stories here. The show is going to be the same creepy show."

Mark Nollinger is a Los Angeles-based freelance writer.



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[from TV Guide WWW site]

Better clear off plenty of space on the bookshelf if you're planning to get
the complete collection of X-Files movie tie-ins.

HarperPrism is releasing six — count 'em, six — books tied to the eagerly
awaited X-Files movie, set to hit theaters this Friday. Included in the
collection are hardcover, paperback and young adult versions of the X-Files
feature-film novel, cowritten by creator Chris Carter and Elizabeth Hand;
adult and young adult versions of The Making of The X-Files Film; and The
X-Files Film Scrapbook. And that's not all: There's also a book-on-tape
version of the novel read by John Neville, the actor best known to X-Files
fans as The Well-Manicured Man.

"There are a huge number of X-Files fans out there, and we want to cater to
all of their different wants and needs," says a spokesman for HarperPrism.
"We made sure to have the young adult books because there are so many
younger fans of the show."

There were even plans for yet another book tie-in by Carter, called The
X-Files Confidential Folio, but the project was eventually scrapped.

The Making of The X-Files Film includes behind-the-scenes anecdotes from
stars David Duchovny and Gillian Anderson, a look at how the filmmakers
pulled off the more than 220 special effects featured in the film, and
surprising details on how the movie came within 10 minutes of not being made.

The book and audiotape tie-ins — which will set back fans a total of $80
plus tax — won't be released in stores until Friday to keep the movie's
top-secret plot from leaking out. Let's hope they have better luck than the
producers of Godzilla, who tried but failed to keep stores from putting
toys of the monster on shelves before the movie's release. — Rich Brown



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This transcript comes courtesy of Carrie.

Gillian Anderson on Rosie  6/15/98

Disclaimer: The X-files and all its characters and episodes are owned by Chris
Carter and 10-13 productions. Rosie O. and Gillian Anderson belong to
themselves.  This transcript was made without their permission and it is
absolutely forbidden to use it for commercial gain.   Thanks,
CarriKendl@...


ROSIE:    Hey, we all know our first guest as Agent Dana Scully on "The X-
Files." I love it.  Her new film, the long-awaited film, "The X-Files"  I
love it.
Please welcome, I love her, Gillian Anderson!

(Cheers and Applause.  Gillian comes out in black interview pantsuit holding a
pie behind her back.  They hug and sit, Gillian still trying to hide the pie,
but Rosie has seen it.)

ROSIE:    You scared me there.  What have you got there?

GILLIAN:    I’m sorry.  I have something to go with your ice cream.

ROSIE:    You’ve got a cheesecake?

GILLIAN:    I’ve got.  No.  This is tofu pie.

(Audience basically goes  "Grrooossss!!!!  Laughter.)

ROSIE:    Seriously?

GILLIAN:    Seriously.  It’s tofu pie.

ROSIE:     Do you actually consume this, Gillian?

GILLIAN:    I used to.  And I have been looking for it in New York.  Now I
don’t know how good this stuff is cause usually you can get pumpkin flavor and
blueberry and chocolate flavor and it’s really good.  But it’s wheat-free

ROSIE:    Yeah.

GILLIAN:    --and dairy-free –

ROSIE:    Oh, yeah.

GILLIAN:    ---and it’s sugar-free.

ROSIE:    (not thrilled)  Great.

GILLIAN:    And I want to see you take a bite.

(Laughter.  Great laugh from Gillian.)

ROSIE: (really not thrilled)  It sounds delicious.

(Laughter.)

GILLIAN:    I think you’ll ----

ROSIE:    Did you bring me a fork?

GILLIAN:    No.

ROSIE:    You didn’t?

GILLIAN:    We could use --- (indicates Toy Story toys on Rosie’s desk)

ROSIE:    We can use one of my toys?  (laughter)  Children, don’t do this at
home.  I’m using Woody’s hat.  Don not do this at home

  (Laughter.  Rosie dips plastic Woody toy headfirst into the pie and takes  a
taste off the hat.  Seems to like it then makes a face.  Gillian laughs.
Audience laughs.)

GILLIAN:    It’s honey flavor.  Is it any good? Good?

ROSIE:    (it’s not  good, laughter)  Now, you know what’s scary?  The first
taste sort of entertaining and then it becomes like that paste you used to
have in third grade.  (laughter from all, another face)  Oh, my God.

GILLIAN:   (tastes it)  It’s not a very good one.

ROSIE:    Not a good one?

GILLIAN:    It’s not a very good one.

ROSIE:    Here, Woody, you eat it.  (Shoves the toy into the pie.Laughter.)
There you go.  Let Woody eat it.  Well are you a total like health food
freakazoid like that?

GILLIAN:    Yeah.

ROSIE:    Like you’re no wheat and sugar?

GILLIAN:    I try not to.  But every once in a while I like binge on chocolate
chip cookies.

ROSIE:   Now answer me this.  Do you do this for health reasons or do you do
this to maintain your physique?

GILLIAN:   I do it because I’m very sensitive to food I’ve found, and I have a
very low wheat tolerance.

ROSIE:    How did this manifest?  How did you know you had a low wheat
tolerance?

GILLIAN:    Because it puts me to sleep.

ROSIE:   It does?

GILLIAN:   Well, which is why I kind of  eat it. You know.  When you’re
craving carbohydrate when you’re craving bread -.  You feel – You can’t just
have one.  You’ve got to have twenty.

ROSIE:    What about sugar?  What did sugar ever do to you?

(Audience laughs.)

GILLIAN:    Sugar.  (laugh) Sugar, it just makes my heart race.  It makes my
moods swing up and down.  I don’t like myself on sugar.  I like being kind of
even.  So I quit coffee this year, too.

ROSIE:    And coffee?  What do you have?  A - a soybean burger?  What do you
do?

GILLIAN:    You know, like protein and vegetables, and there’s some good
stuff.  There’s some great like sugar-free, wheat-free desserts.  I promise.

ROSIE:    Well, listen –

GILLIAN:    (referring to the toy still in the pie)   Woody is enjoying it.

ROSIE:    Woody’s liking it. Maybe Cruella De Ville will like it.  (Begins
stuffing plastic toys in the pie.  Lots of laughter.)  Do you know who this
is?  The skipper from Gilligan’s Island?  Let’s give him a little. He’ll like
it.  Maybe Dorothy Gale and Toto.  Look.  Toto, too.  There you go.

GILLIAN:    I think Toto would like it.  (laugh)

(Lots of laughter.)

ROSIE:    Now, first of all, I am so excited about this movie.  Look at you on
"Details."  Hello?  (holds up magazine)  Scary alien looking, yet gorgeous.
What about that?

(Cheers and applause.)

ROSIE:    Who took that?  Do you remember?

GILLIAN:    I can’t remember.  I can’t remember the name.  Remember a while
ago on the cover of Photo Magazine, Naomi Campbell was on there.  The silver?
Do you remember seeing that?  The same one.

ROSIE:    Do they make you get dressed up, mild alienesque because of the
show?  And the subject matter?

GILLIAN:    Well, no. I’ve had some fun with some photographers and stuff.
But it’s not always alien oriented.  Sometimes there’s other things.

ROSIE:    Right.  I remember this.  So great.  In "Us" magazine, look at you
as Morticia Addams.  (shows picture of Gillian as Morticia with Cousin It.)

GILLIAN:    And look at this guy.  It’s the … Thing ---

ROSIE:    That’s Cousin It.

GILLIAN:    Cousin It.  Who’s the thing?  What am I talking about.

ROSIE:    Thing is the hand.  And then Lurch.  Remember Lurch?

GILLIAN:   I never saw this.  I never saw it.

ROSIE:    You never saw this?!

GILLIAN:    No.  Never saw "Lucy" either.

ROSIE:    (shocked)  Hold it.

GILLIAN:    I’m sorry.

ROSIE:    Hold it.  You never saw "I Love Lucy?"

GILLIAN:    (holding up hands)  I’m sorry.  I grew up in London. And I didn’t
have those shows.

ROSIE:    You grew up in London?  That’s wrong, Gillian.  (Audience laughs.)
Why did you grow up in London?

GILLIAN:    Well, cause we moved there.  My dad went to the London Film School
and they fell in love with London.

ROSIE:    How old were you when you lived in London?

GILLIAN:    No, I know

GILLIAN:    Well, I was born in Chicago and then when I was six months we
lived on Puerto Rico for  about 15 months and then we moved to London.

ROSIE:    Until you were ??

GILLIAN:    Eleven.

ROSIE:    You don’t have a trace of a British accent.

GILLIAN:    I had it for a while.  I kept it for a long time, kind of as a
crutch.  I kind of you know  ---

ROSIE:    When you have a few beers, (does drunk cockney imitation)"All right,
lovey, lets go over there!"    does it come out?

GILLIAN:    No.

ROSIE:    People tell me that when I get excited or inebriated – look at this.
(Shows picture of Gillian as the Flying Nun.)You as the Flying Nun. You never
saw that show either?  I don’t know why they allowed you to pose as these
people when you don’t know them.  Geez?  Do you watch your own show?

GILLIAN:    I do.

ROSIE:    I watch it every single week.  I have been confused, lately by about
a lot of things that happened.

GILLIAN:    Me too.

ROSIE:    The whole thing when they were spraying the money, and a good guy
saved them.  Is this in the movie?  Is this revealed in the movie?

GILLIAN:    (pause)  No, I think you just missed it.

ROSIE:    I didn’t get that part?

GILLIAN:    No and I couldn’t explain it to you on my life, right now.

ROSIE:    People like me who are addicted to it, they’re scary fanatics.  I
missed the Expo.  I was in Miami.  There was a big "The X-Files" Expo.  Did
you go?

GILLIAN:    I did.  I went to both of them in New York here. And they were a
lot of fun.  Just people that love the show.

ROSIE:    Right.

GILLIAN:    And they were really sweet, and, you know, they who just love the
show.

ROSIE:    Do you have a favorite episode?

GILLIAN:   (reaching behind her chair) I brought you a gift.

ROSIE:    Please don’t make it be health food related.

GILLIAN:    No nono.  You could stuff it in his face, too, if it’s not
crowded.

(She pulls out latex head of guy with face sewn together from Patient X/R and
B:  )

ROSIE:    Disgusted!  Is that the guy from the bridge or the guy in Russia?

GILLIAN:    I don’t know who this is.  Can you see?  Apparently this is the
guy from  I like this.  (plays with it’s hair.)

ROSIE:    Remember when you were on the bridge and we thought you were dead
and you weren’t.  Give me that scary, disgusting thing.   (Does voice for the
head.)  Do you want some tofu?  "Yes, I do!  Before I used to eat normal food.
Then I had tofu.  Now look at me!  Ahhhh!"

(Laughter, cheers and applause.)

ROSIE:    That is scary, though.

GILLIAN:    It is pretty scary.

ROSIE:    Any of the shows freak you out, ever?  Because you’re doing them.
You don’t get to experience them like we do.

GILLIAN:    I have to read the scripts during the daytime.  But other than
that, I’m you know ---

ROSIE:    Second to last one of season, the one where that scary guy was like
an alien thing and he went into the light and Mulder saw it and you didn’t.

GILLIAN:    Yeah.  It was upside down on the wall.  And it was just about to
eat his head.

ROSIE:    Is that in the movie?

GILLIAN:    No. (laugh)

ROSIE:    Not in the movie either?

GILLIAN:    I can’t tell you anything about the movie.  I brought a clip which
I hope – I hope I’m not going to get in trouble for showing it,  because it’s
a clip from the movie.  And let’s just show it before I get into trouble.
(laugh)

ROSIE:    Do you  need to set it up?

GILLIAN:    No.  I  think it speaks for itself.

ROSIE:    Okay.  This is the movie that comes out Friday.  Take a look.


(Clip - from Deep Throat, season one,  where Mulder gets Scully out of the car
to see the UFOs over Ellen’s AFB,, but instead they see irritating teeny-
bopper band Hanson singing MMM  Bop.  Very funny.)


(Audience cheers and applause.)

ROSIE:    That’s in the movie?  Hanson is in the movie?  Hanson are aliens?
You rat!

GILLIAN:    Isn’t that funny!

ROSIE:    That is funny.

GILLIAN:    I thought that was funny.  That’s funny.

ROSIE:    Not in movie.  We have to clear it up for people.  They’re like
"Hanson is in the new film."  You’re coming back for another season and much
more, I hope?

GILLIAN:    Yes. Definitely.  Shooting in  LA.

ROSIE:    Better for you?  Tough to be up there in Vancouver.

GILLIAN:    It is.  It is a beautiful place and I have a lot of people that I
love up there, but it’s time.

ROSIE:    How is your baby?

GILLIAN:    She’s great. Doing very well.  She’s excited about it, too.  I
think.  She’s been listening to a lot of reggae lately.

ROSIE:    She’s three, isn’t she?

GILLIAN:    Yes.  She’s three and a half.  She loves Buffalo Soldier.  I don’t
know why.  She does.

ROSIE:    Where did she get the Reggae CD?

GILLIAN:    Well, from me.

ROSIE:    There you go.  My son knows all the words to "South Pacific,"  I
think it’s what we push them towards.

GILLIAN:    I think you’re probably right.

ROSIE:     June 19th , the movie opens.  You come back whenever you want.  At
the commercial, you tell me what happens in the film.  Just me?

GILLIAN:    (whispers)  Okay.

ROSIE:    Be right back with Ana Gasteyer after this.

(They shake hands.  Commercial.)





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"X-Treme Chemistry"

One year since their secret wedding in New York, what's married life like
for David Duchovny and Tea Leoni? 'Very sexy'. Pulling up to a Los Angeles
yoga studio for an afternoon class, David Duchovny is greeted by a very
pleasant sight indeed: his wife, the impossibly lithe Tea Leoni, whose sunny
presence makes it immediately clear what it was that drew him to her.
"First, it's her integrity,", says the X Files star wryly. "Second, it's her
legs." And what was it about him that snared Leoni? "Easy," she banters
back. "First, it's his integrity. And second, it's his ass."

Yes, its tough to stay focused on inner beauty when you're half of one of
Hollywood's best-looking couples. But to hear this pair - who celebrated
their first anniversary on May 6 - tell it, the honeymoon is still going
strong. While the likes of Bruce and Demi tread the Hollywood party circuit,
David, 37, and Tea, 32, are famously private. "They have so little time
together," says Duchovny's older brother Danny. "They jog a lot, they walk
their dogs a lot, they go to dinner by themselves. They have a couple of
close friends, but they tend to spend their time together." Much of that
time is spent at their newly purchased $3 million, antique-filled
four-bedroom house north of the expensive beachside enclave of Malibu.
"It's very kinda homey, comfortable, cosy," says Danny. "Tea has very good
taste,. I don't think David's had all that much to do with it, which is
probably not a bad thing." (Duchovny has described the house as being full
of "green comfortable things.") When they're not playing scrabble by the
pool, Duchovny and Leoni snuggle on the sofa to watch Newlywed Game repeats.
"We can't really agree on some of the questions, though," says Duchovny.
"When they asked 'If you were a superhero in the relationship, who would you
be?' I answered, 'Fox Mulder'. But that wasn't good enough for her."

Just kidding, Dave. "I didn't meet my ideal man," Leoni, formerly wed to a
director of TV commercials, told Vanity Fair. "I met better." For Duchovny,
who as one of Hollywood's most eligible bachelors once dated Winona Ryder
[note from me...he has already said publicly this isn't true!], the feeling
is mutual. "What's it like?" he muses on domestic life. "Very sexy."

Not that their careers have suffered from all the amore. Though Leoni's
sitcom The Naked Truth was canceled in May, she's now starring in the film
Deep Impact. Duchovny, who makes $110,000 per X Files episode, lands in
cinemas on July 23 [note-Australian date] in the series' $60 million feature
film spin-off. But it wasn't until he found Leoni that everything fell into
place, says his close friend actor Jason Beghe: "He's worked his butt off to
get this place in his life. He's rooted, with a new family, his own home."
Simply put, says The X Files Mitch Pileggi, "He found something that he'd
been looking for for a long time."

Even if he didn't first recognise it. The two met in 1992 at a guest
audition for US TVs Tonight Show where, Leoni told Britain's Times, she was
so busy chatting up the producer, Duchovny didn't register: "It could have
been Nicole Kidman sitting there." Five years later their mutual agent, Risa
Shapiro, suggested a date. Duchovny had split with girlfriend Perrey Reeves;
Leoni and her beau, Naked Truth creator Chris Thompson, had long since
cooled. "After the first meeting, there was friction but no sparks," says
Duchovny. But after date No.2 at Giorgio's, a cosy Malibu restaurant, the
relationship hit high gear. "After a month," says Duchovny, I knew she was
the one."

The two had lots in common: New York backgrounds (her father is a corporate
lawyer, her mother a nutritionist; his father is a writer, his mother a
school administrator); humour ("they love to howl together," says Beghe);
sport (golf and yoga); and academia (Leoni, a Sarah Lawrence university
drop-out, planned to study anthropology; Duchovny, a princeton graduate, has
a master's from Yale). "I think their intelligence is a bond as much as
anything else," says Deep Impact executive producer Joan Bradshaw. Says
Naked Truth co-star Holland Taylor: "They've both been on a number of
hysterical whirlwinds. But this was right as rain."

Two months into the relationship, as Leoni was putting shoes away at he LA
house one afternoon, "David suddenly said, 'Will you marry me?'" she told
Vanity Fair, "and I said yes without even taking time to come out of the
closet." The couple, who never flaunted their affair ("They didn't make a
show of it the way some couples do," says Naked Truth director Rob
Schiller), were equally secretive about the wedding, attended only by
family, in which they exchanged gold bands in New York's Grace Church School
courtyard. 'They were staying at Duchovny's townhouse in Vancouver (where
the X Files was then taped) and tea seemed really distracted," says Naked
Truth executive producer Michael Saltzman of the days preceding the event.
"Within a couple of days, they were married."

"He's a happy chappy," says Danny Duchovny. "He's always smiling. They're
just made for each other. They both have great sense of humours, good wit,
good sarcasm. They act like they've been together forever." Unfortunately
marriage did no ease the long-distance commuting caused by Duchovny's
Vancouver work, of the flak he took while successfully asking for he set's
relocation to LA. "It was hard on him," says X Files actor Nic Lea. "He was
handed the key to the city and ended with eggs being thrown at his house.
People just didn't see that he wanted to be with his wife."

Clearly the hassle was worth it. "We just walk around the house saying, 'I
can't believe its finally happened'" says Duchovny. "She's made happy by
simple things in life like family, things that I was never made happy by,"
he told Vanity Fair. "She's teaching me that. Well, by example. It's not
like we study every night." Now they're fielding relentless questions about
the prospect of their own little alien [oh please!] (not just yet, despite
the rumours of late last year) and hashing out a few remaining differences.
'She's a smoker and a red-meat eater, and I'm not," says the mostly
vegetarian Duchovny. But there is one good sign they've found common ground:
these days, there's always a salt shaker on Leoni's night table, says their
friend Beghe, "because they like to eat in bed."




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Newsweek 6/22/98 The Arts/ Decoding the X-Files

TV's cult hit is now a summer action flick. Will it satisfy diehard
'X-philes' and lure new fans? Can the conspiracy survive on the big screen?
The truth is in here.
    By Rick Marin and Gregory Beals

    Like the TV show, the "X-Files" movie is a paradox--a geek thing that's
also cool. Not just because it's noirish. Or because it's about alien
conspiracies. The cool of "The X-Files" comes from its confidence--maybe
because its creator, Chris Carter, is a surf jock, not some pasty dork
who's read too many comic books. The movie announces this supreme
confidence early on in a wry moment of understated swagger. FBI Special
Agent Fox Mulder (David Duchovny) has just found out that his partner, Dana
Scully (Gillian Anderson), wants to quit the Bureau. Discredited and
depressed, Mulder is getting drunk in a bar. Finding the men's room out of
order, he relieves himself in the alley, onto a movie poster. The movie is
"Independence Day."
    Right away, we know two things about the big-screen "X-Files." That it
wants to be a serious player in the alien-flick, summer-blockbuster
genre--and that it has a sense of humor. Both are key elements in morphing
this cult TV hit about a pair of renegade G-persons chasing UFOs and other
paranormal villains into a box-office phenomenon. Plenty is riding on this
transformation, besides the film's $63 million budget. Duchovny and
Anderson want above-the-title movie careers. The studio wants another "Star
Trek"--a lucrative franchise of endless sequels. That means hooking a wide
audience of "X-Files" virgins without alienating hard-core "X-philes." Only
a fraction of those 20 million regular weekly viewers have to show up at
theaters for the movie to hit No. 1 on its opening weekend. Then there's
the show's 60-country overseas audience...
    But after the monstrous PR overkill of "Godzilla," "The X-Files" seems
mysteriously undermarketed. Billboards offer nothing more than the series'
logo and the words only in theaters. And not until April did trailers
appear aimed at non-initiates--the few remaining people on earth who don't
know that the X-Files are Mulder's FBI dossiers on mysteriously unexplained
cases. "We had to first take care of the fans," says Bill Mechanic,
chairman of Twentieth Century Fox. "This audience doesn't want to be
overhyped. We couldn't give too much away in the ads." The original "Star
Trek" had been off the air for a decade before the first "Trek" movie came
out. In Hollywood time, that's light-years ago, long enough for no one to
have any idea what'll happen with "The X-Files."
    You don't need to have seen this season's cliffhanger finale on TV to
grasp what's going on in the movie. (The malevolent, cigarette-smoking
"Cancer Man" burned all of Mulder's X-Files.) In fact you don't need to
have seen the program at all to appreciate that, in a summer of dumb
lizards and crashing space rocks, "The X-Files" is one smart scary movie.
    "Things have to explode rather than implode," Carter says of blowing up
his brooding, introspective TV show to 35mm. Literally. When the movie
opens, the X-Files are officially closed. Mulder and Scully have been
reassigned to an antiterrorism unit. A federal building in Dallas is about
to get the living daylights blown out of it. They're on the scene, trying
to find the bomb. Evoking the Oklahoma City bombing--albeit without the
death toll--is an audacious display of questionable taste. But Carter is a
hot-button pusher, capable of shocking even jaded viewers with tactics most
filmmakers would shy away from. Imagine Steven Spielberg coldly offing a
young boy who stumbles upon buried alien remains and is infected with their
lethal "black oil," as Carter does. The E.T.s of the "X-Files" movie are
killing cousins to the reptilian slime Sigourney Weaver battles in the
"Aliens" series. But Carter, director Rob Bowman (a series veteran) and
special-effects man Mat Beck wisely refrain from ever fully showing off one
of these nasty green bastards. "This show walks a fine line between what's
hidden and what's revealed," says Beck. Less really is more frightening.
    Turns out, the explosion is a diversion, a cover-up for the alien
colonization scheme of the series' "mythology." These space invaders aren't
coming to get us. They've been here since the ice age, the movie discloses.
For the last 50 years, Cancer Man's partners have been conspiring to
repopulate Earth with alien-human "clones." Being evil geniuses, they've
also developed a secret antidote to the "black oil" virus--just in case the
aliens had two of their three fingers crossed when they made the deal.
    Defying orders, Mulder and Scully's scavenger hunt for the truth takes
them to a genetic farm breeding killer bees and menacing corn, to a
tumbleweed exurb in Texas, to a morgue (no "X-Files" is complete without
Dr. Scully's poking around a cadaver) and, finally, to Antarctica, where a
naked, half-frozen Scully awaits her laconic Lancelot.
    The movie wrapped last September on the same Fox sound stage James
Cameron used for "Titanic." Carter is as paranoid as his show, and was
obsessed with maintaining total secrecy around the movie. "One of the few
things I have is the element of surprise," he says. "I've protected that
for well over a year and a half." He made the cast and crew sign
confidentiality agreements. Scripts for "Fight the Future" (the movie's
official title) were printed on uncopyable red paper. His staff leaked
phony script pages, spread disinformation over the Internet. Since
"X-philes" enjoy being lied to and misdirected, the secrecy strategy heated
up thousands of fevered Web sites.
    Conditions on the set were less than ideal. Budget constraints dictated
that a black-helicopter chase in a cornfield be shot in a single night.
They barely beat dawn, but the resulting sequence is a hauntingly dark echo
of Cary Grant's run for his life in "North by Northwest." Anderson had to
go almost an entire day virtually naked on a frozen set, behind a plastic
sheet covered in gook called Ultra Slime. Duchovny and director Bowman came
down with flus only marginally less toxic than the black oil. Never a
patient actor, Duchovny got even crankier than usual. "David would walk on
to the set and say, 'What the f--is taking so long?' " Bowman recalls. "I
said, 'It's a movie, David. It takes longer to make'." As Anderson
observes, the life of a star isn't all "bright lights and aromatherapy."
    This is a watershed moment for "The X-Files." Duchovny's contract
expires after next season. Will he renew? "I don't think so," he says in
his trailer on the show's Vancouver set. "It's a grind." His star power is
sufficient now that Carter has agreed to relocate the show to Los Angeles.
Duchovny's wife, actress Tea Leoni, is in L.A., and he's always hated the
relentless rains of British Columbia. After joking on a talk show that it
pours "400 inches" a day in Vancouver, some locals took offense, stopping
him in the street to say, "It's not raining today, motherf-----!" A good
time to move on. "By the end of next year, I will have fulfilled my
commitment to the show and to the fans," he says. "Please let us go." The
TV series he's sick of. A movie series he doesn't rule out: "I wouldn't
mind doing that every three or four years. Kind of like a high-school
reunion. That would be fun." Anderson is dealing with the L.A. move in her
own endearingly vulnerable way. "I can't even imagine the mourning process
and the grief that will take place," she says in her trailer. "I'll be
crying for days."
    Duchovny and Anderson could not be more different, or unlike their
characters. Mulder is a credulous believer in paranormal phenomena who
takes his quest very seriously. Duchovny appears to take almost nothing
seriously, except basketball and his newlywed devotion to his wife. On
translating the TV show into a movie, he says, "We're expanding the
storytelling apparatus into a medium that is larger and more intricate. I
hope to take it on the road and make it a stage show. Maybe there will be
an 'Ice Capades X-Files'." After uttering something actorly and pretentious
(culled from his Yale lit. M.A.), he'll undercut with an idiotic "ass"
joke. Anderson, by contrast, is the anti-Scully. "The stuff she says is so
far beyond my intelligence," she admits. "The words she uses aren't even in
my vocabulary." Scully is cool, clinical, a scientist with an M.D. Anderson
is a moody, spiritual Method actress, a recovering punk voted "most bizarre
girl" in high school who now meditates and drives a silver Porsche Carrera
S4. What the two actors have in common is their uncommon sex appeal. Both
are the stars of countless X-rated fantasies both online and off.
    Contrary to tabloid reports, and past feuding, they seem to be getting
along these days. "It's an arranged marriage," Anderson says. Many people
mocked Duchovny's 1997 box-office bomb, "Playing God," about a doctor who
sews up criminals. She defends it. "I thought it was very brave of him.
There was a lot of horrible stuff said about David and the movie.
Completely inappropriate." David, too, seems to have mellowed. The long
hours and isolation get to him. "It's very difficult, because you tend to
blame the nearest person. In my case that's usually Gillian or Chris or
whatever director we have. I probably re-created my own family dynamic. I
had to get out of that." Duchovny makes more than Anderson: $110,000 per
episode to her reported $100,000. But she's won more awards. And her
trailer is bigger.
    Trailer size matters but the larger issue now is whether "The X-Files"
will make either of them a major movie star. Anderson has a part in Sharon
Stone's "The Mighty," due this fall. But Duchovny is waiting for this
week's reviews and receipts to come in, hoping they boost his price and
stature. He and Anderson got $4.5 million each for "The X-Files" but,
unless it's a huge hit, he could never command that much on the open
market. The lack of a rumored naked rear view of Duchovny in the movie
could also affect his prospects as a leading man female fans line up for.
What happened? "David's butt actually made film in a hospital gown," Carter
says. "The gown flapped open, but the camera position was such that the
shot was unusable." Isn't that what always happens with those UFOs?
    But even fully clothed, Duchovny and Anderson look sexier together than
most movie matchmaking ever does. Five years in front of the camera have
given them a comfort level with Mulder and Scully and each other--another
reason the movie is good because it was a TV show first. During the
bomb-scene scare, Scully accuses Mulder of losing his composure:
    "I saw your face, Mulder. There was a definite moment of panic."
    "You've never seen me panic. When I panic, I make this face," he
replies, offering his usual affectless stare.
    Just a brushstroke, but one that efficiently highlights a relationship
that could be brother-sister, close friends or Nick and Nora Charles. The
writers know their characters well enough to generate heat with the merest
hint of intimacy. Such is the intensity of sexual tension that these
star-crossed FBI agents can be in separate scenes for much of the show and
still smolder via cell phone. The cell phone is an ingeniously modern
metaphor for their disconnected dance: apart yet together, professional yet
erotic as they whisper urgent messages of danger and concern into each
other's ears. As it happens, Duchovny wooed Leoni by phone for three weeks
before their first date. A few months later, they were married.
    Only Carter knows if a similar fate awaits Mulder and Scully. Or when.
"We don't know if the show's going to end at six, seven, eight, nine
years," says writer Spotnitz--with or without Duchovny. "It is conceivable
that it could be done without both of them," Carter says hypothetically,
noting that he himself still hasn't signed a contract for another year. The
movie also solves much of the mystery Mulder and Scully have been chasing
on TV for five years. Does that kill the frustrating fun of "The X-Files,"
with a new season starting in four months? "We have answered some
questions," Carter says. "But we have plenty left unanswered. What's
interesting to me--and I'm a little afraid to reveal too much--is that in
defining the conspiracy, you also conjure questions of the various parties'
morality. The suggestion that the Syndicate is working on a cure brings
into relief the question of, Is Mulder's pursuit good or bad?" Imagine next
season with Cancer Man as the good guy, Mulder the bad guy and the recently
added Agent Spender (Chris Owens, a possible Duchovny replacement) trying
to figure out what the hell's going on. The X-Files are reopened at the end
of the movie. Fight the future. Unless it means sequels.
    With Adam Rogers, Elizabeth Angell and Devin Gordon in New York and
Corie Brown in Los Angeles



Newsweek 6/22/98 The Arts/ From the Minister of Propaganda...

FROM THE MINISTER OF PROPAGANDA

Name: Chris Carter
Age: 40
Misc.: Former surfing-magazine editor, created 'X-Files' in 1993, paranormal
conspiracy skeptic, trusts no one.

    This was Chris Carter's idea for NEWSWEEK's cover shoot: him as master
puppeteer with Gillian Anderson and David Duchovny dangling on strings below
him. The word "Svengali" has been used to describe his vigorous ego and
controlling management style over the "Ministry of Propaganda," as he calls
his operation. The man does not suffer from self-esteem issues.

    Carter created "The X-Files," and is its executive producer, its capacious
brain and its tricky nervous system. The movie is equally his alien baby,
though he delegated the directing and half the story-writing responsibility.
He's smart enough not to hold all the strings all the time.

    "People might think that I am obsessed with detail," Carter says, reclining
in a leather chair in his office on the Fox lot. "People might think that I'm
controlling. But all I really want is to make it good." On the glass coffee
table in front of him is a map of Antarctica. Carter has figured out that the
location named in the script would be inaccessible to Mulder. "It's right in
the center of Antarctica, and we've got to change that." Seems he didn't feel
the same need to explain why Mulder doesn't need to wear a hood or gloves--or
how that Sno-Cat just happened to be waiting for him. Hertz?

    Why do an "X-Files" movie? "I felt that if we were going to do it, this
year was the best time. The show's mythology had reached a point where we
needed to do a big event. If I hadn't done a movie, I would have done a big
[TV] event at the end of year five."

    Once the "event" was underway, Carter and his "Ministry of Propaganda" went
to work keeping it a more closely guarded secret than the final "Seinfeld." At
the annual Toy Fair in New York City in February, McFarlane Toys was planning
to display its line of "X-Files" movie action figures. Days before the fair
was set to begin, the vice president of publicity at Fox called McFarlane and
told them to pull from their display all figures other than Mulder and Scully.
Orders for a "complete media blackout" came down from Fox, which got them from
Ten Thirteen, Carter's production company.

    Carter has also taken over the touring fan conventions, called "Expos," and
made a deal for a tie-in with Oldsmobile's new Intrigue sedan--a surprisingly
cheesy arrangement. Yet he has also suggested to his licenser that the logos
on "X-Files" apparel should be printed only on the inside--crazy talk for
anyone trying to promote his product.

    But then, he's a weird guy. A skeptic who keeps Mulder's i want to believe
UFO poster in his own office, Carter once spent nine hours sitting on the
ground in a Native American chanting ceremony hoping for a paranormal
experience. He calls conspiracies "a common American fear" but won't admit to
buying into them himself. The only subject that trips up Carter's measured
calm is the sexual-harassment suit filed in L.A. County Superior Court by a
female staffer in 1996. "It's, uh... it's a very confusing law being applied
in a manner that feels like groping in the dark," he says, with an interesting
choice of words. Court documents indicate a settlement is pending--one file
Carter will be more than happy to close.



Newsweek 6/22/98 The Arts/ Key Clue for Conspiracy Freaks: Check Out the Bees

How a self-styled syndicate and seemingly innocuous federal agency are
collaborating with alien colonists to turn the planet into a master-race theme
park.
    By Adam Rogers

    Over Christmas 1996, Chris Carter and co-writer Frank Spotnitz went to
Hawaii to discuss the end of the world, as they know it. "We spent the first
two or three days talking about what he thought the end point of the show
should be," Spotnitz says. "I learned there what it all means." Not even
Duchovny or Anderson knew that much. Confused fans weren't even sure if the
show's labyrinthine conspiracy could be explained. Carter has always been
maddeningly Delphic in his "explanations" of his vision.

    Now he won't shut up about it. In the movie, the Well-Manicured Man (John
Neville), a crony of the Cigarette-Smoking Man (William B. Davis), tells
Mulder what it all means. And at exactly 10 minutes and 13 seconds into the
last cut on the soundtrack, Carter himself spills the beans (10-13 being his
talismanic numerals). This from a guy who wouldn't even tell anyone the name
of his movie until the last minute. Listen closely. This is going to get
complicated.

    The Syndicate--a Trilateral Commission of sinister geezers with foreign
accents--runs a project called Purity Control. Vichy collaborationists
facilitating the aliens' Final Solution, they've been cataloging and
hybridizing humans with alien colonists. The resulting master-race clones are
immune to the "black oil" virus that carries the alien life force and kills
ordinary humans on contact. To cover up their evil operation, the Syndicate
has masterminded countless diversions--kooky UFO scares among them--while
developing a shrewd little insurance policy of its own. As Carter explains on
the soundtrack CD:

    "Purity Control had been launched in 1948, its original conception the
brainchild of German scientists... The Syndicate had begun as a subset of a
shadow intelligence agency... the principals began to wrest control,
accumulating power and influence across international borders such that by
1990, the operation ceased to have a member accountable to any one
government..."

    The vaccine "symbolized the only hope they had of avoiding enslavement when
the planet was overtaken. That they had been able to, over decades, conduct
their work on the vaccine un-detected, was the result of a code among the
Syndicate members that put honor and the future above personal politics. But
now this code was beginning to break down... a threat from within that doubled
the threat from without, from Agents Mulder and Scully, and the X-Files."

    On the TV show we've already seen the clones, the creepy black oil, the
German eugenicist and Syndicate heavy Strughold (Armin Mueller-Stahl).
Strangely absent from Carter's rundown is the Federal Emergency Management
Agency (FEMA). In the movie, a feverish crank named Kurtzweil (Martin Landau)
tells Mulder that after the Syndicate infects America with the black oil, FEMA
will sweep in, declare a national emergency and take over, by suspending the
Constitution. Mulder half-dismisses Kurtzweil's "apocalyptic crap." Whom to
believe? Carter is a master of red herrings--and little green ones. The real-
life FEMA denies everything. "We are not preparing the Earth for an alien
takeover," Val Bunting, the agency's director of emergency information, told
NEWSWEEK. Is there a FEMA shadow government? "No." But if there were? "I
wouldn't know." Of course not.



Newsweek 6/22/98 The Arts/ The Weird World of Secrets and Lies

Why have we become such suckers for all these outlandish theories of covert
government evil? Because they're so comforting.
    By Jonathan Alter.

    You wanna talk conspiracies? Nowadays, the U.S. government can't cover up
anything. The president stands charged with failing to keep the most commonly
kept secret in the world. Good luck burying a story about an alien virus from
outer space.

    "These people don't make mistakes," says Dr. Kurtzweil (Martin Landau) in
"The X-Files." By "these people," he means a bunch of white guys (and one
Arab) who somehow control the world. The other human villains are from the
Federal Emergency Management Agency. In truth (not that you would believe me),
FEMA is a well-intentioned if sometimes clumsy agency that helps people hurt
by natural disasters.

    "These people"--like all people everywhere--"make mistakes" all the time.

    In fact, the history of secret government agencies--from botched coup
attempts in the 1950s to botched monitoring of nuclear testing in the
1990s--is about screw-ups. The same people who believe the government couldn't
run a two-car funeral are often the biggest conspiracy buffs. Government, they
say, is totally inept--except when it's controlling the world.

    But you knew that, right? As long as we view "The X-Files" as a spoof, it's
a lot of fun. Alas, a frightening number of people seriously buy the premise
of a world full of conspiracies.

    It's a peculiar paradox: in the early postwar period, the CIA and other
agencies did engage in certain conspiracies, but the overly credulous public
didn't much notice. Now the government is generally cleaner and possesses
fewer secrets, but the public distrusts everything. "The X-Files" even buys
into the offensive notion that some elements in the government might conspire
to blow up a government building, Oklahoma City style.

    Why? My theory is that it's our newest ideology. Communism is dead;
capitalism a given. That leaves conspiracism as the civic faith of the
moment--a tidy, curiously comforting way to view the universe. At least
someone's in control, even if he's evil.

    Our other ideology is entertainment, and paranormal phenomena are hugely
useful to Hollywood. The most daunting task for screenwriters is to make
coincidences seem like they're not. Fortunately for plot development,
"conspiracies" can explain anything. But after a while, movie-think and real-
think have a way of blurring.

    There's a moment in "The X-Files" when Mulder and Scully meet some kids on
bikes who tell them where the bad guys have gone. This is genuinely the way
the world works. People tend to talk. And not just kids. The biggest reason
that conspiracism is a fallacious creed is that no American can keep a secret
for long. If they could, reporters would have to find a new line of work.
Maybe there are some openings at FEMA.




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>From Ultimate TV:

100 NIGHTS OF THE X-FILES
Both new and existing fans of The X-Files have a chance to be there from the
beginning when FX premieres the 100 Nights of The X-Files, June 29, 8:00 PM
ET/PT. Each primetime episode repeats the following night at 11:00 PM ET/PT.
Viewers can re-live the bizarre cases of The X-Files every weeknight through
November 13.

Key Dates:

June 29 Pilot Episode

August 6 "Duane Barry," episode 29: first of three parts which deals with the
circumstances surrounding Scully's abduction

October 9 "Home," episode 75: played only once on network television

October 26 "Never Again," episode 86: Featuring voice-over by Jodie Foster

November 10-13 Episodes 97-100 make their FX premiere

97: Gethsemane

98: Redux

99: Redux Part II

100: The Usual Suspects (The Lone Gunman)


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X-Files director promises more sun will shine on California set

Rob Bowman says the series' new location will mean an end to its trademark
dour light, and will bring about a new hard-edged look.

By JAMIE PORTMAN
SOUTHAM NEWSPAPERS

BEVERLY HILLS, Calif. -- Television viewers will see a different-looking
X-Files when the series resumes in the fall.

And it will all have to do with the quality of the light.

"There's going to be a lot more sunshine," promises Rob Bowman, who has
directed 25 episodes of The X-Files over the years in Vancouver and was
also at the helm for the upcoming movie.

The reason for the new look: the controversial decision to shift shooting
of the series from Vancouver to Los Angeles.

"There will be a lot more hard sun in our outdoor sequences," Bowman says.
"Vancouver sun was always softened by a haze which created this gloomy,
dour light.  That will now go away and instead there will be the hard-edged
sun of southern California."

Even so, Bowman says he will miss the B.C. city.

"Everyone I lived with and worked with in Vancouver were my friends. The
city was very good to us. The people we have had to leave behind in the
crew were very dear to my heart.  They took a show which in the first
season was pretty much like any other TV show, and through a lot of
personal commitment and personal sacrifice above and beyond what they were
paid to do, they helped make the show what it is today."

Bowman says he found the controversy over the show's departure and the
criticism of star David Duchovny -- one of the prime instigators in the
shift -- to be "hurtful," but he understands why Vancouverites were so
upset to lose the series.

"The odd thing was not really that the show was leaving -- after all, five
years is a long time -- but that it wasn't finishing in Vancouver and that
someone else was going to complete the process.  That was difficult for the
people in Vancouver.  I feel for them."

Bowman is currently putting the finishing touches on the two-hour X-Files
film which opens June 19.  He says stars Duchovny and Gillian Anderson
performed beyond the call of duty in making the film.

"The pace of the shooting was horrendous.  They came to the movie last
summer directly from the TV series and as soon as we finished it, returned
directly to Vancouver to start shooting season five."

In the movie, Duchovny's Special Agent Fox Mulder and Anderson's Agent Dana
Scully investigate a sinister plot that threatens to change the face of the
world.

"I put these actors through some pretty bizarre ordeals in terms of rain
and snow," Bowman says. The scenes in Antarctica that end the film involved
an extended shoot on a Hollywood sound stage in sub-zero temperatures.
Meanwhile, California was experiencing a heat wave outside with
temperatures above 40 degrees.

Bowman says he found many differences between filming The X-Files for TV
and for the big screen -- perhaps the most unsettling being the fact that
the movie cost about $60 million US.

"The greatest difference is that the amount of money is so great and the
risk so high that you get everybody's attention.

"A movie also requires greater attention to detail.  Because of the size of
the screen, you get away with nothing.  Shooting for television, if we want
something to look good, we can turn the lights out and just bring the faces
up.  We can't do that in a feature.

"The time it takes to light a set is greater, but also you have to take
smaller steps with the characters because they have longer to go. A movie
has a different arc than a TV episode.  With television you're going fast
because you have to get the story out."

Bowman says the movie has a twofold purpose: to keep diehard fans of the
series happy while also attracting new viewers.  "But first and foremost,
my approach was to deliver two hours of entertainment."


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This is a response to the Film Score Monthly article which panned Mark
Snow's X Files Score album, called "X-Files: Fight the Temp Track"
by Jeff Bond.


THE REBUTTAL
by Jeff Charbonneau

Date:  June 5, 1998 12:04:55 PM
From:  Jeff Charbonneau
Subj:  review of a pretentious; annoying review
To:  MAILBAG@...

Dear Mr. Bond,

  Thank you for your trite, arrogant dismissal of a diverse body of work that
functions exceptionally well in the medium it was intended to support. I find
it interesting that you would attempt to review the validity and origin of a
score without actually having viewed the film. Your subjective interpretations
of each cue are notably immature and embarrassingly vindictive. Perhaps you
are
a misunderstood compositional genius that Hollywood has yet to discover or one
that has failed miserably and is biting the heels of others to gain some
weasly
form of recognition.

   As a prime participant in the creation and execution of the "X-Files" movie
soundtrack, I found myself compelled to take you to task and set the record
straight. First and foremost- I did the temp score. None of the materials or
titles that you so arrogantly attribute to the inspirational fabric of this
soundtrack were used in the temporary score. As a matter of fact much of the
temporary music was actually composed by Mr. Snow and rendered on the
synclavier as sketches for final orchestration. I find it ironic that you
would
swoon over Mark's television scores (which are primarily realized on the
synclavier) and refer to the use of synths in the film as cheesy and low
budget. The cue you refer to as "the perfect way to open into the widescreen"
is entirely synthetic. Perhaps what you should be "most disappointed" about is
your lack of appreciation and understanding of orchestration for acoustic
instruments. What you may be attributing to plagiarism is actually the
similarity in palette of modern orchestration. Should Mark recieve such
scathing criticism for hiring an orchestra?

   Mark, like most other composers for hire become enslaved to the visuals thay
are commissioned to support. If you are to take to task the craft of scoring,
then you must analyze the medium it supports and the producers that concoct
it.
Fims are fairly genre-specific, therefore scores will follow suit. Your points
about the process of temping a film for the preview process are valid. Temping
has severely  inhibited the craft of film scoring. Many composers are
forced to
copy temp scores because of time and budget constraints and because management
cannot endure failed experiments. The American film industry is not an
academic
institution. It has however, kept alive an outlet for orchestral composition.
Don't pee on it too much; instead look for the times when film composers
get to
sneak a cool one in.

As sincere as I can be,

Jeff Charbonneau
Music editor for the "X-Files"
(and producer of the other "failed" X-files soundtrack album)




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E!'s Coverage of the Premiere

http://www.eonline.com/Hot/Realtime/Xfiles/index.html?fd.topimage

The Red Carpet: Ted chattin' it up with the celebs

It's Chris Carter!
You've been called the Pope of the Underground.
	 The Pope?

Yeah, people depend on you...
	 We work very hard on the show. Whatever success
	 we've achieved is due to the hard work everyone does.

One of our users, Gina Galina from Chicago,
wants to know why you changed the poster in
Mulder's office?
	 There was a little copyright-infringement problem
	 with the original spaceship on that first poster.

Why doesn't anybody have sex in the series?
	 It's a TV show. You can't have sex on TV shows.

Can you share any secrets of the movie tonight for people who
can't see it till next week?
	 Buried in the movie is a little link to my production
	 company, Ten Thirteen Productions. You've got to look
	 quick to see it.

And here's John Neville, the Well-Manicured
Man. What's it like doing business with aliens?
	 They're reasonable people. Aliens are just like
 	 Hollywood executives.

Can you tell us about the movie?
	 No.

Were you threatened with violence if you
talked?
	 They told us it wouldn't be fair to the audience.


Martin Landau, we're live online.
	 It's quite exciting, isn't it?

After Ed Wood and now this, you're quite the
über-demon, aren't you?
	 You play two roles that are demonic, and you're
	 "the demon guy." For balance, I just did Ron
	 Howard's film, where I play a very nice man, and I
	 did another film with Matt Damon where I'm a good guy.

Your daughter, Juliet [vampire Drusilla on
Buffy the Vampire Slayer], is taking after
you, isn't she?
	 I played Lugosi, not Dracula. Let's not get that
	 confused.

Do you have any conspiracy theories of your
own?
                       Just the normal ones. I think there was probably a
                       conspiracy behind the JFK murder, Martin Luther
                       King Jr.--the usual stuff.

Mimi Rogers, do you have any personal
conspiracy theories?
                       Oh, gosh. I can't answer that question. My life
                       might be in danger.

The woman of the hour, Gillian Anderson,
is just flying past, but maybe we can get her
for one second. Gillian, one of our readers
mentions that you started a fashion trend by
running in high heels. How do you do that?
                       I have no idea. I guess form follows function.

It's Rob Bowman [director of The X-Files:
Fight the Future and the series]!
                       This is a dream come true. I can't believe it!
                       After all the long, rainy nights in Canada, tonight
                       we reap the fruits of the movie.

Who was your favorite to direct?
                       They're all my favorites.

Can you share any secrets of the movie?
                       Sorry to see Mulder and Scully die at the end--no,
                       I'm not gonna share anything.

  Here comes Cigarette-Smoking Man [Cancer
Man]! So, why do Scully and Mulder always get
out alive?
                       I need to get people to work with me who can shoot
                       straight. As soon as I get a good marksman, that'll
                       be the end of the series.

How is it doing business with aliens?
                       They pay their bills on time. No, they double-cross
you.

It's Mark Hamill , of Luke Skywalker fame.
Do you see any similarities between The
X-Files and Star Wars?
                       It appeals to the sense of wonder in all of us. I'm
                       hoping for a bit of action between Scully and
                       Mulder. As you know, I never got any. The only
                       eligible woman in Star Wars was my sister.

David Duchovny and Téa Leoni, you're the
hottest couple in Hollywood. How does that feel?
                       David: Just hot! We go home at night and say, "Can
                       you believe how hot we are?"

Why is there no sex on the show?
                       Téa: 'Cause I'm not on the show.
                       David: We can have sex at home.

Is it true a shot of your bare bottom got cut
[out of the movie]?
                       Téa: Pay your eight bucks and find out.
                       David: My butt has never been cut.


The Scene: Our Ken Neville's pithy take on all the action

A Close-Cropped Duchovny, a Cut-Calved Leoni--and a
Mane Conspiracy

6:47 p.m. ET This morning in Los Angeles was primed to be the
perfect day for an X-file--overcast, a tad rainy, a chill in the air.
We had everything but the eerie soundtrack. But the sun has
at last come through, there's not a cloud in the sky and it seems
more like the perfect day for a Hollywood premiere. And that's
what we're doing, as the sun sets behind the Mann Bruin theater
in Westwood--red carpet, screaming fans and David and Gillian.
Ah, I love L.A.

  6:49 Bad news: Local radio-station guys are here as emcees,
and that means loud and corny. They're out in force, so interviews
are blaring nonstop from the speakers.

6:52 Ladies and gentlemen, start your engines, the celebs have
started arriving. Chris Carter, Martin Landau and John Neville are
starting the walk of fame. Guess they came early to maximize
interview time.

6:57 The stars were so surprisingly early that Pat O'Brien of
Access Hollywood had to put down his slice of Domino's with
everything to prepare for the onslaught. He seemed
disappointed. He shouldn't worry, his show has extra cheese.

7:02 Mitch Pileggi (Skinner) and William B. Davis (the Cigarette-
Smoking Man) are here. (He just wrapped up a chat in the E!
Online tent.) Wow. All the cool guys right up front. And Chris
Carter just stopped right in front of me. He's surprisingly
dashing. For a writer.

From ladyjane: Do Scully and Mulder kiss in the movie,
and does it have anything to do with saving her life?

Nobody's really saying for sure, but I can guarantee you
nothing's going to happen that'll change their relationship.
The TV show must go on.

7:05 It works like this: Celebs climb out of their limos, walk
down the red carpet on one side of the street, over to the
other side of the street and back down to the limo area,
where they enter the theater for the screening. In the mind
of a studio publicist somewhere, this makes sense.

7:09 Pileggi has come over to the stands and is signing
autographs for fans. He's here with his wife, beaming
proudly. He just looks so happy. It's kind of sweet.

7:11 There's a wild scream from down at the other end
of the bleachers, and that means only one thing...
Yes, David Duchovny has arrived.

From chopinchopin: What's David wearing?
A light turquoise suit that's got a satiny shimmer and
tightish pants like an English rocker would wear.

7:13 News flash: The radio guys actually mined a
good quote from the main man. They asked Duchovny
if there's a lot of pressure at home to outperform
Téa Leoni's Deep Impact, and he said, "Yes, there's
a lot of pressure to perform."

7:18 The L.A. Kings' Luc Robitaille is here with
a blonde babe on his arm. But he's a hockey
player--what would you expect? (Other than bad hair
and no teeth.)

7:19 Good-guy alert: Some fan in the bleachers
threw down an interview book to Robert Forster, his
career resurgent in the wake of Jackie Brown, and
he signed it and tossed it back up. Class. Why is it
we're always surprised when a star does something nice?

From xangel18: Are D.D. and G.A. walking around
together or separate?
David is doing the carpet with Téa, and Gillian is
walking it alone, though stopping to chat with so
many people she's hardly ever by herself.

7:25 Don't take this the wrong way, because I
love the guy, but David Duchovny looks awful. His
hair is cropped short like my seven-year-old
nephew's--and my sister cuts that with a bowl and a
pair of kitchen shears.

7:32 Téa, of course, is with her husband. She
looks great, chatting with some folks and waving to
the crowd. Gillian just ambled by, too. She has a
sleek new 'do. There's something big going on here
with hair, and we've got to get to the bottom of
it. Obviously, it's a conspiracy.

From strider21: What's Gillian wearing?
Gillian is in a sleek, rose-colored sleeveless dress with
a flowing hemline and similarly colored shawl. It would
be too much for some, but she pulls it off through sheer
exuberance--she's definitely happy in the dress.

7:33 Jennifer Tilly and Carol Alt are having a peach of
a chat down in front of the Access Hollywood area. They
seem to be comparing notes on their dresses, both clingy
silky things that look, well, great.

7:34 Kudos to Fox for getting out the talent tonight--Mimi
Rogers, Kelly Preston, Scott Wolf, Bill Maher, Eric Karros
of the L.A. Dodgers--and the hits just keep on coming.

7:39 Gillian just came back over this way to give Scott Wolf
a big hug. Shoot, I'm getting the warm fuzzies all over.

7:41 Mark Hamill is signing some autographs over here,
and, frankly, folks, I just don't know what to say. He looks
like a cross between David Bowie and Herman Munster.
Bleached-blond hair, pale white face, spooky green eyes.
Wow. All those "Wing Commander" games have taken
their toll.

7:43 Two words: Téa's calves. Two more words:
Un-freakin'-believable.

From yummygrl: What do you mean Téa's calves? I mean,
they look great--cut and toned to the nth degree. She
walked past me, then turned around to talk to someone.
She's really thin, but her calves are exceptionally muscular.
For a few moments, I couldn't speak--I could only type...

7:50 Angie Everhart is here in red leather pants, a white
leather jacket, red-striped Adidas tennis shoes, flaming red
hair and a big soft smile. Sly, what were you thinking?

7:51 And, as usual, as quickly as it began, it's over. The
radio guys said goodnight, the fans are filing out and a
few stragglers are working their way down to the end of
the red carpet.

7:56 So, that's a wrap from Westwood, folks. The sun is
down, the movie is starting, and it's getting seriously chilly
out here. Another day in L.A. comes to a close. The truth
is, we're outta here.


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TV Guide Online News & Gossip Daily Dish

http://www.tvgen.com/dish/0612a.htm

The X-Files' Out of This World Party

The premiere party for The X-Files movie was atmospheric — and
we're not even referring to the electric buzz generated by the mere
presence of costars David Duchovny and Gillian Anderson.

No, the bash in an airplane hangar at Santa Monica Airport was
heavy on Hollywood-honed visuals. Lasers flashed. Waiters in lab
coats served multicolored cocktails called Alien Hybrid Martinis.
Tables were backlit to give everything a translucent glow. Oh, and
some hors d'oeuvres were served in what appeared to be petri
dishes.

Speaking of experimental material, a source with ties to the new flick
told Daily Dish that one of the big X-Files mysteries — the fate of
Fox Mulder's sister, Samantha, who disappeared when Fox was a
kid — was left on the cutting-room floor. The storyline apparently
was too "heavy" and "insider" for the casual moviegoer. But fans
shouldn't despair about the cut, according to our mole: The answers
should emerge in the TV show's next season.

For those of you who missed TVGEN's star-studded Webcast, the
movie debut spawned an endless parade of bold-face names. Never
mind the expected X-Files stars: Fabulousity was in effect
everywhere you turned. There was Party of Five star Scott Wolf
powwowing with Star Wars' Mark Hamill. There was Mimi
Rogers in an astoundingly tight dress. There was Martin Short
cavorting with the press.

Other famous people who stepped out of limos: Old teen hunk Luke
Perry and new Buffy the Vampire Slayer angel David Boreanaz,
Bill Maher, Melissa Etheridge, a Stone Temple Pilot whose
name we can't remember, and this X-traordinary pairing: Lisa Loeb
and Dweezil Zappa, a coupling that, somehow — we can't for the
  life of us understand why — managed to fall way below our radar
before last night. — John Walsh




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6/10/98     JAY LENO     Gillian Anderson

6/11/98     JAY LENO     David Duchovny

6/12/98     MAGIC HOUR      Gillian Anderson

6/13/98     ENTERTAINMENT TONIGHT     Premiere.

6/15/98     FOX BROADCASTING     1-hour Behind-The-
				 Scenes special

6/15/98     TODAY SHOW     Gillian Anderson

6/15/98     SCI-FI CHANNEL     Making of The X Files
(5 more airings; see below)

6/16/98     LETTERMAN     David Duchovny

6/16/98     ROSIE O'DONNELL  Gillian Anderson
(other reports have this as the 15th, so check that day
as well).

6/16/98     MTV MOVIE SPECIAL     30-minute film special
(4 airings beginning 6/16/98)

6/17/98     TODAY SHOW     David Duchovny

6/18/98     TODAY SHOW     Martin Landau

6/18/98     ACCESS HOLLYWOOD  XF Movie

6/18/98      LETTERMAN     Gillian Anderson

6/18/98     MAGIC HOUR     David Duchovny

6/19/98     THIS MORNING     DD & GA

6/19/98     TODAY SHOW     Chris Carter

6/19/98     ROSIE O'DONNELL     David Duchovny (repeat)

6/20/98     SATURDAY NIGHT LIVE     David Duchovny hosts
				      season finale (repeat)

6/20/98     ACCESS HOLLYWOOD     1 hour special on the film

6/20/98     E! ENTERTAINMENT TV     Behind the Scenes for
(2 more airings on 6/21 and 6/22)      the XF movie.

6/21/98     SISKEL & EBERT     Reviews the movie

6/23/98      CROOK & CHASE     Gillian Anderson

6/28/98     WEEKEND TODAY     David Duchovny


Behind the Scenes

30 minutes-

On the set of ``The X-Files: Fight the Future,'' starring David
Duchovny and Gillian
Anderson.

Sat Jun 20 01:30P E!- Entertainment Television
Sun Jun 21 04:30P E!- Entertainment Television
Mon Jun 22 02:30A E!- Entertainment Television

Making of The X-Files

31 minutes- (R)

A behind-the-scenes look at ``The X-Files: Fight the Future,''
starring David
Duchovny and Gillian Anderson.

Mon Jun 15 08:30P SCIFI- Science Fiction
Tue Jun 16 12:30A SCIFI- Science Fiction
Thu Jun 18 08:01P SCIFI- Science Fiction
Fri Jun 19 12:01A SCIFI- Science Fiction
Sat Jun 20 12:00P SCIFI- Science Fiction
Sun Jun 21 10:30P SCIFI- Science Fiction

Simpsons

The Springfield Files
30 minutes- (CC), SS, Anim, In Stereo

FBI agents Fox Mulder and Dana Scully visit Springfield to investigate
Homer's alien
encounter. Voices of David Duchovny and Gillian Anderson.

Tue Jun 30 07:30P FOXN- Fox Network Satellite

Larry Sanders

60 minutes- (CC), (R), In Stereo

Larry (Garry Shandling) goes to unusual lengths to secure actor David
Duchovny's
appearance on his last show. Guest stars include Warren Beatty, Jim Carrey,
Tim
Allen, Jerry Seinfeld and Carol Burnett.

Thu Jun 4 12:00A HBOE- HBO East
Fri Jun 5 01:25A HBOE3- HBO # 3 East
Sun Jun 7 01:30A HBOE- HBO East
Thu Jun 11 02:45A HBOE2- HBO # 2 East

New Year's Day

120 minutes- R, U.S.A., 1989, Video
Directed by Henry Jaglom and starring
Maggie Jakobson, Gwen Welles, Melanie Winter
Henry Jaglom, David Duchovny, Milos Forman

A man in a midlife crisis involves himself in the personal problems of
three women
subletting his apartment.

Fri Jun 12 06:00A IFC- Independent Film Channel
Fri Jun 12 08:00P IFC- Independent Film Channel
Tue Jun 23 10:00P IFC- Independent Film Channel
Wed Jun 24 02:30A IFC- Independent Film Channel

Ruby

120 minutes- R, U.S.A., 1992, (CC), Video, In Stereo, Adult language, violence
Directed by John Mackenzie and starring
Danny Aiello, Sherilyn Fenn, Arliss Howard
Tobin Bell, David Duchovny, Richard Sarafian

Based on theories surrounding Texas nightclub owner Jack Ruby's
decision to murder Lee Harvey Oswald.

Tue Jun 2 08:00A MAXE2- Cinemax # 2 East
Sun Jun 21 04:10A MAXE- Cinemax East



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http://www.hotcoco.com/webx/cgi-bin/WebX?13@^8064@.ee6c15a/12

Mike Liedtke - 06:40pm Jun 10, 1998 PST (#12 of 12)

COLUMN FOR WEEK OF JUNE 10

We have successfully completed our special assignment to
investigate the X-Files movie and its role in the grander
scheme of the TV series. We have already filed several reports
of our findings with our superiors (copies should be available
in a newspaper near you beginning June 12), but withheld some classified
information that we felt comfortable sharing only
with faithful readers of this column.

While the items here may seem random in nature, we assure you
they are all part of a master plan that you don’t need to know
about at this time. For now, just sick back, relax and enjoy:

In our interview earlier this month, David Duchovny confirmed
that he purposefully wore the wedding ring in two flashback
episodes last season so fans would know that Fox Mulder
indeed was married before he met Dana Scully. Duchovny wouldn’t
identify Mulder’s former wife, but he ruled out Agent Diana
Fowley, the character played by Mimi Rogers in the season finale.
We do hear, though, that Rogers will be coming back in Season
Six to reprise Fowley’s role.

At the risk of being branded pigs, we were struck by Gillian
Anderson’s beauty in person. Now, we know why Frohike has
had a crush on Dana Scully all these years. The screen just
doesn’t do Anderson justice, although, as movie director Rob
Bowman pointed out, she looks stunning in the movie too. “The
first time I shot (Gillian) up close, I just fell in love with
her,” Bowman said. “Her face is just so cinematic.”

Although — as Eddie Van Blundt told Fox Mulder in the episode
“Small Potatoes” — Duchovny certainly is “a handsome man,” he
looked a little rumpled the day we talked to him. Probably had
to do with the wrinkled shirt that he wore to the interview. He
also had some kind of spiky thing going on with his hair.

Bowman said that he had to be more careful about how he filmed Duchovny.
“Certain lenses don’t work well with David,” Bowman
said. “Other lenses make him look better than in real life.”

Is Mulder a loser or a sexy swashbuckler?

Duchovny’s take: “(Mulder) doesn’t get what he wants. He doesn’t
win fist fights. He never gets the girl. The reason I like him
as a hero is I always intended to be able to play this guy who
doesn’t win yet seems to win.”

Anderson’s view: “I certainly wouldn’t see Mulder as a loser.
He is like the ultimately sexy hero in a way.”

Were it not for the X-Files, Gillian Anderson might not watch
any TV. “I don’t watch TV at all,” Anderson says. “I watch (the
X-Files episodes) simply to see what we’ve done and see how it
all fits together.” Mulder says he watches the shows with his
wife, Tea Leoni.

Duchovny believes a bit that he did on the Conan O’ Brien show
helped inflame the controversy dogging him about the TV show’s
move from Vancouver to Los Angeles for the sixth season.

O’Brien asked Duchovny to jokingly lambaste Vancouver on the air.
Then the camera cut to a Canadian Mountie, a hockey player and a
bear all crying about it. Duchovny took the heat when a Vancouver
paper wrote it up as a straight story as if Duchovny really did
hate the Canadian city. Duchovny says he really likes Vancouver;
he just doesn’t want to spend so much of his time there.

In case you’re wondering, Duchovny and Anderson share the same
favorite episode from the past TV season: “Bad Blood,” the
one that featured hilariously different accounts from Mulder
and Scully about their investigation into a town of vampires.

Maybe the funniest scene in the movie comes when a drunken
Mulder urinates on a poster of “Independence Day” in an seedy
alleyway. Executive producer Chris Carter says he sent a note
to the producers of the blockbuster, Dean Devlin and Roland
Emmerich, promising this wasn’t intentional. “The poster was
set dressing, and then the way it ended getting shot, it gets
a laugh,” Carter says.

Yeah right, Chris. We hear from a very reliable source that
you hated “Independence Day” when you saw it and decided to
express your distaste for that movie in a very explicit manner.

If you’re like us, you might be wondering why Carter put four
minutes of dense — albeit quite interesting — dialogue at the
end of the new “X-Files: The Album” CD. The rap can be found
at the 10:13 mark of the CD’s final track. The 10:13, by the
way, refers to the October 13 birthday shared by Carter and
Fox Mulder.

In case you missed it, Carter describes what the Syndicate’s
conspiracy has been all about for the past 50 years. (If you
want to see the complete text of Carter’s CD dialogue, go to
our discussion area and check out Message No. 46)

Why would Carter go to such great lengths to prevent leaks
about the movie and then release such sensitive information
about the plot weeks before the film’s release?

“It sets up what happens in the movie,” Carter said. “I just
thought it was an opportunity to give everybody a little
special secret. It was a little something special for people that
have been paying attention to the show.”

True to form, Carter also raised the possibility that the
heretofore evil cartel known as the Syndicate might actually
emerge as good guys in the next TV season. You mean the
Cigarette Smoking an really is a hero? “There is a great
possibility,”  Carter said with a smile.

BEST BETS ON FX: For its historical place in the series, we
recommend “Leonard Betts,” airing at 8 p.m. June 16. Because
it first aired after a Super Bowl broadcast in 1997, this show
received the highest rating in the series history. More
importantly, the episode features some great special effects
and gives viewers the first inkling that Scully has cancer.

As you gear up for the movie, you’ll also want to watch a Fox
network special on the making of “Fight The Future.” That one
airs at 8 p.m. June 15 on your local Fox affiliate.

[Note: FX is also showing special "Behind the Truth" spotlights
about the movie at 7:58, right before their usual 8 pm showings
of the X-Files. Set your VCR's!]

X-Cursions is dispatched weekly by Michael Liedtke and George
Avalos, who are believed to be part of the conspiracy to
make “Fight the Future” a big hit. You can email them at
mliedtke@... or gavalos@....





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This is an older article but has some interesting tidbits.
Courtesy of Lauda.


NEWS FLASH

Uncovering X-Files Soundtrack Lineup

X, Foo Fighters, Sting and the Dust Brothers are among the artists
contributing to the X-Files Soundtrack.

Like the truth, the lineup is out there.

      The lineup to this summer's X-Files film soundtrack, that is,
although even executive producer John Kirkpatrick concedes that the
final roster is still being determined, just weeks before the disc hits
the stores on June 2.
      Among those artists who have yet to complete their tracks are
recently reunited punk legends X, who will go into the studio Tuesday to
record the Doors' chestnut "The Crystal Ship" with original Doors
keyboardist (and producer of X's first four albums) Ray Manzarek at the
helm.
      Although only half of the album's tracks have thus far been turned
in, album producer David Was said he likes what he's heard. "This is my
classic recipe of 'Come As You Aren't Party' -- asking people who
generally don't have an image as dark, moody and ominous-sounding to
come in with something that might be a little off their beaten path,"
said Was, former member of the acid-funk duo Was (Not Was) and currently
a columnist for Addicted To Noise.
      One band looking to take the road less traveled is Filter, who
appear on the soundtrack covering the Harry Nilsson song "One," a 1969
hit for Three Dog Night.
      "It's pretty amazing," Was said. "It's this song people associate
with Three Dog Night, that pop-operatic version that's like low-fat Meat
Loaf. But Filter's version is deceptively mellow and casual, then it
breaks out and gets kind of hard. They really went to town on it."
      Swedish popsters the Cardigans have also tried to monkeywrench
their sugary sweet image. "They were saying they wanted to go into the
studio and make their Cardigans-meet-Marilyn Manson record," Was said.
"So this is their opportunity to do an experiment."
      X, Filter and the Cardigans will join an already impressive
register of modern rockers contributing songs to the soundtrack. Cuts
whose titles have been confirmed include Soul Coughing's "16 Horses,"
the Cure's "More Than This," Better Than Ezra's "One More Murder," a
William Orbit remix of Sarah McLachlan's "Black," the Dust Brothers'
take on the "X-Files Theme" and Sting with the British reggae band Aswad
doing the Police's "Invisible Sun."
      Other bands participating include Foo Fighters, Bjork with Soul II
Soul's Nellee Hooper, Ween and Tonic. Irish popsters Cranberries,
previously listed as a confirmed contributors, are still working out
details of their participation, according Kirkpatrick.
      "I wanted to make an album that was more than a random collection
of tracks, that stayed true to what ["X-Files" TV show creator] Chris
Carter's vision of the X-Files is," said Kirkpatrick, who serves as
executive producer along with Sylvia Rhone, Chairman and CEO of Elektra
Records. "We wanted it to have a cohesive thread that would appeal to
fans of the TV show now, and that would still reach out to a broader
audience, the same way the movie is trying to do."
      One of the difficulties in assembling the album came from Carter
himself, who, as co-producer and co-scriptwriter, is particularly choosy
about what music is appropriate for his film.
      "He didn't want to time-date his movie like a container of cottage
cheese," Was said. "He didn't want some lousy '90s-sounding song that
people would be reminded of in 10 years when they popped the video in.
He's a stringent guard, he's Serberus before the gates of Hell -- he
won't just let anything into his flick. So in the few opportunities that
there were for music, while he did put in a few orders for a specific
kind of song, mainly it was 'I'll know it when I hear it.' Which is
enough to give people on the record label side fits. But it's working
out. He's heard stuff that rang true to him."
      Of course, there was also competition with other summer
blockbusters to contend with -- primarily from Godzilla, which landed
Rage Against the Machine, the Wallflowers and Green Day for its
soundtrack.
      "There's only so many bands that you'd want to put on these things,
and everybody's throwing money at them at the same time," Was said. "One
of the pitfalls of doing a big film like this is that you're not looking
for that odd Elliott Smith song," he added, referring to Smith's "Miss
Misery" from the Good Will Hunting soundtrack, which was nominated this
year for an Academy Award. "You're trying to hit homers with every
pitch. And so is everyone else in town."



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X-Centrics: R.E.M riffed on Dan Rather in "What's the Frequency,
Kenneth?" Deep Blue Something reminisced about Breakfast at
Tiffany's.  So what's a new pop-culture-loving rocker to reference?
The X-files. The band Eve 6 took its moniker from an episode about
psychopathic clones named Eve.  Meanwhile, England's Catatonia
crafted their single "Mulder and Scully" as an homage to the show's
lead characters. "We thought it'd be cute to have them investigate
the phenomenon called love," says vocalist Cerys Matthews,
"since they don't have much luck with it themselves." Matthews
isn't worried about the song's appealing only to X-Philes. With the
big-screen version due June 19, "if someone doesn't get it now,"
she says, "they will soon."


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From the June 13, 1998 edition of The Globe and Mail (a Canadian newspaper):

X-FILES:  THE FINAL FRONTIER

Beam me up, Scully/TV's spooky, conspiracy theory series has spawned a
movie that makes its way into theatres next weekend.  And if it's a big hit
on the big screen, the films could turn Fox Mulder into the Captain Kirk of
the 21st century.

[Besides is a picture of Mulder looking up at Kirk looming over him.  The
caption reads, "There is a joke about the star of The X-Files.  Q:  How do
you scare David Duchovny?  A:  Sneak up behind him and whisper 'William
Shatner.'"]

By:  Chris Dafoe
Western Arts Correspondent

I don't want to sound paranoid, but I think Chris Carter is turning into a
zombie.  As he greets visitors in his Beverly Hills hotel room, the
41-year-old creator, producer and mastermind of The X-Files TV series looks
normal enough.  There's a slight smile on his well-tanned, square-jawed
face and his shaggy, silver surfer-do hair looks like it was combed some
time in the last day or so.  He extends a hand, inquires about the weather
in Vancouver, where the series shot its first five seasons, and takes a
seat near the window.

But one look in Carter's eyes and you see weariness and a flicker of dread.
  Since he's here to talk about the conspiracy-rich world of The X-Files, it
would be entirely appropriate if this look were the result of some shadowy
conspiracy involving alien spores and a mind-control plot by agents of
Twentieth Century Fox and a clandestine office in the Department of
Agriculture.  It would be even better if this were the look of an alien
clone, one of dozens tucked into the suites of the Four Seasons Beverly
Hills to handle interviews for the new X-Files movie, Fight the Future,
which opens on Friday.

The truth, sadly, is somewhat more mundane.  This is the look of a man who,
over the last eight hours, has answered far too many questions about killer
bees, Cancer Man, shape-shifting aliens and, let's not forget, the sex
lives of Special Agents Fox Mulder and Dana Scully.  It is also the look of
a man who knows that next weekend will decided the future of The X-Files, a
show he has seen grow from a cult hit to a reliable Top 20 hit over the
past five years.

If The X-Files:  Fight the Future is a hit - if the 20 million or so people
who watch the series every week drag all their pals to the theatres and
plop down $8 - Carter will have pulled off a major, perhaps unprecedented
coup, taking a show to the big screen even as it continues on the small
one.  And he will have launched a movie franchise that could conceivably
take in upwards of $1-billion at the box office if it were to last as long
as, say, the Star Trek series of movies.

If it's not a hit, on the other hand, Carter may have to wind down his
labyrinthine tale of alien abduction and government conspiracy in two
years.  Or at least find some way to continue it without David Duchovny,
who plays Fox Mulder and whose contract is due to expire right around the
millennium.

"We're hoping the movie will buy us time," says Carter when asked if
Duchovny's oft-stated desire for a life beyond television means the clock
is ticking towards the end of the saga.  "If the movie is a success, we'll
get to make other movies."

With that much at stake, you can hardly blame Carter for being a little
paranoid himself.  Not that there's anything wrong with that.  Indeed,
paranoia has been very good to Chris Carter.

"Do I think of myself as paranoid?  Definitely," he says with a slight
laugh when the word inevitably comes up.  "But I don't think of myself as a
jumpy sort of paranoid who sees conspiracies everywhere.  I have a healthy
amount of distrust and free-floating anxiety about most things - including
the business I'm in."

Carter came to the business of television in his late 20s after picking up
a journalism degree and editing Surfer magazine for a few years.  He served
an apprenticeship on such memorable shows as Rags to Riches (Joseph Bologna
as protective dad of six lovely daughters) and TV movies.  Then he pitched
Fox on a series about a maverick FBI agent who investigates alien
abductions and other paranormal activities.  They turned him down twice
before finally letting him shoot a pilot for The X-Files in faraway
Vancouver.  The first episode aired in 1993 and the audience has grown
steadily since, regularly topping 20 million viewers a week in the U.S.
alone.  For all that, says Carter, Fox had its own paranoid reaction when
he suggested a movie.

"They were worried that the movie would be the end of everything," says
Carter.  "I had to convince them that it would be a really good way to
reinvigorate the series and make a good movie too.  I wanted to give the
audience who had watched the show a really big experience.

Fight the Future is, if nothing else, big.  The $62-million (U.S.) movie
crams in sweeping vistas, flashy pyrotechnics and noisy aliens without
losing the flashlight-in-dark-hold ambience of the TV series.  As the movie
begins, the X-Files project has been closed.  Mulder and his partner Scully
(Gillian Anderson) are working terrorism detail, looking for a bomb in a
Dallas building while shadowy figures cover up mysterious deaths and
evidence of aliens in a nearby suburb.  After that, well, let's just say
things get even stranger.

According to Carter, who co-wrote the movie with Frank Spotnitz, Fight the
Future was a now-or-never proposition.

"I realized that if we didn't do [the movie] at the end of season five, we
probably wouldn't do it.  If we waited any longer it would have become a
much riskier proposition."

Much of that risk comes down to the uncertainty over Duchovny's future with
the show.  While media reports about the decision to move production from
Vancouver to Los Angeles next season focused on his tongue-in-cheek
grumbles about the Vancouver weather and his long-distance marriage to
actress Tea Leoni, he's made no secret that he's looking forward to life
after Fox Mulder.

Duchovny certainly never expected to be playing Fox Mulder at this late
date.  When he first signed on, his big-screen career was starting to
develop with roles in such films as Chaplin and Kalifornia, and he figured
this odd sci-fi show would be short-lived.  "I took it because it was a
good show," says Duchovny.  He's showed up to talk to the press in a
wrinkled blue shirt and a smile, quite the opposite of the somewhat dour,
Armani-clad character he plays.  "But I thought, it's not going got get
picked up because it's about aliens.  They are either here or they're not
and once you show them, then it's over.  I guess that's why I'm not a
producer."

But if he's not a producer, Duchovny has some thoughts on the reasons
behind the success of the show.  "It takes a hundred cliched elements and
puts them all together and makes something new.  In a way, it is as bogus
as The Nightstalker [the 1970s TV monster series that Carter cites as an
inspiration].  It's bogus in the way that medical dramas are; Scully does
an autopsy and suddenly we've got a cure for the hanta virus.  It's bogus
in its chastity and in the repartee between the two characters."

"You could never have predicted the success of the show based on the pilot
I read," he says.  "It's just become better and better."  But not so much
better that he's going to devote his life to it.  While he says he's
happier now that the show will shoot in L.A. and he can go home at the end
of the day, he has no plans to continue with The X-Files TV series after
his contract expires.

"I've always said my preference is that the movie is a success and that I
get to continue to be Mulder in the movies and not so much on television.
Television is an all-consuming job and it doesn't leave me time to work on
movies or have a family or anything else.  If I could play Mulder five
months of the year, I would, but I can't."

Of course, if the movie is a success, he can play Mulder for a few months
every couple of years and live happily ever after.  Or not.  There's a joke
making its way around that sums up his dilemma:  Before he shoots his final
X-Files episode in Vancouver, Duchovny goes to a fortune teller and asks
about his future.  The fortune teller looks into her crystal ball and says,
"David, I see good news and bad news."  He wants the good news.

"The good news, David, is that over the next 20 years, you will star in
many, many successful motion pictures."  And the bad news?  "The bad news
is that in all of them you will play Fox Mulder."

Of course, in the case of Fight the Future, that bad news comes attached to
a $4-million pay cheque and a more relaxed pace that the actors have been
used to.  Gillian Anderson, who plays the ever-skeptical Scully, said the
12-hour shooting days felt like a holiday after the 16-hour days on the TV
series.

Making that transition was easy for the actors, but it presented some
challenges to Carter and director Rob Bowman, a series veteran with 25
shows to his credit.

Bowman says that beyond some fairly obvious changes in shooting style and
the tight schedule, he found the transition surprisingly easy.

"Obviously, you can't get away with two hours of closeups," he says.  "But
as far as characterization, we just took what we've built over five years,
put it on the screen and tried to make them look like movie stars."

The challenge facing Carter and Spotnitz, who sequestered themselves in a
hotel in Hawaii at the end of the fourth season to write the movie, was to
strike a balance between pleasing the series' fans and introducing new
viewers to the show.

"The trick was not to make it too different, but to make it accessible to
people who didn't watch the show," says Carter.  "At the same time, we
didn't want to alienate or bore the hardcore fan by going into things that
we've established over the first five years of the show."

Fans will get some answers to questions raised by what are often referred
to as "mythology episodes," which trace a continuing plot by shadowy
figures in the government to conceal the truth about alien landings and
abductions.  (The show also features stand-alone episodes - X-Philes refer
to them as "Monster of the Week" shows - in which Mulder and Scully
investigate crimes committed by assorted psychos and freaks.)  Newcomers
meet the sinister Cigarette-Smoking Man (who is also known as Cancer Man)
and his cohort The Well-Manicured Man, as well as the beloved conspiracy
theorists The Lone Gunmen.  They will discover the power of the black oil
and the bees, and what really goes on behind the doors of the Federal
Emergency Management Agency.

There will be no news of the fate of Samantha, Mulder's sister, who was
abducted by aliens when she was eight.  She ended up on the cutting-room
floor - or rather, was sent back to the small screen - because the subplot
was too tied up in the series' "mythology" to make sense to the uninitiated.

Then again, that could have just been one of the fake plot-points that
Carter leaked in his effort to keep details of the movie secret.  He also
had all scripts numbered and printed on red paper to prevent photocopying,
and conducted a campaign of misinformation throughout production.

"I was really paranoid," he concedes.  "Everybody saw there was an angle in
trying to be a spoiler, so if you want to maintain the element of surprise
you have to be vigilant.  Our idea was that if you put enough bogus
information out there, it starts to work for you and against itself."

Which, if you think about it, sounds like something Cancer Man might say.
Carter smiles at the suggestion.  "Well, there are some things that should
be kept secret."

One of those things, apparently, is the eventual outcome of Mulder and
Scully's investigation.  While there are now fans who know the minutiae of
the series so well that they can even trip up its creator, Carter is the
only one who knows how it all ends.

And while he's willing to spill the beans on the chances of Mulder and
Scully getting intimate (slim to none:  "It would be the death knell of the
show") and on the curious relationship between Mulder and the
Cigarette-Smoking Man ("stay tuned"), not even his closest associates are
privy to the show's conclusion.

"I don't know exactly how it's going to work out, but I have more than
vague ideas about where everything is going," says Carter.  "But I'm not
telling anyone.  That way they can't get rid of me."

Spoken like a true paranoid.  The zombie look is gone, replaced by a
conspiratorial gleam.  Carter is ready to fight the future.



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[Note: This column conveniently omits any mention of reporter Mike Roberts
from
his own newspaper, who was the one who wrote the original article about DD,
quite possibly the "straw that broke the camel's back" as far as DD staying
in Vancouver was concerned ]


Wait . . . who's the infantile one here?

  Lee Bacchus The Province

At last! The Vancouver newspaper scene explained!

Yes, according to X-Files star and little-known expert media consultant
David Duchovny, the newspaper you now have opened before your very eyes is
(whaaaaa!) "infantile."

In an interview that appeared in Vancouver's other major daily, Duchovny
blamed The Province for whipping up a controversy and creating the
impression he wanted to flee Vancouver because of the rain. (Guess the fact
that he himself made the comments about Vancouver on an internationally
broadcast talk show didn't count.)

"The intensity of the reaction hurt because people thought they were being
rejected or insulted," he said, later adding: "The Sun wasn't the problem.
The Province was the problem."

That is, we here are "infantile." Infantile! This from a man whose first TV
job was in a Lowenbrau beer commercial! Whose first big TV role was as a
cross-dressing detective on Twin Peaks! And whose current really "mature"
job entails dressing up and pretending every week that the world is being
taken over by space aliens!

Duchovny said all this to a Canadian reporter at a recent press event for
the upcoming The X-Files movie, which opens Friday, June 19. Now, I don't
want to be, ahem, infantile and suggest a nefarious conspiracy swirls amid
the backlots of Hollywood but I was tentatively scheduled to attend that
same two-day event in Beverly Hills -- which included a screening of the
film and interviews with Duchovny, Gillian Anderson and others.

That is, until I received a call from an apologetic 20th Century Fox
publicist, who said the event was fully booked and no others could be
accommodated. Hmmmm. Booked or barred? I guess the truth is out there,
somewhere.

Of course, working for The Province, I reacted to this news like a pro,
quietly hanging up the phone, then calmly asking the sitter to change my
diaper.

For the record, Province TV writer Jonathan McDonald, who might be a little
baby-faced but hardly infantile, has written extensively on The X-Files and
Duchovny and virtually none of it cynically preoccupied with the "rain" storm.

And, also for the record, I wrote a column defending Duchovny's decision to
relocate in Los Angeles and said it was small-town of us to think otherwise.

But the Lord of the Files, as a recent Vanity Fair profile dubbed him, has
splattered all the media with the same paint gun. We are infantile.

And I guess he thinks that, as Canadians, we're also kind of dense. In the
Vanity Fair piece, Duchovny cracks an O.J. joke to one of his X-Files crew,
which is greeted with deafening non-laughter. He then rolls his eyes and
says to VF writer Michael Shnayerson, "Canadians . . . They don't get O.J.
around here."

Hah! Wrong again, Mr. Smartypants Duchovny. We get plenty of it imported
straight from Florida.






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*With a project like this, how do you please yourself as well as all of the
  fans out there?

Well, you always have to please millions of people out there. It's part of
the goal. But first you have to please yourself, and luckily, with this
show from the very beginning, what I did was write something that pleased
me, something that I wanted to do that I liked. I think that's one of the
secrets to the success of the show is that I've been able to maintain an
enthusiasm because the stories that we write are very interesting to me.

*Did you always want to turn this into a film? Is it something you thought
  halfway through?

You know, I've been asked this question, and I always say, "Yes, we always
wanted to turn it into a film," but I don't know  when we actually got
serious about it. I realized that if we didn't  do it [now], we might not
do it.... I thought it would be nice to  take all the threads that we had
laid out there and weave them together in a big movie; It's also true that
I don't think we would have done a movie unless we did it now.

*What sort of challenges did you have to overcome to make it accessible to
  people who aren't fans of the show?

It's a trick, because you know there's a lot of people who don't watch
television who go to movies and then there are some people who I'm sure are
not regular watchers of the show or have never watched the show. I still
think it's a movie for them. I think those tricks -- character development
and an accessible story that doesn't require too much foreknowledge -- were
the biggest hurdles to overcome. And I think that we've overcome them.

*"The X-Files" has always been informed by the fact that you read scientific
  journals and also you're reading about actual government conspiracies and
  experiments and things they've done. Can you talk about that?

People say, "Where do you get all these wild ideas.?" Many of them come
directly from science. If the show didn't have a strong scientific
foundation -- the same with the movie -- the science in the movie is
absolutely accurate. I guess people could argue about aliens, but the
genetics, the transgenic pollen implants, all that is 100 percent accurate
according to my scientific advisor.The show needs a scientific foundation,
because that is Scully's point of view. Without a Scully point of view, you've
got no point/counterpoint. So it's important that our science be accurate,
and it's important that the science be good, because it provides the
leaping-off
point for the rest of the show.

*In the last couple of years, I've noticed that the different episodes have
  become like mini-movies. My friends and I talk about that.

Well, the approach has always been a "cinematic approach," I call it now
after having done the movie. I know whatever you do in television isn't
quite cinematic because making a movie is a much more elaborate process
than making a television show. But, we tell the stories as if they were
little movies, and we take  a big-screen approach on the small screen in
the way we tell our stories and the way the shows are directed, certainly
and in the way the stories are very plot-driven. They are good, round
mysteries, and a lot of television gets by on character development
ensembles, stories, a-b-c-d-e-f-g stories. "The X-Files" tells one good,
strong story every episode, and I think that's much more of a movie
approach.

*There were scenes that "X-Files" fans thought were going to be in the movie
  because of rumors. Were there a lot left out of the film?

No, no, no. It's pretty much what it was designed to be. I think that there
is very little missing from the script.

*There's a rumor that you guys shot "red herrings" just to throw off"The
  X-Files" Internet fans. Is that true?

The truth is we didn't, but, there were things that were written that were
put out there as bogus information. The last scene in the movie, or I
should say, the penultimate scene in the movie with Mulder and Scully in
the park, was not written until the spring ... probably about six weeks ago.

*That's a conspiracy.

It is a conspiracy.

*Have you ever heard from somebody in the government about your
  conspiracies?

I once had someone walk up to me and say that they worked in the
intelligence community and say, "You don't know how right you are." I sort
of liked that idea.

*How much of the conspiracy has been pre-planned and how have you kind of
  retroactively fitted?

I have a big general idea of what the conspiracy means and what the
conspiracy is, but as we go forward, we find new little things to do to add
to it. And so that's the fun of it. If you set everything down too clearly
for yourself in the beginning, I think you end up without the sort of
wonderful discovery of new things to add in. So, I think flexibility is
important in this kind of storytelling. Also the faith that you're going to
make the right choices as you go forward.

*Are we going to get a new movie every two or three years?

I hope this movie's successful so that it warrants doing more movies. I
think I would like to see the TV series evolve into a movie series. That
would be a nice thing to do. It would be a nice reason for us to all work
together.

*The opening sequence with the bombing of the building is eerily similar to
  the Oklahoma City bombing. Was there any concern about including that in a
  piece of entertainment?

Well, it's a building explosion. And I don't mean it [to trivialize] a
horrible event. It certainly wasn't meant to be that.

*As an X-Files fan, is the movie going to go into the series?

Yes, yes, yes.

*What can we expect for season six?

Well, the writers are actually back at work already. This is the first week
of work. We all got a week off, and now we're back coming up with stories,
so we're putting it together. We've got a  lot to play with, and this is
the fun of it. Figuring out how to re-open "The X-Files." I thought of the
movie as an explosion of "The X-Files." For five years, we kept imploding
this series; it would fall back in on itself, and we'd give you a clue or
an answer and then we'd take it back. The movie has set certain things in
stone and now we've got to deal with those pieces. But there are lots of
new elements to toy with.

*How is moving the show to L.A. from Vancouver going to change it?

You know, it's obvious it will change. I'll have a new crew. I'll have a
new environment to shoot in. (People ask if we'll) still have the same
creepy light. You know, we'll have bright sunlight in the daytime, although
if it's anything like last year, it will be just like Vancouver; The
weather in Los Angeles was so bad last year. But, I think what we'll do is
we will just use the new environment to our advantage. Just make a virtue
out of the problem, which is that we're now shooting in sort of a concrete
jungle. [We'll] tell stories that we wouldn't have been able to tell in
Vancouver, so I think it's going to be an interesting opportunity.

*What about the soundtrack?

It came out on June 2. That's one of the best parts of my job. It's just a
whole lot of fun for me. It's just like saying, "Lets ask the Foo Fighters
if they want to do a song," and they do. And they send something back, and
the day that cassette comes in I stick it in my machine. It's like a
Christmas present.

*You know, in another time you might have been this faceless person that
  created a show, and that's not the case now. What kind of bizarre
  encounters have you had?

I have people come up to me all the time and want to tell me their story
and pitch me ideas. And I have to tell them all, I've got this thing that I
say. I'll say, "I'd love to listen to your story, but for legal reasons I
cannot." Which is true. I don't want to be involved in a situation where
someone says I stole their story. I've been very careful not to take
anything from anyone. I don't think we've done one unsolicited script or
idea in the entire run of the show: 117 episodes. My wife and I once laid
in bed listening to a tape a guy had sent me of an encounter he had had in
the wilderness with his wife. And he had just decided to sit down and
talk about this.

*I think that "The X-Files" is a very literate program. Dialogue is almost
  more important than the action, and the movie is the same way. You have to
  pay attention to every word of it. Is that a dangerous area in the '90s
  with the whole short attention span thing?

You know, [you] make a mistake in thinking that the audience is not as
smart as [you] are. I think the audience is very smart. I think the
audience is very sophisticated. We have so much information these days.
Everyone knows about the human g-gnome project now that's going on. It's in
he paper everyday. So, genetics, all these things... while they are
sophisticated and while the dialogue [of the show] is sophisticated, it
also never attempts to confuse or baffle. It is well chosen words by smart
people.

*Have people ever approached you and told you that something's just too
  gross?

It's really hard to give me the willies. I'm sure that there are some
things that are too gross. We've shown a lot of interesting images on the
show, but mostly they would have to do with autopsies and such. There
actually is a limit to what we can show. Standards and Practices prevents
us from doing anything that is too gruesome, gory, visceral. The truth is,
I hate blood. I don't like to show it on screen. I don't like to show it
splattering. I don't like to show it spilling. I don't like to see
shoot-outs and bullets flying. I'm uninterested in that. I'm interested in
the effects of events. Even violent events and what the human drama is
before and after them, but the gore is something that I'm not interested
in.



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*At the end of the show, there's a certain level of expectation from you
  guys. Now you've got a movie coming out. Can you talk a little bit about
  what you were thinking?

I think the challenge for everybody was, "How do we make this satisfying
for the fans who are numerous and for the non-fans who are numerous, also?"
I was actually talking to Téa (Leoni, his wife) when we were doing the
film, and I had this thought which was: the people that aren't fans of the
show are not just not fans of the show, they are actively not fans of the
show. Because we've been doing the show for five years, we've been on the
cover of every magazine there is, we've been all over the place, there's no
way you could have escaped that we exist. Therefore, if you have, that
means you've got to look at me, you've got to look at Gillian, you took a
look at the show once and you said, "This stinks!" Therefore, these were
the people that we were actually going after, which seemed to me totally
perverse that we were trying to make a movie to get people that had
done their darndest to get away from us. So, we will not rest until we get
everybody!

I think that the balancing act of the movie was to please the die-hard fans
and these people that obviously have no interest in this kind of a show or
else they'd be fans by now. And I actually think that we did, in terms of
story and in terms of giving fans some extra stuff that they don't get on
the TV show, but also of taking care of the back story of the movie and
introducing characters that are five years old which is a tricky act in
itself.

*We heard that Gillian slammed you up against a wall and planted one on you.

Am I supposed to be playing along with something I don't know?

*No, I swear to god. Rob (Bowman, the film's director) just told us that.

Rob's just being cute.

*So, it didn't happen?

No.

*Swear to god?

Yeah. No, we did a little funny take where I kind of jacked her up against
the wall and started, you know, doing the old.... Help me out.

*Tongues?

No, we were acting like it was gross carnal coupling. You know, it was a
joke for the crew and for us. The actual kissing, that was never a part of
the movie, so we never would have shot that. No, the only time we did that
was as a joke. Gillian and I did it to our liking, and then I said, "Let's
do one where we're up against the wall here." We were outside of the
cameras' view, actually, at that point. So that's not even on film, I don't
think.

*David, what kind of movies did you watch?

I didn't go to the movies that often, but I remember seeing McHale's Navy,
a TV franchise that became a movie. I liked the Saturday matinee, "Sunday
At Home." Like Abbott and Costello, I watched a lot of Abbott and Costello.
I liked scary movies like a lot of kids. I remember seeing a Steve McQueen
movie and being moved in some way. And I remember seeing a movie about a
woman that killed people and buried them in her garden. It was terrifying
to me. All I remember is that she smacked some woman over the head with a
telephone receiver and killed her with that. That was one of her murders.
But I remember walking home after that, just terrified. And I went to see
Texas Chainsaw Massacre with my brother. And he was relentless after that.
You know, he'd come up behind me and go like "Vroooom" for months. And I
would jump. That was very scary to me, that movie.

*What does it do to you now that you know you're giving children
nightmares with the show?

Well, I guess I don't feel guilty, because I know that those nightmares
didn't last that long. I guess it's possible that somebody's might, but I
just remember that feeling of wanting to run like when you're watching a
really scary movie. As a kid, you really believe it. It was so exciting to
just be that scared. You hated it, but you just had to stay there.

That brings up an interesting point, though. I was saying to Gillian that I
was shocked that my seven-year-old niece feels that she has to watch "The
X-Files" every Sunday.

I don't think that's so shocking to me because I think that kids aren't
really hung up on story. I mean, if you've ever had a conversation with a
kid, you know that the beginning, middle and end is not that important. You
know, it's kind of one long "and then... and then... and then... and
then... and then... and then..." It's not like a narrative. It's just
chronological. I think they watch it because it's moody and it feels scary,
even if they don't understand why it is. It's like it feels spooky, and I
think kids like that. And I think it's even better if they don't get it,
because then they're not really scared, they're just kind of involving
themselves with the adults. I'm not advocating that this is a good show to
have your kid watch in any way.

*What are your thoughts on the developing relationship?

A few years ago I think I realized that, you know, you want as an actor to
try new things on the show. For instance, it would be new if Mulder and
Scully had a relationship and then didn't. And then did, or whatever. That
would be fun as an actor to play. It would be different from what I
normally do on the show. But then you realize that you're servicing the
show and not servicing yourself, you know? And that you kind of grow up as
an actor, and you go, "Well, my job is to make the show the best that it
can be, not to show off what I can do." And I like the way it progresses. I
like that there isn't a love relationship. I like that it's not about the
relationship. It's about the story, and the relationship develops through
the story, not vice versa. All that now seems to me right, whereas I would
have chaffed against it at some other time.

*There is a certain chemistry between Mulder and Scully that we're led to
  believe doesn't exist between Duchovny and Anderson.

Well, that's just something we do, because we want people to think we're
really good actors.

*She does it really well, though. She kind of alluded to the fact that you
  guys didn't get along.

You know, you have a working relationship with somebody that, over a period
of time, gets strained. We've had five years together, very closely working
together. I can't psychoanalyze Gillian, but I would say, she just wants
people to know that she's a person with her own feelings, and that's one
way for her to say that I'm more than Scully. Her not wanting to comment on
that is like saying, "I have a life going on here that's more than Scully,
or is more than the show and I want to be taken seriously."

*Do you have fan encounters, or encounters with people that are actually
  living out this paranoia?

I don't have that many encounters any more, just because I'm protected by a
posse, you understand. So, it's hard to get to me. Hard to even slip me a
note. So I have less contact with those folks. Chris, I believe, actively
seeks them out because it makes him feel kind of important. You know,
because he is important to those people. I think there are a lot of people
who go further than even our show goes. And God knows, maybe they're right.
I don't know.

*What about the ickiness factor of the show. Is there anything that has been
  a little too gross for you?

Yeah. Catering occasionally.

I wasn't a big fan of the maggots, but I'm not that easy. I'm not like
steel, but I'm not that easy to gross out, and a lot of the times, the
stuff that appears gross at home is corn starch and water on stage and it's
not gross at all. You know, the gooey stuff, it's all sugar, basically. As
sweet as can be.

*What about the Vanity Fair cover? There were flies all over you. Were those
  real?

Yeah, yeah. But they were dead. I mean, if you would have been able to get
those flies on me live, I would have been grossed out by the substance they
would have had to put on me to get the flies to land on me, if you catch my
drift. There's an old saying, and in fact, that was one of my concerns...
What is your point here in this photograph? Like flies on Duchovny?

*Conspiracy is so much a part of the story tradition. Are you working with
  Oliver Stone?

You know, I'm not going to get a chance to, because I've got too much
X-Files to do. That's my main problem with "The X-Files." You know,
sometimes it gets reported that I don't like the show, or I don't like
Gillian or I don't like Chris or whatever, but it's really that I don't
have time.

*Do you ever get tired of playing Mulder?

Yeah, yeah. Exactly. I believe the show is really well written. If I had
Shakespeare writing me, this show, I think I would still say, "You know,
Bill, it's been five years. Hamlet was good, but this last one is not that
good." I'd be tired of it. And I think that's just the nature of wanting to
go out and do other things.

*One more season and then just do movies?

Oh, I would have preferred this last year to be the end, but I don't get
to make that decision.

*What about the fact that you are a funny guy and you do have a great knack
  for comedy, do you ever feel kind of stuck in the serious game?

Sure. The only problem, and I'll say it again and again, is the fact that
it takes 10 months out of a year to do. For instance, Téa's show took seven
months. Sitcoms take seven to eight months. Other ensemble dramas take 10
months, but they're ensembles. So, George Clooney can go and do Batman or
Hiding in Sight. What's the name of it?

*Out of Sight.

Out of Sight. So he can go off and do that. Also, because he lives in Los
Angeles. Which is one of the reasons why I was interested in bringing the
show back here. So, it really just becomes about time. And then when you
factor in, you know, you want to have a family life or a personal life,
then it becomes really difficult to satisfy the demands of a television
show like "The X-Files" and satisfy your own creativity in your own life.
So, that's why I would like to see it turn into a movie franchise, because
I don't necessarily want to say good-bye to it because I love the show and
I love the character, but I just don't want to give it all I have.

*Have you got another film brewing, looming somewhere in the future?

There's some things percolating. Hovering. Looming. Whispering. But, I
would have really loved to do that Oliver Stone movie. I don't know,
there's a few different things that I'm thinking about, but you really
can't do it unless you're doing cameos. Unless you're doing a week here, a
week there. You can't get serious about it until you have time. And I don't
have time. So, I can do "Larry Sanders," I can go do "Saturday Night Live,"
or Gillian can go and do two weeks on a movie here and there, but if you're
talking about trying to do something like Playing God, which was one of the
reasons why I thought it didn't come out fully formed, was, you know, I only
had five weeks to do it, I only had three months to plan it. So I don't want
to make that mistake again. You know? As long as I'm doing the TV show,
I don't really have the time to focus on a movie and be a star of that movie,
be the lead of that movie the way I want to.

*But you have talked about this particular franchise turning into like a
  Star Trek where we're going to see movies every few years.

It's my feeling that it will. I think the characters are interesting
enough. I think the people are motivated enough. Chris is interested enough
in that happening. I would be surprised if it didn't. And therefore, it
will be fun to continue on in this job in a form that's less demanding of
my time.







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Okay, guys, this is officially my last post of the day. See you
on Sunday! I'm off to La La land to see our heroes walk the
red carpet and hang out with some crazy 'philes. Thanks for
subscribing, and again if you're new and want to catch up
click on the link in the sig.


*You've inhabited Scully for five years now on television. Is there any
  difference bringing her to the big screen? Do you present anything
  differently, or is it just a matter of another episode that lasts two hours
  this time?

I have learned that it is just about doing the same thing. I mean, I think
in my mind I had to up the stakes a little bit, and sometimes considerably
more and certainly in the film the stakes are considerably higher than they
have been in the TV show, but it mostly came down to just doing what I was
used to doing and not putting any extra pressure on myself for not
attempting to do anything bigger and better, simply because
when your face is stretched on the screen and you're doing bigger, it shows
up 10 times bigger, 1,000 times bigger, and you don't want that. So, it's
about finding a happy balance somewhere.

*Did you have concerns, though? We had been wondering about whether or not
  this would be accessible to people who weren't "X-Files" fans.

You know, I didn't have concerns, simply because I felt that in the script
Chris had worked incredibly hard to make sure that it would be enjoyable
for anybody, whether they were an avid fan or had never seen a second of
the show in their life. I knew that that was one of his main intentions,
and in seeing the movie, I very strongly feel that he has pulled that off.

*Scully is such a full-dimensional character. Is there any element of her
  that you enjoy playing more than another?

I feel like I've done a lot of "feeling" stuff lately, which didn't used to
be the case. I almost feel like now I just want to do a little more
butt-kicking.

*A lot of people are looking for a romance. Would you like that to happen?

Well, from day one, we've been talking about the fact that it just wouldn't
work in the series, but I'm curious as to how, after the movie and the
extra zing that's in the film, whether it should or shouldn't influence how
we are with each other in the series. If it does, how will it influence the
work that we do? I don't know.

*You have been, as I said, inhabiting this character for five years. How
  much control do you have over that? When you see a script can you say,
  "Well, I don't think Scully would do this." Can you go back to them ....

Most of the time, actually 99 percent of the time, that is just not an
issue. I don't think I've ever read a script that something has struck me
and I've thought, "God, Scully wouldn't do this." I mean, Chris (Carter), I
don't know how many zillions of times he goes over every syllable in every
script and would not let something seep through that was questionable in
terms of their characters. And so I have a lot of trust in that.

*Are you a fan of the horror genre, yourself?

No, no. I'm not. In fact, I can't stomach horror films, at all.

*What about the ickiness factor there?

I'm not scared of icky stuff. Like, icky stuff doesn't bother me, but in
terms of horror stuff, I have to separate myself completely from what I'm
doing and just show up and pretend that it's something else or I'm not
affected by it.

*You mentioned not having to worry about the script and whether or not you
  felt it was "Scully" or not, but you also said that you'd like to kick some
  butt this year. So, how, as an actress, do you persuade them, or do you
  persuade them?

Well, actually, a while ago, I guess, I had made a comment to Chris about
the fact that I wanted a scene where I actually had a fight scene. Like a
really, knock-down, dirty fight scene, and he put one in. He put one in
another show called "Kill Switch" where  I end up coming in and
annihilating, I guess, a whole bunch of nurse bimbos.

*On the show, there's a lot of running through dark hallways and stuff. Do
  you ever get banged up or hit a wall or anything like that?

Have I ever hit a wall? Yeah. I've never, knock wood, really hurt  myself
badly. I mean, I've gotten banged up, but I'm pretty resilient myself.

*Flash back five years, when you first heard about the show and you were
  going to go audition for it. What was your sense of the show? What did you
  think of it when you went to the audition?

Well, at the time I wasn't in the habit of reading TV scripts, and when I
did read the pilot, I was struck how unlike a TV script it was and, also,
by how complicated and interesting the relationship was between Mulder and
Scully. I think that more than anything, her intelligence and her strength
in standing up to Mulder and feeling confident about expressing her beliefs
in front of somebody who was touted as being near God in terms of his work
at the FBI. I responded incredibly strongly to that and was very intrigued
by the character of Scully and by their relationship.

*But is Scully a double-edged sword, because she's so well-defined and so
  many people see her? How does that affect you in terms of other choices
  that you could possibly be up for?

I have not had a problem with that so far. Most of the scripts that I get
range in everything. What I've done so far has been very different. I
played kind of a southside Chicago chick, early 20s, in a movie called
Chicago Cab and then a middle-aged vintage biker-alcoholic in a movie
called The Mighty. I tend to steer away from those that are similar to
Scully at all and, hopefully, will pull it off. I mean, everybody may say,
"Ah, didja see Scully in there?" "Uh, I don't know." But, I haven't gotten
any indication that I'm being typecast at all.

*I have to ask you a question about some of the dialogue in some of the
  shows and in the movie. As I'm sitting there and I'm listening to you guys
  spew this scientific stuff and these philosophies, I'm wondering is there
  ever a point where you go, "What the hell am I saying here?"

Oh, yeah. All the time. And that's what dictionaries are for, and
thesauruses.

*Do you really look it up?

Yeah, I do. Not all the time, but I do.

*Do you have a doctor that you turn to perhaps to get ...?

No, there's really not any time for that. Most of the time that I'm looking
at dialogue for the next day is at two in the morning, so there's not
really a doctor that I can call up. There's really no need to at this
point, but, yeah, I constantly wonder what I'm talking about.

*Can you talk about working with David (Duchovny). It's been talked about
  for five years now, but just sum up...

Summing up working with David? In what respect? I mean....

*You kind of get a feel for people. You've known him enough time now, so
  when you work intimately with him non-stop, is he that great a guy?

Um... let's go on to another question.

*One of the things that's been very surprising in the last couple of years,
  is young, really young, fans of "The X- Files." Your daughter. Does she
  watch it? Have you been approached by very young fans, and what are they
  saying to you?

It's usually parents who have young kids who will come up and say, "My son,
my four-year-old, is such a big fan," and I don't know how to perceive
that, really, because it's so scary and I couldn't imagine my daughter
having a show that she had to see every week, especially one that scared
the heck out of her. I don't even know how to quite take that in. I mean,
what's amazing about the show is that it reaches so many different
audiences, so many different ages, so many different races, so many
different cultures, so many different walks of life, and it's truly
phenomenal in that way. That it touches people.

*What do you attribute that to?

I really don't know. A lot of people have asked me why I think the show is
so successful, and I have my pat answer for that, but in terms of why it
appeals to so many different ages, I could hypothesize that a lot of young
kids like scary stuff and monsters and ghoulies and stuff, and so that's
why it appeals to them. You know, the teen-age crowd really likes the
characters and the romance between the characters and the intelligence of
the characters, and it gives them something to look up to in a sense. And
the older crowd, the mature crowd, the adult crowd... I think the
intelligence of the scripts really appeals to them. I think that the look
of the show and the appreciation for the production value is intriguing and
important to some people.

They're also interested in the relationship and the sexual tension, and a
lot of adults have kids inside of them. The element of ghoulishness really
appeals to a lot of adults, too. I don't quite understand the whole
attraction to horror films, but that's just what I can imagine.

*You just said the key word: "intelligence." How satisfying is that to you
  to play an intelligent woman, something that we don't see every day on
  television?

It's incredibly gratifying, and I don't think that I would have been able
to stick with it as long as I have been. Not that I would have had a
choice, but it would have been harder to stick with it were I not playing
such an intelligent, such an interesting and multidimensional character as
she is.

*Can you talk about the sexiness for a moment, because I think you've
  managed to create a character, and I realize that the writers are part of
  this, but your physicality in the character has tremendous sex appeal
  without being overt or provocative.

Isn't that bizarre? I mean, when people first started saying that Scully
was sexy or that they thought that Scully was hot, I just didn't get it,
but now I do. My concept was that what men specifically found attractive
was what they were used to seeing on TV, what they were being fed year in
and year out: blonde and chesty and leggy and skimpy clothing, and that's
what men found attractive.

When people started saying that Scully was [sexy], I just didn't understand
it. I just didn't get it. I guess, now, I'm starting to. It seems to be like a
sleeper fantasy in a sense of the same thing as the schoolgirl thing. Not that
Scully's wearing these little skirts, but there's something about the mixture
of intelligence and "What does she really look like underneath that suit?"
kind of thing. I mean, I'm not saying that that's what's going through men's
minds and that's all they can be attracted to is what's underneath, but I was
just trying to fathom in some way what it was that men found attractive in
Scully.

*What about the other side of that, though, because the person that we're
seeing here today seems like a pretty funny woman. You seem like you have a
good sense of humor. What about taking a funny comedy or something like
that?

Well, I have great interest in doing that. I have gotten an opportunity to
be funny in certain "X-Files" episodes. I don't know if you're familiar
with them, but there's this one, especially, called "Bad Blood" that we did
this last season, and a lot of the Darin Morgan scripts, and we've had lots
of opportunity to play comedy in the show. I enjoy it. Most of the theater
that I've done has been British farce so that's where my background is.
And, so I will again.




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From alt.tv.x-files.

From: "Believer" <iwant2blve@...>
Newsgroups: alt.tv.x-files
Subject: ALL YOU WANT TO KNOW IS HERE!!  (SPOILERS)


SPOILERS SPOILERS   READ ANY MORE AND ITS YOUR OWN FAULT!!



After catching up with all the leaks, spoilers and a reporter friend of mine
(he's not into X-files though)  who has seen it, I have compiled the events
according to the soundtrack to offer you the entire movie events in
sequence.  Below you will find the truth.  I am the Believer!


MOVIE SCENARIO-Fight the Future

-Threnody in X-  Opening credits roll by.....  Big letters DD,GA... others

-BC Blood - Scene opens 35,000 BC in caves where the original inhabitants of
earth are dying off and the black oil is first seen.

-Goop- The cave scene with the boys.  One falls in discovers the skull and
is overtaken by the black oil

-Soda Pop-   Our heroes are introduced in Dallas investigating the Federal
Builiding Bomb threat.  Establishes some back story.  Scully is thirsty and
Mulder goes to a Soda machine to get one for her.

-Already Dead- The agents discover some strange things in the Federal
Building that they are searching across the street from the main focus.  All
the people there are mysteriously  dead.  Scully and Mulder wheel a body
into a lab and some interesting developments are found.  Proof undeniable of
extra-terrestrial viruses

-Cave Base-  Intro of CSM and the clean up operation of the cave where boy
fell in.  More backstory and the establishment of who CSM really is.

-Remnants-  Building explodes nearly killing M & S...... they are made out
to be the scapegoats of the disaster by not looking for the bomb, going off
on some crazy tangent of Mulder’s.   All proof that Scully has discovered is
disavowed.   Scully is offered the deal.  Save yourself and survive... or go
down with Mulder.  Scully says no way... I quit.

-Fossil Swings-  Back at the site of the cave and in London with the elders.
They see M&S from the taped footage and know they’ve seen too much.

-Plauge-  The famous bar scene with Landau’s character appearing, telling
Mulder about the plague to end all plagues.  Mulder is drinking heavily and
offers more backstory for the audience.   Unable to believe him completely,
the information is making sense and is literally sobered up by the news.

-Goodbye Bronschweig-  The good scientist Bronschweig discovers some strange
things himself about the virus M&S unearthed at the Federal Building.   He
reports this to the elders.  They formulate a plan to take away what is most
valuable to him, Scully or something else...hmmm...  Later, something
happens to his experiment and he is overtaken by the mutated alien form.

-A Call to Arms-  A semi drunk Mulder shows up at Scully’s late.  She asks
him if he came to talk her out of quitting.  He tells her to get dressed,
there is something she needs to see that might help them get out of this
mess.  Something Landau’s character tells him

-Crossroads-  Scully debates and gives in going with Mulder.  Owing him at
least this.  They come across the other three kids and get their story’s
leading them to the site.

-Corn Hives-  They find the facility, with white domes and the bee hives out
in a corn field.

-Corn Copters- After being detected, the bees attack M&S and they run
through the corn fields barely escaping, but without the critical evidence
needed to verify their story.

-Out of Luck-  Back in DC, at Mulder’s.  Scully tells Mulder this is it, she
cannot follow anymore.  Their partnership is over and they have finally run
out of luck.  A desperate Mulder tells her that they are close and he needs
her.   It is a bittersweet scene as Scully refuses.  He can’t deny her any
longer, seeing as how her career is ruined.

-Stung Kissing/Cargo Hold -  As Scully leaves his apartment, her emotions
close to the surface, Mulder opens the door to his apartment.  Scully
stops.... turns around to see the look on his face.   Telling her that if
she were to never walk through his door again... he is overwhelmed and can’t
continue.  Near tears, Mulder and Scully walk towards each other one last
time and hold each other.   Pulling back to look in her eyes, he cups her
cheek.  She mirrors his action.  A deep and meaningful look at each other
says more in five seconds than has been said during the entire past five
years.   As they start to kiss, mere milimeters away, a bee that was trapped
in Scully’s collar, from the bee hives, finds its way out and stings her in
the neck.

Falling back in pain, Mulder recognizes the bee is one from Texas and is
probably carrying the virus.  As Scully collapses, he calls for the
Paramedics.  They arrive and as Mulder is trying to get info from the driver
on where they are taking her, the driver shoots him in the head, just
grazing his temple.

The next scene is Scully being put in some kind of pod and being put on some
kind of cargo plane bound for the Antartica.

-Come and Gone-  Enlisting the help of TLG and Skinner, Mulder is able to
escape the hospital and put in the call for help

-Trust No One-  Finding the WMM, he finds out that his sister was the one
they were supposed to take.  Scully was just a bonus.  Fearing the alien
colonists are stepping up the project with a mutated virus to fight the
vaccine they Elder’s have developed,  the WMM man helps Mulder by telling
him where they took Scully and his sister.

-Ice Base- Surveiling the ice base in the Antartica, Mulder finds a way in
by accident falling down a chute through the ice.

-Mind Games-  CSM has a little fun with Mulder and tells him some
interesting things... some things he never dreamed of.

-Nightmare-  The ultimate Mulder!torture scenario.  Mulder must choose only
one to save, he can’t possibly save both Scully and his sister.  Deciding
his father was the original one to make the decision, Mulder chooses to save
Scully.

-Pod Monster Suite-  Mulder finds Scully half-naked in an alien pod full of
strange green liquid we’ve seen before.  This is the big action event of the
movie, being chased from the ice base, the huge alien spaceship below the
ice starts to warm up causing a gigantic sinkhole effect.  While
carrying/helping Scully they both fall in and Mulder is knocked unconscious
briefly as the spaceship takes off ........

-Facts-  The big scene.  Scully asks what happened.  Mulder tells her about
the colonization plans.  Not much can be said as Mulder spells out the whole
horrible details.  Mulder sacrificed the sister he spent twenty-five years
looking for and saved Scully instead.  The look on Scully’s face is one of
heartbreak and love for Mulder.

-Crater Hug-  The spaceship gone, they are left on what remains of the
shell of where the spaceship was.  A truly emotional moment as Mulder and
Scully realize the quest for Samantha is over and they are left drawn closer
together, alone to fight the future of what is about to come to pass sending
the future of the X-Files into a whole new direction.






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For those of you that are new, welcome aboard and
thanks for subscribing! Only the first day and already
so many people! If you want to check out what you've
missed so far, just go to this URL:

http://www.FindMail.com/list/xf-news/

(It's also printed at the bottom of every mail sent out
from this list).

I have to apologize for ducking out so quickly after
starting the list, but I'm driving out to LA tonight
for the premiere tomorrow! I won't be back until
Saturday night, but I'll be in front of this computer
here at work again on Sunday, and the news posts
will resume. In the meantime please forward any
and all info you get to me.

Thanks and have a great weekend everyone!

Jenna
XF-News Moderator
wherever@...
xf-news-owner@...


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http://www.filmscoremonthly.com/articles/03_Jun---X_Files_Fight_the_Temp_Tra
ck.html

X-Files: Fight the Temp Track

by Jeff Bond

The X-Files: Fight the Future ***

MARK SNOW

Elektra 62217-2. 24 tracks - 67:50

Mark Snow's music for The X-Files has consistently been some of the most
evocative, exciting, interesting and downright scary music on television in
the '90s. Crafted from a seemingly inexhaustible library of acoustic
samples and keyboard effects, Snow's music sometimes resembles the
echoplexed, staccato soundscapes of Jerry Goldsmith's suspense efforts,
while his sensitive scoring of the interplay between Special Agents Mulder
and Scully conjures up an atmosphere of existential dread leavened with the
milk of human kindness. Snow has scored every episode of the series and if
there was ever any doubt that he would have to lend his hand to the
big-budget X-Files movie, it never surfaced. Snow's distinctive sound is as
integral to the X-Files mythos as David Duchovny, Gillian Anderson and
Chris Carter are.

But as all X-Files fans know, Conspiracies Happen. And in this case, the
conspiracy at hand is one which has pervaded the soundtrack world for the
past decade, one which is eating at the very roots of the art form's
aesthetic viability. Yes, it's The Temp Track. Snow's Fight the Future
score starts out with great promise, with the composer setting the familiar
whistled X-Files title theme (here voiced by brass and synths) against a
powerful, driving percussive beat: it's The X-Files on an epic scale, the
perfect way to open the series up into the widescreen format. What follows
is a wildly mixed bag, however, which consists of equal parts solid
X-Files-type scoring, some uncomfortable bombast and a lot of wholesale
raiding of the temp track. In bringing an epic feel to this theatrical
jaunt for the series, Snow sometimes goes overboard to the point of
laughability: Some of the progressions of Snow's "giant, threatening
conspiracy" intonations actually sound like something Alf Clausen wrote for
the openings of the Simpsons Halloween Specials (check out "Cave Base" for
one example). Cues like "Fossil Swings" take the same melodramatic
approach, but instead eke out the kind of ominous territory that might have
been taken had Howard Shore scored the movie (Shore and Silence of the
Lambs being a primary influence on the X-Files series to begin with). It's
jarring because both the tone of the television series and that of Snow's
TV scoring has always been scrupulously appropriate and balanced, never
tipping the scales over into melodrama but always striking just the proper
note of grim import.

Snow sometimes takes the Goldsmith approach of disassembling elements of
his title theme for use as motivic material, notably the echoing four note
keyboard motif that opens the title theme, which appears in several cues
subtly voiced by harps. Unfortunately, despite being given the opportunity
to work with a full orchestra, Snow's big moments are too often blasted out
by synths, giving the score an embarrassing low-budget quality when it most
needs a big, acoustic sound.

The most disappointing aspect of the album is unquestionably the temp track
borrowings. It's doubly jarring here because Snow has established a
remarkably non-derivative, fresh sound for the series, and quite naturally
given the extra time and money one would have expected something much more
original-sounding for the feature. Sadly, what results is often a typical
blockbuster action score that rounds up all the usual temp track subjects,
including Horner's Aliens, James Newton Howard's The Postman, David
Newman's The Phantom and, ironically enough, John Ottman's The Usual
Suspects (this reminds me of a Fred Steiner story about a movie which
tracked music from several previous scores which the film makers were
determined to use. The movie title? The Deadly Trackers.) "Corn Hives" has
some kicky, jagged action rhythms; however, while "Corn Copters" offers
some equally propulsive action, it is way too obviously based on Horner's
Aliens action cues, particularly the first escape from the alien hive.
"Come and Gone" sounds suspiciously like The Usual Suspects, alternating
between the undulating opening of The Usual Suspects's "The Garage" cue
(which also crops up at the beginning of "Trust No One") and some staccato
percussive piano effects more in keeping with Snow's work on the X-Files
series. "Ice Base" offers snippets of the opening processed choral effects
of The Postman. "Nightmare" sticks more closely to Snow's X-Files stylings,
but once again falls back on the Aliens temp track rubric. "Pod Monster
Suite" has lots of cool aleatoric effects, but again many of these seem to
erupt more out of Horner's Aliens palette than Snow's X-Files one. "Facts"
on the other hand, takes a delicate, chime-laden approach that's more
memorable and original. The elegiac "Crater Hug" wraps things up, with
Snow's X-Files theme re-emerging from the darkness with a broad brass/synth
statement over strings.

The temp track complaint is an over-used one; it's often simply unavoidable
for two reasons. First of all, after seeing their film edited with
familiar-sounding temp music for weeks or months, producers and directors
are often loathe to accept any newly-composed music that doesn't hit every
beat and texture the temp track they've grown to adore features. And
composers wrung out from having to meet deadlines are often out of energy
and ideas by the time the big action and special effects sequences finally
come together‹they just want to get the damned thing finished already.
Nevertheless, having a familiar franchise like The X-Files fall prey to
this sort of thing is particularly annoying, because Snow's voice on the
series has been so distinctive. Fans of the series and Snow's music have
been looking forward to hearing the composer unleashed from the time
constraints of series television, not shackled to a new bunch of
limitations. And hearing music from other movies (and other franchises)
destroys the carefully-constructed illusion of The X-Files's
self-contained, paranoid universe. Are government helicopters attacking our
heroes here, or Giger's and James Cameron's aliens? Or are Scully and
Mulder being threatened by Keyser Soze?

Fight the Future is still strongly recommended to fans of Snow's X-Files
work: there's plenty of Snow's evocative, percussive X-Files series licks
in here, making Fight the Future the album that the earlier,
dialogue-plagued Snow X-Files soundtrack promised to be but wasn't. But
apart from the terrific main title cue, Fight the Future fails to fulfill
the promise that a Mark Snow X-Files movie score should have. Snow's
instincts were not trusted on this feature, and the result is a compromised
effort. If there's an X-Files movie sequel, how about this tag line: Fight
the Temp Track.






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Wednesday, June 8, 1998

'X-Files,' The Film: The Plot Thickens

	 Movies: Fox is worried about the X-Factor: Will the
series' true believers be the only ones in line when the
feature opens?

	 By GREG BRAXTON, ROBERT W. WELKOS, Times Staff Writers


	 Call it the X-factor in "The X-Files" movie.
As 20th Century Fox prepares for the June 19
opening of its feature-length sci-fi thriller based on
the popular television series "The X-Files," the studio faces
a daunting task: Can it attract moviegoers who know little
or nothing about the long-running TV show?

	 From the outset, Fox executives knew they could
count on the show's built-in core audience to jam the
turnstiles once the movie comes out. Between 20 million
and 30 million viewers tune in Sunday nights to follow
FBI agents Mulder and Scully as they investigate vampire
murders, alien abductions, government conspiracies and
even seemingly ordinary people who become monsters.

	 The most ardent of these fans--who are dubbed
"X-Philes"--hang on every bizarre plot twist and
character nuance contrived by creator-executive producer Chris
Carter, whether it's pondering the identity of
Cigarette-Smoking Man or waiting to see if agents Fox
Mulder (David Duchovny) and Dana Scully (Gillian
Anderson) ever kiss.

	 Fox reasons that if even 20 million viewers turn out
to see the film, the studio and exhibitors would reap about
$100 million in ticket sales.

	 Some see "The X-Files" as a unique case in which a
movie studio has joined forces with its corporate
television arm to exploit a popular TV show. By injecting
it with $66 million, bigger and louder special effects
and a grander canvas upon which the two investigators can
determine whether "the truth is out there," producers
hope to attract the truly loyal as well as the clueless.

	 But not only do the producers of the film have to
overcome some perceptions that the film may be little
more than a big-screen episode of the series, they must
also combat the problems that have plagued other
television shows that have been unsuccessfully turned
into movies.

	 "Yes, it was a calculated risk," Carter
acknowledged. "I didn't want to do anything that would tarnish the
series.  But I also saw it as an opportunity, if we got the budget
and took the right approach, to do an event that could
stand on its own but also could help the series coming
back in year six."

	 Tom Rothman, Fox's production chief, added: "The
challenge is to make a movie that satisfies fans and
challenges people who don't know about it. It's not an
easy stew. But 'The X-Files' is not an easy series. It's
not easy television. It's exciting and different. That's what
people look for."

	 The "X-Files" film is the latest in the rush to turn
hit television shows into films--a trend that has met with
mixed response at best.

	 The "Star Trek" movies, "Mission: Impossible," "The
Brady Bunch Movie," "The Fugitive" and "The Naked
Gun" (a big-screen adaptation of the failed "Police
Squad" series) were solid hits with filmgoers. But these films
were made years after the original series went off the air,
and their success was based largely on nostalgia.

	 But the TV-to-film graveyard is also littered with
films that stumbled from the small screen to the cinema. They
include "The Beverly Hillbillies," "Leave It to Beaver,"
"Sgt. Bilko," "Mr. Magoo," "The Saint" and last year's
version of the '60s sitcom "McHale's Navy."
                                   * * *
	 In the case of "The X-Files," the series is at the
height of its popularity. More important, the movie marks
perhaps the first time since the 1960s that a major
feature film has been produced of a series that is still
going strong.

	 Fox Entertainment Group President Peter Roth, who
developed the "X-Files" series more than five years ago
when he was head of 20th Century Fox Television, said,

	 "When you have a show working in whatever medium,
you're hard pressed to chance going out of that medium
to replicate the same success. It's the danger in trying
to remake a classic--it could be poorly compared to the
original."

	 But Roth called "The X-Files" film "a beautifully
notable exception" to the dangers of movie adaptations.

	 "It will work because of the storytelling and
brilliance of Chris Carter," said Roth, who has not seen the film.

	 And Carter, who wrote the film and is one of its
producers, said that he did not feel that the uninitiated
would turn away from checking out the movie.

	 "I think people will go unless they have a real
resistance," he said. "When I stand in a movie line on a
Friday or Saturday night, I want to see a good movie."

	 Carter has long maintained that the film would deal
with major questions left dangling during the show's
five-year run. In addition to attracting all audiences,
he said he wanted to reward hard-core fans of the series who
had stayed loyal through its run.

	 Among the most puzzling questions of the series: Is
the Cigarette-Smoking Man Mulder's father? What ever
happened to Mulder's sister, who was abducted by aliens?
Who abducted Scully and what happened to her? What
happened to the child she apparently bore?

	 One of the keys to the film is the season finale,
which aired last month. At the end of the episode, the X-Files,
the FBI bureau where Mulder and Scully investigate the
paranormal and unexplained, has burned down in a blaze
set by Cigarette-Smoking Man. When the film opens,
Mulder and Scully have been reassigned to an
anti-terrorist unit.

	 "The shutting down of the X-Files and the
reassignment puts everyone on a level playing field,"
Carter said. The end of the film will lead naturally into
the next season.
                                   * * *
	 The marketing of the film has been a special concern
of Carter's.

	 "All this marketing makes me nervous," Carter said.

	 "My feeling is that it's a cult show that became a
popular cult show." He fought to keep certain images out of the
trailer that he felt would give away too many of the
film's elements.

	 What Hollywood hopes to prove is that synergy sells.

	 Ted Harbert, the former head of ABC Entertainment
who is now an executive at DreamWorks, believes that
"The X-Files" movie will help spur more adaptations of
television shows.

	 "What television does better than anything else is
develop franchises," Harbert said. "Movie companies want
to develop franchises. Borrowing from the television side
of the studio only makes sense. There's a high level of
awareness, and not selling something from scratch is a
great advantage. With teens and young adults, TV shows
are the new icons."

	 Tom Borys, chief operating officer of ACNielsen-EDI,
the movie industry's overnight box-office tracking firm,
said: "Cross-promoting a current television show with a
new film is a really novel and exciting idea. The only
way it backfires is if the movie fails to deliver."

	 Roth is crossing his fingers that the positive aura
of the film rubs off on the TV show. For the last few weeks,
Fox has been running repeats dealing with the mythology
of "The X-Files." The network will air a "Making of 'The
X-Files' movie" special on June 15, four days before the
opening. And Fox viewers will be inundated with ads for
the film.

	 "The movie could not have come at a better time," he
said. "It's perfect after five seasons to take advantage
of the popularity of the show."



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This comes from the movie website. I cannot confirm nor deny <g>
whether these times and dates are accurate or not. More updates
as I get them.


JAY LENO 	 6/10/98 Gillian Anderson

JAY LENO 	 6/11/98 David Duchovny

E! PREMIERE SPECIAL              6/11/98 1-hour live premiere
						 special, and 1/2 hour
						 behind the scenes

MAGIC HOUR      		 6/12/98 Gillian Anderson

ENTERTAINMENT TONIGHT        6/13/98 Premiere.

FOX BROADCASTING 	 6/15/98 1-hour Behind-The-
						 Scenes special

TODAY SHOW 	 6/15/98 Gillian Anderson

LETTERMAN 	 6/16/98 David Duchovny

ROSIE O'DONNELL  6/16/98  Gillian Anderson

MTV MOVIE SPECIAL  6/16/98           30-minute film special
						 (4 airings beginning 6/16/98)

TODAY SHOW 	 6/17/98 David Duchovny

TODAY SHOW 	 6/18/98 Martin Landau

LETTERMAN 	 6/18/98 Gillian Anderson

MAGIC HOUR 	 6/18/98 David Duchovny

TODAY SHOW 	 6/19/98 Chris Carter

ROSIE O'DONNELL  6/19/98 David Duchovny (repeat)

SATURDAY NIGHT LIVE  6/20/98 David Duchovny hosts
						 season finale (repeat)

ACCESS HOLLYWOOD  6/20/98 1 hour special on the film

WEEKEND TODAY  6/28/98 David Duchovny


Also, there is a report that DD will be on Byron Allen's syndicated
"Entertainers" show in the 13th.

Here's what TV Now had to say when I did a search for
GA, DD, CC, and X Files.

Behind the Scenes
30 minutes-

      On the set of ``The X-Files: Fight the Future,'' starring David
Duchovny and Gillian
      Anderson.

      Sat  Jun 20  01:30P   E!- Entertainment Television
      Sun  Jun 21  04:30P   E!- Entertainment Television
      Mon  Jun 22  02:30A   E!- Entertainment Television

Making of The X-Files
31 minutes- (R)

      A behind-the-scenes look at ``The X-Files: Fight the Future,''
starring David
      Duchovny and Gillian Anderson.

      Mon  Jun 15  08:30P   SCIFI- Science Fiction
      Tue  Jun 16  12:30A   SCIFI- Science Fiction
      Thu  Jun 18  08:01P   SCIFI- Science Fiction
      Fri  Jun 19  12:01A   SCIFI- Science Fiction
      Sat  Jun 20  12:00P   SCIFI- Science Fiction
      Sun  Jun 21  10:30P   SCIFI- Science Fiction

Simpsons
The Springfield Files
30 minutes- (CC), SS, Anim, In Stereo

      FBI agents Fox Mulder and Dana Scully visit Springfield to investigate
Homer's alien
      encounter. Voices of David Duchovny and Gillian Anderson.

      Tue  Jun 30  07:30P   FOXN- Fox Network Satellite

Siskel & Ebert
30 minutes- (CC)

      Scheduled: ``The X-Files'' (David Duchovny, Gillian Anderson); ``Dream
for an
      Insomniac'' (Jennifer Aniston, Ione Skye); ``Mulan.''.

      Sun  Jun 21  07:30A   FOXN- Fox Network Satellite


X-Files Premiere
60 minutes-

      Celebrities are interviewed at the world premiere of ``The X-Files:
Fight the Future,''
      starring David Duchovny and Gillian Anderson. Hosts: Todd Newton and
Melissa
      Rivers.

      Thu  Jun 11  10:00P   E!- Entertainment Television
      Fri  Jun 12  05:00P   E!- Entertainment Television
      Sun  Jun 14  11:00A   E!- Entertainment Television
      Sun  Jun 14  10:00P   E!- Entertainment Television
      Mon  Jun 15  01:00P   E!- Entertainment Television

Larry Sanders
60 minutes- (CC), (R), In Stereo

      Larry (Garry Shandling) goes to unusual lengths to secure actor David
Duchovny's
      appearance on his last show. Guest stars include Warren Beatty, Jim
Carrey, Tim
      Allen, Jerry Seinfeld and Carol Burnett.

      Thu  Jun  4  12:00A   HBOE- HBO East
      Fri  Jun  5  01:25A   HBOE3- HBO # 3 East
      Sun  Jun  7  01:30A   HBOE- HBO East
      Thu  Jun 11  02:45A   HBOE2- HBO # 2 East

New Year's Day
120 minutes- R, U.S.A., 1989, Video
                          Directed by Henry Jaglom and starring
                     Maggie Jakobson, Gwen Welles, Melanie Winter
                      Henry Jaglom, David Duchovny, Milos Forman

      A man in a midlife crisis involves himself in the personal problems of
three women
      subletting his apartment.

      Fri  Jun 12  06:00A   IFC- Independent Film Channel
      Fri  Jun 12  08:00P   IFC- Independent Film Channel
      Tue  Jun 23  10:00P   IFC- Independent Film Channel
      Wed  Jun 24  02:30A   IFC- Independent Film Channel

Ruby
120 minutes- R, U.S.A., 1992, (CC), Video, In Stereo, Adult language, violence
                         Directed by John Mackenzie and starring
                        Danny Aiello, Sherilyn Fenn, Arliss Howard
                       Tobin Bell, David Duchovny, Richard Sarafian

      Based on theories surrounding Texas nightclub owner Jack Ruby's
decision to
      murder Lee Harvey Oswald.

      Tue  Jun  2  08:00A   MAXE2- Cinemax # 2 East
      Sun  Jun 21  04:10A   MAXE- Cinemax East

Saturday, June 13
FOX 11:00pm 60
Mad TV (Comedy)
Country singer performs in ``Darlene McBride's
Greatest Hits''; delivery specialist in ``UBS Guy:
Answering Machine''; Claymation sequel ``KLOPS
II''; special agents probe porn industry in ``The
XXX-Files.'' Cast members include David Herman,
Phil LaMarr, Mary Scheer, Nicole Sullivan, Debra
Wilson, Aries Spears and William Sasso.


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X-Files Cast And Crew On-Line

TNT's Rough Cut, Amazon.com and Yahoo! Chat Bring
Hollywood To Cyberspace With Virtual Movie Premiere of The X
Files: Fight the Future. Web users speak directly with X Files
cast and crew during an exclusive live Chat and cybercast on
Thursday, June 11, 1998 from 7pm - 10pm EST

TNT's Rough Cut, Amazon.com Inc., Earth's Biggest
Bookstore and Yahoo! Chat are teaming up to bring it to fans
when they host live online coverage of the blockbuster premiere
of the 20th Century Fox film The X Files: Fight the Future.

The Virtual Premiere takes place on Thursday, June 11, 1998
from 7:00 to 10:00 p.m. (ET). The cybercast can be accessed
at both http://www.roughcut.com or http://chat.yahoo.com
InterVu will produce the cybercast onsite. For the full
video/audio stream of the cybercast, viewers must run
Microsoft's NetShow(TM). Viewers can download NetShow from
the RoughCut site. The Virtual Premiere begins with a pre-party
chat hosted by Yahoo! Chat. During the chat, Andy Jones,
editor-in-chief of the Rough Cut site, will interview members of
the cast and crew of The X Files. The online event will then take
fans inside the exclusive Hollywood premiere party for The X
Files: Fight the Future.


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Wednesday, June 10, 1998

'The X-Files' Creator May Opt to Stay On

	 TV: Executive producer Chris Carter says that he is
	 close to signing on for two more seasons as the series
	 prepares to move to L.A.

By GREG BRAXTON, Times Staff Writer

	 Chris Carter, creator and executive producer of "The
X-Files," is close to putting his "X" on the dotted
line to return to the eerie drama for two more seasons.

	 Carter had said a year ago that he might not return
after the Fox drama's fifth season, which just ended. He
said he wanted to finish "The X-Files" movie and help
with the series' transition from Vancouver, its home base
for five seasons, to Los Angeles, before making a final
decision.

	 He said Wednesday he is close to signing a deal with
20th Century Fox Television, which produces "The
X-Files" series, to continue producing it and his other
drama, Fox's "Millennium," as well as other series and
movies. "We're still negotiating, but all indicators are
positive," Carter said.

	 Although Carter was long undecided about his plans
after the fifth season and the completion of the film, "I
weighed all my options and this seemed like the right,
sound one," he said.

	 He also addressed the concerns of "X-Files" fans
that the change in location from rainy and versatile
Vancouver, which stood in for several cities in the
United States and abroad, to sunny California would have a
drastic effect on the show's dark mood.

	 "People have this assumption that you can't make a
scary show in Los Angeles, that Vancouver is the only
place to make a scary show," he said. "But we will
continue to write scary stories and film them in a scary
way. If we don't have the atmosphere, we'll make the
atmosphere."

	 He noted that the film was shot in and around Los
Angeles, "so it's a nice introduction to that process."

	 Carter said that the change in locale would actually
provide for more story opportunities: "The truth is that
there were certain places and environments we couldn't
shoot in Vancouver, particularly the Southwestern states.
Since 'The X-Files' is a traveling show, this will give
us an opportunity to set episodes in places we couldn't do
before."

	 The drama's home base will be Fox Studios in Century
City. The production had considered setting up shop in
Santa Clarita, which is in northern Los Angeles County,
but that idea was nixed.

	 "We felt it would take longer to get to Santa
Clarita than it would to get to Vancouver," Carter quipped.
No other dramatic changes are planned for the show,
but Mimi Rogers and Darren McGavin have been signed
to reprise their guest star roles for several episodes
this season. Rogers appeared in the season finale as an FBI
agent who is an old flame of Agent Fox Mulder, while
McGavin portrayed a former FBI agent who provides
Mulder with information about his father's connection to
the McCarthy hearings.

	 Carter said that in addition to overseeing "The
X-Files," he will take a greater role this season in
producing "Millennium," a series about an investigator
who can tap into the criminal mind, which is going into
its third season.

	 He said the dark-toned drama "was originally
designed without a so-called franchise [an ongoing back
story, or mythology, to provide a base for new episodes
and offshoots]. That was by design. But this season,
we're going to be using the stories that came out of the
first two seasons, and giving the series a franchise it
previously lacked."



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Hello and thanks for subscribing! I didn't think I'd get so
many people so quickly.

As I described in the letter I sent out, I'm not going to
claim to be the latest and best, just whatever comes
across my screen as I read through the various MLs
I belong to, and ATX. I plan on sending not only
announcements, but also reviews, transcripts, articles,
interviews, new web sites, anything that's just pure
information about the XF that I can gather. Mostly
the point is for people who don't want to have to do
all this reading themselves.

Anything that crosses your way that you haven't seen
here, please forward to me and I will put on the list
ASAP! I'm just making it read only so we don't getting
anything clogging the list that isn't pure information,
and so I can go over posts and make sure there aren't
any typos, forwarding marks, etc, but that doesn't
mean it won't be a participatory list! So if you see any
mistakes, misattributions, or if I print a rumor or
speculation that you later find out more information on,
please send it my way! Any and all comments are
welcome. Anything you send me will have the byline
"Submitted by" and your name, unless you specify
otherwise.

As for Spoilers, my policy is this: I will post in big
capital letters that it is a spoiler in the header, but
no spoiler space, since there isn't a digest option.
And as for rumors, I will post them, but only if they
come from a reputable source (ie either a real news
source, not a tabloid, or a trusted, knowledgable
on-line Phile). I will also mark them as rumors or
speculation in the subject line.

Also, I will try to ask permission wherever applicable
before reposting information, so I would ask that you
do the same for the information that you send to me.

That's about all! Thanks again.

Jenna
XF-News Moderator



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This is found on the X Files Soundtrack, on track 14, at 10:13 after the
song.

The method, as they called it, though it was more-so a germ-line procedure
of singular medi-scientific complexity, had been given to them by the alien
colonists as a "quid pro quo".  The syndicate would help them to create a
population of alien-hybrids who would hide in plain sight,cloned from human
ova and alien biomaterial.  So there would be a clone race immune to the
black oil when the return to the planet began.  For this, the syndicate
would be sequestered, granted a sort of immunity or asylum, given a place
in the grander scheme.  They were the Vichy government to the German final
solution. Collaborationists whose motivation was simple, self-directed
survival.  These cloning operations were spread across the country, the
cataloging and record-keeping done through a complex intra-institutional
system that connected to every branch of government, from the social
security administration to the department of defense.  The operation under
the working title, "Purity Control" had been launched in 1948.  Its
original conception, the brain-child of German scientists given immunity
themselves from war crimes and allowed to continue the eugenics experiments
that were Hitler's dark legacy.  The Syndicate had begun as a subset of a
shadow intelligence agency whose original orders were to create plausible
denial and an effective cover-up of "Purity Control."  But through 50
years, numerous US and UN administrations, the principles began to wrest
control, accumulating power and influence across international borders.
Such that by 1990, the operation ceased to have a member accountable to any
one government and whose only orders will be taken from a man named
Strughold, a German industrialist who had fled his homeland to Northern
Africa.  These men, whose knowledge and access provided control of a
foreseeable future, had in spite of this, everything to lose.  Their secret
work, the cloning preparations and the cataloging constituted their
greatest vulnerability--exposure.  Their detection would insure not just
their own demise but a far-reaching dissolution of social and religious
order across the globe.  To protect against this, the syndicate employ
methods of disinformation, using covert government programs that had been
regrettably discovered as a kind of smoke-screen. They dodge or blind where
the transgressions of congress-accountable agencies serve to hide their own
more odious undertaking.  They had even at times used a UFO phenomena to
create a hysteria that science and the intelligentsia denounced so
completely as to make belief in believers seem ridiculous and completely
discreditable.  They had also, in a crisis, used a tool of the colonists
themselves.  Alien bounty hunters who policed the cloning operations and
enforced rule on the count-down to colonization.  A double-edged sword
whose cold-blooded tactics had helped to stem a leak or threat but who also
kept watch on the syndicate.  A threat in itself as the syndicate had
something to hide that not even the colonists knew of--a vaccine against
the black oil.  An inoculant against the substance in which the alien
life-force was held.  In fact, the very medium of the life-force itself.
To guard this secret was perhaps even more critical than the truth of the
existence of alien life and of colonization.  If the syndicate's own secret
vaccine were discovered, a vaccine that would make themselves immune from
the effects of the black-oil, they would certainly be destroyed and the
time-table for colonization stepped up.  They would protect this secret
with their lives, they would kill to protect it as a symbol of the only
hope they had of avoiding enslavement when the planet was overtaken.  That
they had been able to, over decades, conduct their work on the vaccine
undetected, was a result of a code among the syndicate members to put honor
and the future above personal politics but, now this code was beginning to
break down.   An incipient scramble for power beginning to develop, a
threat from within that doubled the threat from without--Agents Mulder and
Scully and the X-Files.


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