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Hello, my name is Rod Hardy
and I directed the episode
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"Vienen" of X-Files
that you're looking at right now.
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I see that fabulous oil rig sitting out there
in the middle of the water,
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00:00:23,760 --> 00:00:27,958
and it reminds me of our first visit
out to that thing for a location scout.
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Big waves and trying to get on board
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this particular thing
made it very difficult indeed.
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This particular scene was in the studio,
we, in fact, made...
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It was made up of three different places,
we built an interior.
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Corey Kaplan, the production designer,
who was a fabulous production designer,
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created the interior of the oil rig.
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00:00:51,120 --> 00:00:54,430
We then used a location
in South Central LA
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which was a gas company,
an old oil refinery,
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for some of the scenes with pipes, etcetera.
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And then, we also used the oil rig
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out on the Pacific, off Santa Barbara.
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This episode, for me,
was probably one of my favorites to do
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because it entailed the mythology
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and I’ve always found
these episodes of X-Files,
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the stuff that really draws me in.
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Again, here we are in a studio set.
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Still in the studio.
A lot of planning went into
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combining both the studio
and the two different locations.
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Bill Roe, director of photography,
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some of the best looking television,
I think, creating an atmosphere...
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Trying to establish
the setup of the story here.
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We have our supposed worker on the thing,
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who is about to lose his life
to a bad guy, we think,
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but the thing
you'll discover about this episode
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is that nothing is as it seems.
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Very clearly, the "Who can you trust
in life?" theory works pretty well here.
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And in this world, you can’t trust anybody.
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00:03:03,440 --> 00:03:06,910
We took some time in casting
of these extras, too.
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00:03:07,040 --> 00:03:13,195
As the story unfolds, and we discover
that the whole crew have been taken over,
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their bodies now are being used as hosts,
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and the black oil which is being mined here.
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So, to get the right faces
and to make them interesting,
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a lot of time was spent in casting
of the extras.
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The visual effects also in these shows,
are terrific.
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00:03:40,320 --> 00:03:44,677
You can see that crawling worm-like thing
under the skin, very realistic.
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00:03:52,480 --> 00:03:56,359
This young man, playing the one
that's being strangled, as we speak,
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00:03:56,440 --> 00:03:58,795
terrific young actor,
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no dialogue at all, but was able
to show the fear and the terror in his face.
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00:04:08,200 --> 00:04:10,714
Now, there's classic X-Files.
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You’ve got to love this stuff.
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Again, great visual effects,
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and a really terrific teaser
for any X-Files fan.
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00:04:26,200 --> 00:04:30,159
As I hear this music, I
might say it reminds me that...
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00:04:30,240 --> 00:04:34,597
I actually was lucky enough to be involved
in three of the episodes of Season 8,
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00:04:34,680 --> 00:04:40,915
and this particular one was the first one
that David Duchovny came back into,
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having spent some time out of the series.
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00:04:44,520 --> 00:04:49,355
And so, his arrival
was filled with much anticipation.
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The dynamics were interesting,
Doggett was now in the series.
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David had been out of the show
for some time.
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00:04:58,880 --> 00:05:03,795
And so, I kind of felt
there was a sense of anticipation,
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00:05:03,880 --> 00:05:05,677
and wondering what David would be like.
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00:05:09,400 --> 00:05:12,153
And I might say, it was an absolute delight
to work with the full cast.
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00:05:12,240 --> 00:05:14,151
They were all professionals,
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00:05:14,240 --> 00:05:17,676
and everybody worked
extremely well together.
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00:05:24,280 --> 00:05:28,319
A tricky one for Robert, I might say,
because David had set the series up,
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and had certainly been there
as the leading player,
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00:05:31,800 --> 00:05:34,519
and then when he left,
Robert took over that role,
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00:05:34,600 --> 00:05:37,831
and suddenly, there was the leading player
back into it again.
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00:05:37,920 --> 00:05:40,673
But the ever pro,
our Robert, he is a terrific actor.
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He really carried it off extremely well.
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00:06:04,800 --> 00:06:09,715
Now, this scene was one of the first
scenes to be shot in this episode.
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00:06:13,120 --> 00:06:18,911
And there's the good stuff, too,
there's the gory bits of X-Files.
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00:06:19,000 --> 00:06:22,276
The makeup was always a treat to do,
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00:06:22,400 --> 00:06:25,949
and in this particular one,
when anybody was affected by the oil,
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or they were burnt,
there were bodies all over the place
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as you'll see as the story unfolds.
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00:06:58,480 --> 00:07:00,755
This information coming out
from Robert now, I remember
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was such a, it's a very...
If you listen to the dialogue...
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Damn, what a mouthful,
and what a way he delivered that line.
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I might say, it wasn't a simple one
for him to do first up,
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00:07:19,840 --> 00:07:21,478
but it was only a couple,
three takes maybe,
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00:07:21,560 --> 00:07:23,710
before we were able to get
the whole thing in one take.
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00:07:32,160 --> 00:07:34,799
Great chemistry on-screen these two, too.
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00:07:34,880 --> 00:07:37,235
I would have loved to have done more
episodes with both of them together.
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00:07:37,760 --> 00:07:40,558
I think they play off each other pretty well.
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00:08:09,240 --> 00:08:13,438
Miguel Sandoval was
the Spanish gentleman
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that was here to tell the story of how
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the oil well was having problems
and bodies were being found, etcetera.
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00:08:21,000 --> 00:08:25,596
Here 's Mitch Pileggi.
I worked with Mitch on a series after this.
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00:08:25,680 --> 00:08:29,309
In fact, just recently,
called The Mountain, up in Vancouver.
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00:08:29,400 --> 00:08:31,914
It was nice to see him again,
playing a totally different role.
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This was actually
the very first scene of the episode,
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00:08:41,760 --> 00:08:47,437
and you have every player of the series
in the one room, David’s very first scene.
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It was interesting dynamics.
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00:09:04,520 --> 00:09:11,437
The X-Files was the first episodic television
production that I did in the United States.
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Having been a director in Australia
for some years,
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I had moved to the United States to work
in movies of the week and miniseries.
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00:09:21,880 --> 00:09:24,553
Having had the opportunity
of working with some terrific actors
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like Anjelica Huston and Michael Caine
and Pierce Brosnan and Kris Kristofferson
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and a whole bunch of others,
Melanie Griffith, etcetera.
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That to come to this show and work
with a cast of this caliber was just terrific.
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But I'd never done episodic television
in the States before, I'd done it in Australia.
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So, I was surprised
after having done an episode...
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00:09:44,680 --> 00:09:50,630
Sorry, a remake of High Noon,
the classic Western for TBS
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00:09:50,720 --> 00:09:54,918
that somebody saw it at The X-Files
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and l was then offered a couple of episodes
to come and do.
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As I said, it was the first television I'd done
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and what a great opportunity
to work on a series
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as large as this one was.
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Maybe later in the series, but it was still...
Every episode was like a little movie.
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And the attitude of everybody
working on the production
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after eight seasons
was absolutely, fully professional.
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From Bill Roe the DP,
right through the whole thing.
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00:10:28,080 --> 00:10:31,470
It was as if
they had just started making the series.
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00:10:31,560 --> 00:10:32,629
And I think that's what shows
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on the screen very clearly,
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the professionalism of everybody.
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00:10:36,560 --> 00:10:39,870
And trying to achieve the very best.
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00:10:39,960 --> 00:10:44,636
You know, an episode of this was
being made for the same amount of money
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that we’re about to make
a feature film for in Australia.
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00:10:47,080 --> 00:10:50,834
So, that's an interesting challenge
for a one-hour episode.
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So, here we are, arriving at the oil rig.
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We did one day's filming on the oil rig,
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which started at first light
and finished at last light.
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00:11:02,440 --> 00:11:06,877
There was a lot to be done,
but a lot of preparation went into it.
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00:11:06,960 --> 00:11:12,592
Including the chopper to chopper shooting,
and storyboarding sequences, etcetera.
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00:11:15,160 --> 00:11:16,832
And it was quite a challenge to take on
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that we were gonna
get all this done in one day.
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00:11:19,760 --> 00:11:21,910
Hopefully, the weather
wasn't gonna turn on us
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’cause that would make it
extremely difficult.
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You're right out in the middle of nowhere.
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00:11:26,800 --> 00:11:29,758
And I might say,
standing up on this helicopter pad
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was probably the most scary thing
I've ever done in my life.
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00:11:32,520 --> 00:11:36,115
And going down those steps,
just prior to these steps,
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I gotta tell you,
I looked over the edge of that thing,
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00:11:39,680 --> 00:11:42,353
and it's like about 300-400 feet down.
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It brings the chills to the back of my spine
as I speak, right now.
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And particularly when the wind picks up,
you really are very vulnerable out there.
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The challenge was always trying to find
ways of making this thing work.
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00:12:04,920 --> 00:12:06,512
As I said,
there were three different locations.
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The studio, the oil refinery,
old gas place down at South Central
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00:12:11,760 --> 00:12:14,638
and then the oil rig out on the water.
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And people were walking
in and out of shot.
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So, trying to keep that continuity going,
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00:12:19,840 --> 00:12:23,879
and not just the normal continuity,
but the continuity of performance etcetera.
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It seems to flow very well.
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00:12:36,040 --> 00:12:39,316
Nice tension
between the two characters here.
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And I think,
that's what kept this stuff alive.
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That you're watching
a story about the unknown,
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00:12:46,840 --> 00:12:48,956
but in fact, you really care
about each of these characters
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and how they feel about each other.
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Gillian spent most of the time
on this episode back at base.
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So, there were very few scenes
where we were able to all be together in it.
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Apart from that first scene I mentioned,
which was in the office.
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When you looked at the episode
with the full dialogue, without me
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talking over the top of it,
did you get the sense...
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00:13:40,000 --> 00:13:44,516
At the beginning,
did you know who were the bad guys?
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Hopefully, that unfolded very slowly, so,
you were able to be drawn into the story.
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But I thought
this guy's face and his whole persona
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was something really interesting
that we were able to turn him into...
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00:13:55,400 --> 00:13:58,358
At the beginning, he seems
the very supportive foreman on the oil rig,
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but at the end of the day, of course,
he's one of them.
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These were my favorite moments, too.
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You know,
watching those eyes change and turn.
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00:14:21,640 --> 00:14:25,349
So once again,
here we are out on this oil rig.
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We had two cameras operating.
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And to try
and get a sense of the whole thing,
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we took dialogue scenes like this
and just got them to walk around the thing.
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So, at least you got a feeling
of the whole location.
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00:15:00,120 --> 00:15:03,396
Steadicam used quite a bit
on this particular location.
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'Cause you can appreciate
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it's quite a dangerous place to be
out on one of these oil rigs.
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And because of the oil, etcetera,
the floors can be fairly slippery.
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But Steadicam seemed to, sort of,
fit and blend in quite well.
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And some of the shots we were able to get,
I thought were quite amazing
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considering the fact
that we had to rehearse them
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probably once,
and maybe twice at the most
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and suddenly have to shoot them.
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That's one of the great lines.
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"You could find a conspiracy
at a church picnic. "
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I'll tell a story
about this particular dummy here.
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Here 's a secret.
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00:16:15,240 --> 00:16:20,109
Underneath that sheet,
is a rather large rubber penis.
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00:16:21,880 --> 00:16:24,713
Practical jokes were regular
on the scene of X-Files,
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00:16:24,800 --> 00:16:27,837
which was terrific ’cause they were
just like one big family, the crew,
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00:16:27,920 --> 00:16:30,150
they had been together for so long.
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00:16:30,240 --> 00:16:34,438
But they would tease
and play on Gillian quite a lot.
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And I remember when it was first revealed,
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this rather large, rubber device,
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the look on her face was very funny,
and she dealt with it extremely well.
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I'll leave it at that.
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That question is always there in X-Files,
isn’t it? "Why?"
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Keeps the story driving fon/vard.
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00:17:35,000 --> 00:17:37,434
That shot you just saw then
was something we shot
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first up in the morning
as the sun was coming up.
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00:17:39,960 --> 00:17:42,713
We took advantage of
every moment of light to get something
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00:17:42,800 --> 00:17:46,349
because, as I said,
we only had the one day to achieve
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the whole shooting on the rig itself.
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00:18:34,880 --> 00:18:39,112
And so, we’re about to see
the oil drip from his body.
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Molasses, chocolate syrup,
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00:18:44,360 --> 00:18:47,750
all used to at least start the journey
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00:18:47,840 --> 00:18:50,149
of the oil coming out
of the mouth and eyes.
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00:18:50,240 --> 00:18:53,869
Mostly out of the eyes, the rest of it
is put in by visual effects at a later stage.
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00:18:59,200 --> 00:19:02,636
I might say,
the guy that had the oil dripping on him
199
00:19:02,720 --> 00:19:04,472
had to put up with
a hell of a lot of that stuff
200
00:19:04,560 --> 00:19:06,551
pouring down his throat, I can tell you.
201
00:19:06,640 --> 00:19:12,112
It was about, I think, nine takes
to get the oil to spill in the right places.
202
00:20:39,200 --> 00:20:42,397
And you think about the fact
that this oil rig
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00:20:42,480 --> 00:20:47,156
is set supposedly in the Gulf of Mexico,
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00:20:48,040 --> 00:20:51,271
and is some distance off the coastline.
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00:20:52,320 --> 00:20:54,675
You know, 100 miles,
200 miles off the coastline
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00:20:54,760 --> 00:20:58,435
where people actually do live
and work on these rigs.
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00:20:58,520 --> 00:20:59,953
A pretty lonely place,
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00:21:00,040 --> 00:21:05,751
and a fabulous type of place
to set a horror story like this one.
209
00:21:05,840 --> 00:21:09,913
Because the isolation alone
sets up many things.
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00:21:15,280 --> 00:21:19,193
We're on a set...
We 're in the studio right now.
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00:21:19,280 --> 00:21:20,998
This is all still in the studio.
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00:22:03,880 --> 00:22:07,350
Just while this scene takes place,
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00:22:07,440 --> 00:22:12,560
I'm sure you've probably,
on other DVDs about The X-Files,
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00:22:12,640 --> 00:22:14,278
the series was
215
00:22:16,400 --> 00:22:20,871
made with a seven-day
pre-production phase,
216
00:22:20,960 --> 00:22:25,351
and then a nine-day shoot with main unit
217
00:22:25,440 --> 00:22:29,399
and then up to two days with second unit.
218
00:22:29,480 --> 00:22:30,833
Some episodes went on much longer
219
00:22:30,920 --> 00:22:32,990
because of their involvement
and complication,
220
00:22:33,120 --> 00:22:36,669
but this particular episode
was done in the 11 days.
221
00:22:37,760 --> 00:22:40,558
And there's a lot involved
222
00:22:40,640 --> 00:22:45,236
in doing this much work in those 11 days.
223
00:22:46,080 --> 00:22:49,436
The work day was probably
between 13 and 14 hours.
224
00:22:52,920 --> 00:22:56,117
So, we 'd start very early in the mornings
and work till very late at night.
225
00:22:56,200 --> 00:22:58,953
And sometimes the locations
were an hour and a half out of town,
226
00:22:59,040 --> 00:23:03,875
so you'd be on the road for 16 hours a day,
which was quite a feat.
227
00:23:03,960 --> 00:23:05,552
The crew who did the series,
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00:23:05,640 --> 00:23:08,393
I don 't know how they kept doing it,
episode in, episode out.
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00:23:08,480 --> 00:23:11,631
But they did it with a smile on their face.
230
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I'd love to see a reel of shots put together
of all the special effects makeup
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that was done on X-Files
over the nine seasons.
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There 's some stunning stuff.
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They may not look like it
in this particular shot,
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but just even coming up and
going down these steps was pretty hairy.
235
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And the actors on this particular shot
probably did this four or five times.
236
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It's a good 100—foot drop down there.
237
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To be on board one of these things
during a big cyclone or something,
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I would imagine,
would be quite an experience.
239
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Keeping the crew together
and making sure that everybody was safe
240
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and in the right place
so that nothing happened,
241
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we had safety and security people with us.
242
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But there it is,
everywhere you look, it's water.
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Although, there is a part of it,
which is coming up very soon,
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just on the right-hand side of this shot
that’s, in fact, the mainland.
245
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So, we had to keep
moving the camera around
246
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so that we didn’t see any of that land.
247
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So, we just kept getting the impression
that we’re out at sea.
248
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Of course, the occasional speedboat
249
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in the background
250
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that we didn’t want to see, all those things.
251
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Now, we’re back at the oil refinery
down in South Central.
252
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So, as you can see, the whole thing
blended together quite well.
253
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Of course, if that's the Black Oil,
what’s gonna happen to him?
254
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So, special effects department
were brought to the fore here.
255
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And in the studio, we created the fire.
256
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Obviously, we couldn't have any
naked flame out on the oil rig itself.
257
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So, all this sequence
was filmed in the studio.
258
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The set did almost burn to the ground,
259
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but we had to keep as much as possible,
260
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so it wouldn't burn down
because there were scenes to follow
261
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that we would shoot
in six subsequent sequences.
262
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Another great face.
263
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This kind of character development
in X-Files works extremely well.
264
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Each of the characters have a story
and a relationship.
265
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And as much as we’re looking
at the science fiction, the horror,
266
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the whatever else goes on in X-Files,
you really care about these people.
267
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They've spent a lot of time together,
you can tell that.
268
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Doing episodic television
is always quite interesting.
269
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The shoots are usually
around seven, eight days.
270
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X-Files having an extra day there, the ninth,
271
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and then the second unit being two days,
ten and eleven.
272
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But getting these shows shot on time
is really the key issue.
273
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But X-Files in particular because of
274
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all the visual effects etcetera,
usually uses that time up quite efficiently.
275
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Here we are, after the fire.
276
00:30:00,360 --> 00:30:03,079
Art department came in,
it wasn 't just a matter of burning the set.
277
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Art department had to come in and spray
black paint, etcetera, to create the illusion
278
00:30:08,040 --> 00:30:12,158
because we couldn't allow the sets to burn
because they would eventually.
279
00:30:12,240 --> 00:30:14,708
They’re not real, it's not metal.
280
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It was made with wood
281
00:30:16,840 --> 00:30:18,068
and various other substances.
282
00:30:18,160 --> 00:30:21,550
So, the art department would come in
and make it look like it's been burnt out.
283
00:31:37,480 --> 00:31:41,234
l was saying before about these episodes
done in the times that they’re done,
284
00:31:41,320 --> 00:31:46,235
it always is quite surprising that
there 's no rehearsal time allowed actually.
285
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The rehearsal is done exactly
prior to shooting the scene.
286
00:31:50,640 --> 00:31:54,474
So, I think the level of performance
works out extremely well.
287
00:31:57,480 --> 00:31:59,311
And this is all about performance.
288
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I mean, the scripts are very solid and
then the next thing is performance,
289
00:32:04,040 --> 00:32:06,315
and this cast, I think,
worked together extremely well,
290
00:32:06,400 --> 00:32:09,790
but more importantly,
they make something of these scenes.
291
00:32:09,880 --> 00:32:11,871
They keep drawing the audience into it.
292
00:32:16,000 --> 00:32:19,072
Some of the favorite bits of working
on X-Files for me was,
293
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the script meetings one would have
with Chris Carter and Frank Spotnitz
294
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and the writers,
295
00:32:26,040 --> 00:32:30,477
where you could see that this team that
had been working together for a long time,
296
00:32:30,560 --> 00:32:35,714
just knew how to solve some of these
problems. "What’s this all mean?"
297
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I would ask the question,
"What does it mean?"
298
00:32:40,000 --> 00:32:42,594
And there was always
a solution to something.
299
00:32:45,800 --> 00:32:48,598
Chris would sit on the floor in his office,
300
00:32:48,680 --> 00:32:51,956
at the coffee table with his computer,
301
00:32:52,040 --> 00:32:55,749
and every time there was
a question that you had, a difficulty,
302
00:32:55,840 --> 00:32:57,478
suddenly, he'd be there, typing away
303
00:32:57,560 --> 00:32:59,437
and up would come,
a solution to the problem.
304
00:33:04,040 --> 00:33:06,952
Chris and Frank worked
extremely well together
305
00:33:07,040 --> 00:33:11,272
and I had the fortunate opportunity
to work with Frank Spotnitz
306
00:33:11,360 --> 00:33:15,399
on a follow-up series
called Robbery Homicide Division
307
00:33:15,520 --> 00:33:19,069
produced by Michael Mann,
starring Tom Sizemore.
308
00:33:19,160 --> 00:33:24,188
Frank was the producer on the
first part of the season of that series.
309
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It only lasted one season, unfortunately.
310
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But it was nice to work with Frank
on Robbery Homicide Division.
311
00:33:30,960 --> 00:33:35,795
And Bill Roe,
who also was the DP on X-Files.
312
00:33:36,760 --> 00:33:41,880
We 'd shot...
The X-Files is done on film, of course.
313
00:33:41,960 --> 00:33:47,796
Robbery Homicide Division was 24p,
which is this... Digital images,
314
00:33:48,400 --> 00:33:52,552
and it still is early days
with this technology
315
00:33:52,640 --> 00:33:55,916
and it's getting better all the time,
but Robbery Homicide Division
316
00:33:56,000 --> 00:34:01,358
was certainly up there as being
one of the earlier shows to do 24p,
317
00:34:01,440 --> 00:34:05,479
and Bill's abilities to go from film
to digital is quite extraordinary.
318
00:35:57,680 --> 00:36:00,831
We 're leading up to
the big finale of the stories.
319
00:36:00,920 --> 00:36:04,515
They're now on the oil rig and they now
have to find their way off the oil rig.
320
00:36:04,640 --> 00:36:10,078
And of course, the cavalry is on its way,
but will it make it in time?
321
00:36:10,160 --> 00:36:16,110
This part of the sequence, I quite
enjoyed shooting because it revealed
322
00:36:16,240 --> 00:36:19,789
as you'll see now, that the whole crew
323
00:36:19,880 --> 00:36:24,237
are basically already taken over
by the Black Oil.
324
00:36:35,640 --> 00:36:37,198
The conspiracy grows.
325
00:36:47,240 --> 00:36:50,357
That would be the last shot
we ever shot on this particular story,
326
00:36:50,440 --> 00:36:53,512
was the sunset shot you just saw then.
327
00:36:53,600 --> 00:36:56,717
As I said, we started at first light
and finished at last light.
328
00:37:58,360 --> 00:38:02,831
David has that wonderful ability
at delivering lines like that one.
329
00:38:02,920 --> 00:38:05,559
He has a great sense of humor and
I think that's one of the reasons
330
00:38:05,640 --> 00:38:09,155
why the character was able to be
so appealing to an audience.
331
00:38:09,240 --> 00:38:13,199
It's that sense of irony, etcetera.
332
00:38:59,120 --> 00:39:02,032
That classic X-Files lighting.
333
00:39:02,120 --> 00:39:04,509
The smoke, the back-lit smoke
334
00:39:05,920 --> 00:39:10,038
really is a signature of the production.
335
00:39:10,160 --> 00:39:12,594
And you got to love it.
336
00:39:12,680 --> 00:39:16,468
And now, we’re moving into a sequence
that was completely storyboarded
337
00:39:16,600 --> 00:39:20,195
because we were shooting between
the three different locations once more.
338
00:40:08,040 --> 00:40:10,235
So, the oil rig is about to blow up
339
00:40:10,320 --> 00:40:13,232
and our heroes have to get off the thing
as best as they can.
340
00:40:14,680 --> 00:40:18,992
The helicopters arrive,
but they can’t land because if they do,
341
00:40:19,080 --> 00:40:24,677
these guys with the Black Oil
will obviously take them over.
342
00:40:24,800 --> 00:40:27,360
So, our heroes
now have to find a way off it.
343
00:40:34,720 --> 00:40:37,712
And as the oil rig slowly,
but surely gets destroyed...
344
00:40:53,760 --> 00:40:56,228
Visual effects are creating
the flames, of course,
345
00:40:56,320 --> 00:40:59,596
because we couldn't set a naked flame
on the oil rig.
346
00:41:14,520 --> 00:41:17,398
Props men in the foreground rattling pipes
347
00:41:18,360 --> 00:41:20,874
to create the illusion of the thing
about to blow up.
348
00:41:29,400 --> 00:41:32,995
Green screen shots, actors in studio
in foreground with the green screen
349
00:41:33,080 --> 00:41:36,072
and then, of course,
we add in the chopper aften/vards.
350
00:41:50,320 --> 00:41:54,472
It's almost like Butch Cassidy and
the Sundance Kid as they jump off the cliff.
351
00:41:55,280 --> 00:41:57,794
The effects that you see happening now,
352
00:41:57,880 --> 00:42:01,919
a number of them were there
on the night when we shot this sequence,
353
00:42:02,040 --> 00:42:05,077
and then, of course, like in this shot,
they were added in.
354
00:42:05,200 --> 00:42:06,599
The oil rig falling apart, etcetera,
355
00:42:07,040 --> 00:42:08,439
all added in at a later stage.
356
00:43:03,480 --> 00:43:06,153
So, Mulder is back and then Mulder is gone.
357
00:43:08,000 --> 00:43:12,755
Of course, the following episodes,
he found a way back in again
358
00:43:12,840 --> 00:43:15,991
and was able to lead the story
to its conclusion.
359
00:43:37,880 --> 00:43:42,158
My opportunity to work on X-Files,
I was very grateful for.
360
00:43:42,240 --> 00:43:45,277
I did three episodes,
this one being one of my favorites as I said,
361
00:43:45,360 --> 00:43:47,191
because of the mythology story.
362
00:43:47,760 --> 00:43:51,435
But a great opportunity
to work on a great series
363
00:43:51,520 --> 00:43:53,715
and I am pleased that I had that chance.
364
00:44:03,320 --> 00:44:04,719
So, thank you for listening.
32091
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