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This is Kim Manners and | directed this
episode of The X-Files called "Existence".
2
00:00:05,600 --> 00:00:08,831
I love dripping water.
I don't know if the fans will notice
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00:00:08,920 --> 00:00:12,356
but I use dripping water
a lot in my episodes.
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00:00:12,440 --> 00:00:14,078
I think it creates great mood.
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This is part two of a two-parter.
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In this box is Billy Miles' body,
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who fell off of a building
into a garbage truck,
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where he was ground to pieces,
and this is his body.
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This vertebra,
which was really completely a|| CGI,
10
00:00:39,960 --> 00:00:44,351
we took the one vertebra
and we put it on a drill motor
11
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and spun it a couple of times
to give him a reference plate
12
00:00:47,640 --> 00:00:49,835
and then he painted all the rest of it.
13
00:00:49,920 --> 00:00:51,069
Really well done.
14
00:00:54,400 --> 00:00:56,391
John Wash is a terrific visual effects guy.
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00:00:56,480 --> 00:00:59,153
He and Mat Beck have done
some great work.
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This is really one great gag coming up.
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All that's left of Billy Miles.
18
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We had to set this just so
because of the effect that we had to create.
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So that actor had to set that vertebra down
just so and just in exactly the right spot
20
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for the rest of the effect to work.
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We had to hook it up to a drill motor
and we only had one spot to do that.
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We actually had a drill motor underneath
the table, which would spin the vertebra.
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So it had to be sat on its side like that.
24
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It is totally seamless. We did the camera
move and John Wash did the rest.
25
00:02:09,840 --> 00:02:13,549
All we did was do a camera move on
nothing, and he painted in the rest of it.
26
00:02:14,600 --> 00:02:18,388
What's interesting now watching it,
we had to set that thing down just so,
27
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yet as it started to spin, it stood up.
28
00:02:21,720 --> 00:02:25,872
So the element that we shot for John,
he just used as a reference.
29
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I shot these.
David doing his own descender.
30
00:02:33,960 --> 00:02:38,829
We dropped him out of the grids
on stage 11, I believe.
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00:02:41,320 --> 00:02:43,629
We had him up 36 feet in the air on a wire
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and dropped him backwards. He was
a real trooper, cos there was no fall pads.
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He was in a descender,
which has got a brake.
34
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It stops him just before he hits the floor.
35
00:02:55,880 --> 00:02:58,678
This was shot up on Kanan Road in Malibu.
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I don't know what state we're supposed
to be in here. I think Georgia somewhere.
37
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The girls are being towed here
on an insert car. They're not driving at all.
38
00:03:16,600 --> 00:03:22,152
They can't touch the wheel because
if they turn the wheel, it'|| cross up the car.
39
00:03:27,200 --> 00:03:29,714
And the whole crew is on the insert car.
40
00:03:29,880 --> 00:03:32,872
I've got video monitors
so I can see what the cameras are seeing.
41
00:03:33,480 --> 00:03:38,156
The cinematographers are on there,
the script supervisor, camera assistants.
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00:03:38,280 --> 00:03:41,989
We're all riding on the back
of a wide open pick-up truck type thing.
43
00:03:50,280 --> 00:03:51,633
This was shot with one camera.
44
00:03:51,720 --> 00:03:55,554
We did overs and singles.
You couldn't put two cameras side by side.
45
00:03:55,640 --> 00:04:01,476
But often with a scene like this
we'll go, say, over Scully to Monica Reyes,
46
00:04:02,360 --> 00:04:04,316
which would be a raking two-shot,
47
00:04:04,400 --> 00:04:08,109
and we might put a B camera on the hood
and get a single of Monica at the same time.
48
00:04:08,920 --> 00:04:09,955
This scene, however,
49
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wasn't shot that way.
50
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This is the kind of shot I like to do.
I don't like to shoot masters.
51
00:04:26,360 --> 00:04:29,557
I'd rather give the audience
a geography shot,
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which will do some pass-offs
and hand-offs like that.
53
00:04:33,120 --> 00:04:35,509
We racked from Skinner to Doggett
and panned to Mulder,
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which tells the audience where everybody is
without doing a shot like this, a master.
55
00:05:08,240 --> 00:05:12,392
Krycek's been trying to tell them all along
about these supersoldiers.
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He holds all the cards in this scene.
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Agent Crane, who's actually a supersoldier.
At this point we don't know that.
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00:05:48,400 --> 00:05:51,119
This is at Fox on stage five.
This is Skinner's office.
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There's Knowle Rohrer. Also a supersoldier.
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00:05:59,560 --> 00:06:01,869
This was shot at the old Paramount ranch.
61
00:06:01,960 --> 00:06:05,748
This was originally written
to be a farmhouse.
62
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The girls were gonna drive to a farmhouse.
63
00:06:08,760 --> 00:06:11,399
We were gonna play
all of this sequence in one house.
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00:06:12,000 --> 00:06:15,390
I went to Chris and said "I'd really rather
play this in an environment."
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"There's so much work to be done here."
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00:06:18,280 --> 00:06:22,398
I said "There's an old Western town
at the Paramount ranch."
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He said "A Western town? How are we
gonna justify that for the story?"
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Sure enough, we call it Rock something.
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I don't remember
what we called the name of the town.
70
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We just called it an abandoned ghost town.
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It had a natural spring and the spring
went dry. That's how we justified this.
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But at least I had an opportunity to play in
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an environment which
spread my scenes out,
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so that it's much scarier
than just in one house, one farm.
75
00:06:55,680 --> 00:06:59,832
And I love the way this photographed.
We used a real...
76
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Not steel blue. I can't remember.
Billy Roe would know.
77
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But there's a very unusual
kind of a white blue
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that almost makes these buildings in the
background photograph black and white.
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All the detail here on the set. All the spider
webs that the effects department blew in.
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She's very, very good at cleaning,
which you'll come to see here.
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Before she was an FBI agent
she worked for Molly Maids, I think.
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She's gonna go outside
and have a cigarette.
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There she goes, sneaking a smoke.
84
00:08:11,080 --> 00:08:12,752
That star has great significance.
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I don't know if anybody picked up on this
when they first saw this episode
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but that would be akin
to the Star of Bethlehem.
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This is the first time Doggett gets
the information about the supersoldiers
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and the secret government project
to build a supersoldier.
89
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And, of course,
it's all a lie coming from Knowle Rohrer
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because he in fact is a supersoldier.
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I miss working with the Syndicate.
They were great, great guys.
92
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The actors themselves were wonderful.
93
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I miss John Neville, and the scenes
with Bill Davis and John Neville.
94
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And we had an actor - Don. I can't think
of Don's last name, but a big gentleman.
95
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The Syndicate office
was always such a rich environment.
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Rob Bowman and I decided that...
Actually Rob set the style for the Syndicate.
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Big faces in the foreground and
then shadowy figures in the background.
98
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It was a real style choice
and it worked well for all of those guys.
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It made them all look very powerful.
100
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Because they were so mysterious,
you really never got a good look at 'em.
101
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They were a sinister bunch.
102
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When we moved the show from Vancouver
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to LA, the Syndicate
took on a different look.
104
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We shot with them only a couple times
but never
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could capture the great character faces
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that we had in Vancouver here in LA.
107
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Krycek here sets up Skinner pretty bad.
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He's gonna leave him for Billy Miles.
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This was a very tough stunt
that's coming up here.
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00:11:29,080 --> 00:11:30,638
We got Mitch in the elevator
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and this was a steel arm that comes
through and just misses Mitch's head.
112
00:11:38,120 --> 00:11:41,192
It looked like it hit him,
but it was solid steel.
113
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If Mitch would have leaned to his left
two inches, he could have been killed.
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That was a very difficult stunt right there.
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00:12:10,640 --> 00:12:14,394
There was a great bit ofjoking,
the day we shot that scene,
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about the feminine napkin
that Skinner was wearing on his forehead.
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He took a lot of razzing.
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I always marvel
when I look at these episodes.
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Here we have David Duchovny with stitches.
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If we played an episode
where we collectively saw the scars
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of all of their wounds over the nine years,
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these guys would look
like the elephant man.
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They sure heal good, don't they?
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Robert's got a great face for the camera.
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The camera loves photographing
Robert and Gillian.
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You can't put the wrong lens in their face.
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Here we go. The house-cleaning scene.
128
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You have to have a proper place
to have a baby, now, don't you?
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And this is the whale-song scene.
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Annabeth now is gonna sing whale songs.
131
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She suffered a lot of razzing doing this too.
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I told her if acting doesn't work out,
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she could always get
work as a marine biologist.
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00:14:49,640 --> 00:14:52,518
We got a tape of
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whale songs and we gave it to
Annabeth and she thought we were crazy.
136
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And I said "No, coming up in the next
episode, you have to do some whale songs."
137
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So she took the tape home and listened
to it, and she was a trooper.
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00:15:05,120 --> 00:15:09,159
She really did do her best
to recreate the sounds of a whale.
139
00:15:09,280 --> 00:15:12,716
It was embarrassing for her cos
she was standing in front of the whole crew,
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sounding like a fool
or making a fool of herself.
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But that's what acting's all about, I guess.
142
00:16:18,320 --> 00:16:21,596
Annabeth hadn't worked much with guns
before this television series.
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We actually got her
with a retired LAPD guns expert.
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He took her out to the range
where she fired live ammunition,
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so she knew what it was like.
146
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She didn't know how to hold a gun.
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When she was firing blanks,
she'd squint and flinch.
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So we had to give her special gun training.
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This was shot with a ten-millimeter lens,
this crane shot coming up.
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Right here.
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Bang. That car missed the lens by about
six inches. That's a ten-millimeter lens.
152
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And the stunt girl stepped
out of the way at the last second.
153
00:17:04,000 --> 00:17:06,355
We armed out of the sky and into the grill.
154
00:17:06,520 --> 00:17:09,876
But that car was tied off.
It was what we call a dead man.
155
00:17:10,160 --> 00:17:14,438
It had a cable going from the rear axle to
a gravel truck parked up around the corner,
156
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and some chivs so it could only go so far,
157
00:17:17,400 --> 00:17:20,756
but it kept stretching that cable
and l was praying we didn't hit that lens
158
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cos it would have cost probably $60,000
had we hit the camera.
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At least.
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This is the perfect scene
that redefines the words "Trust no one".
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This woman is actually an alien.
162
00:18:08,520 --> 00:18:10,476
You just don't know
who to trust on The X-Files.
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This is the underground garage of
the FBI headquarters, shot in Century City,
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right across the street
from the studio here at Fox.
165
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And this is an interesting story because
the entire end of this movie was my idea.
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It was originally written as a foot chase
inside the hallways of the FBI
167
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between Knowle Rohrer and Agent Crane
and Agent Doggett and AD Skinner.
168
00:19:21,480 --> 00:19:25,837
And when I read it, I said
"Guys, this is a little Keystone Kops."
169
00:19:25,920 --> 00:19:28,115
I said "Why don't we do a big car chase?"
170
00:19:28,920 --> 00:19:33,436
And Chris liked the idea
and we worked together
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on designing what you'll eventually
see at the end is,
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00:19:38,040 --> 00:19:39,917
I think, a pretty spectacular car chase
173
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and some pretty spectacular stunt work
done by the actors themselves
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and some great special effects explosions.
175
00:19:46,200 --> 00:19:49,112
It was more exciting
to intercut with the birth of the baby
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than a foot chase down halls and staircases.
177
00:19:53,680 --> 00:19:56,433
This show really was a work in progress.
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As we were shooting it,
we were still writing it.
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It was actually very exciting
because it was really working from the hip.
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I think Chris and l were working together
to make it as good as we could make it
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and just continuously work on it
while we were shooting it.
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00:20:14,280 --> 00:20:17,829
So there wasn't a lot of prep time,
but I think we
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came up with the best product possible.
184
00:21:02,680 --> 00:21:07,959
This was David's swan song with the show.
This was his last episode.
185
00:21:11,880 --> 00:21:15,077
He had only done
I think six episodes in season eight.
186
00:21:15,160 --> 00:21:17,549
This was his last one
and he wasn't coming back.
187
00:21:18,520 --> 00:21:23,594
At the end I'll tell an interesting story
about David and Gillian's last kiss.
188
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We've got a real tough stunt coming up
called a ratchet.
189
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The stunt girl -
her name is Laura Albert - right there.
190
00:22:33,600 --> 00:22:36,194
And she's literally on a cable
that's pulled pneumatically
191
00:22:36,920 --> 00:22:39,673
and she's flying probably
about 30 miles an hour.
192
00:22:40,600 --> 00:22:44,513
Originally she was gonna hit the wall
of that barn and I couldn't let her do it.
193
00:22:44,600 --> 00:22:47,876
She was travelling too fast.
So I had her hit some fall pads.
194
00:22:47,960 --> 00:22:52,511
If you'll notice, I cut out of Laura flying
to Annabeth hitting the wall.
195
00:22:53,640 --> 00:22:55,551
Annabeth came from behind camera
196
00:22:55,640 --> 00:22:59,110
and just threw herself into the wall
with some back pads on and then slid down.
197
00:22:59,960 --> 00:23:06,638
But it was Annabeth who was sold out.
It was a painful little thing to do.
198
00:23:13,120 --> 00:23:15,076
And this was not easy.
199
00:23:15,560 --> 00:23:19,189
We drug this poor guy over and over and
over again and the girls were getting tired.
200
00:23:43,760 --> 00:23:47,514
To get a shot like this, over a guy
laying on the ground up to Annabeth,
201
00:23:48,040 --> 00:23:51,510
we actually put him on apple boxes
and a half a sheet of plywood
202
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and elevate him up off the ground,
203
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and then use what we call a prism,
which is a 45-degree mirror,
204
00:23:57,800 --> 00:23:59,392
that we can get underneath his head.
205
00:24:00,160 --> 00:24:03,596
But he's actually a foot off the ground
and when Annabeth kneels down to him,
206
00:24:04,160 --> 00:24:07,277
you can't tell the difference
that he's a foot off the ground and she isn't.
207
00:24:08,120 --> 00:24:10,680
I don't know why that is,
but thank God it works.
208
00:24:22,680 --> 00:24:24,636
There's a lot of cool stuff in this episode.
209
00:24:24,720 --> 00:24:27,473
The killing of Krycek is one
of the best scenes
210
00:24:27,720 --> 00:24:29,756
l have seen in a long time on television.
211
00:24:49,480 --> 00:24:50,879
This was shot downtown.
212
00:24:51,880 --> 00:24:55,236
That staircase was shot downtown
the day that we did the rooftop.
213
00:24:59,600 --> 00:25:02,558
A 360-degree come-around
with a Steadicam.
214
00:25:03,040 --> 00:25:04,837
We lit the whole set.
215
00:25:12,200 --> 00:25:15,988
This is back on stage five.
This is the FBI hallways.
216
00:25:36,840 --> 00:25:39,752
This is Doggett.
He's eavesdropping here on a
217
00:25:40,120 --> 00:25:42,395
late-night meeting between Agent Crane
218
00:25:43,400 --> 00:25:47,029
and for those of you
that don't know who he's been talking to,
219
00:25:47,120 --> 00:25:52,638
he's been talking to Deputy Director Kersh,
who's part of this as well.
220
00:25:52,960 --> 00:25:54,951
Or so we're led to believe in this episode.
221
00:26:09,640 --> 00:26:11,471
This was all shot in the same hallway.
222
00:26:12,120 --> 00:26:16,477
We just changed the set dressing around
so you think you're in different hallways.
223
00:27:02,720 --> 00:27:04,438
We've got a gag coming up here
224
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where this piece of glass next to David
is going to explode.
225
00:27:10,040 --> 00:27:12,634
We actually broke the glass
but there's a piece of Lexan
226
00:27:12,720 --> 00:27:18,955
between David and the real glass
that protects him from the real flying glass
227
00:27:19,040 --> 00:27:23,875
and then we had a mortar inside
with rubber glass that we blow on him.
228
00:27:24,520 --> 00:27:26,556
So it's a two-part effect.
229
00:28:13,600 --> 00:28:17,070
This is one of my favorite scenes
I've ever directed, the killing of Krycek.
230
00:28:17,600 --> 00:28:23,118
Nick Lea is such a great actor
and he and David work really well together.
231
00:28:24,320 --> 00:28:27,949
And ljust love the way
they played this scene.
232
00:29:22,280 --> 00:29:27,593
Mark Snow, he adds so many wonderful
layers to an episode of The X-Files.
233
00:29:27,680 --> 00:29:29,159
I don't have any input.
234
00:29:30,520 --> 00:29:35,036
Mark is a man who understands
not only the series
235
00:29:36,280 --> 00:29:40,398
but he understands the film and storytelling
236
00:29:41,040 --> 00:29:46,990
and he can do things with his music that
make an hour of my film
237
00:29:48,200 --> 00:29:49,633
ten times better.
238
00:29:49,720 --> 00:29:55,477
He brings the finishing magic
to an hour of television.
239
00:29:55,760 --> 00:29:59,150
He's a very talented man.
The show would be nothing without him.
240
00:30:03,400 --> 00:30:05,755
He does his music at his home.
241
00:30:06,920 --> 00:30:08,717
It's all electronic.
242
00:30:29,760 --> 00:30:32,957
This was my idea,
to kill Alex with a CGI bullet.
243
00:30:35,280 --> 00:30:36,554
It was an important moment.
244
00:30:36,640 --> 00:30:41,236
We're taking out one of our main
and most notable villains here
245
00:30:41,800 --> 00:30:44,678
and I wanted to set it aside
from just shooting a man in the head.
246
00:30:45,480 --> 00:30:48,040
So we went ahead and spent the money
and CGl'd this bullet
247
00:30:48,120 --> 00:30:49,553
tracking toward camera.
248
00:30:50,440 --> 00:30:53,352
It was an expensive shot
but one that was well worth it.
249
00:30:53,600 --> 00:30:55,318
I think of this as a very impactful moment.
250
00:31:00,760 --> 00:31:02,273
Right here.
251
00:31:22,280 --> 00:31:24,555
I love the way
Mulder walks away from him here.
252
00:31:25,320 --> 00:31:28,710
Oh, well, Krycek's dead.
Moving along. Moving right along.
253
00:32:04,560 --> 00:32:10,157
ljoked around with Gillian a lot
during this whole pregnancy arc.
254
00:32:10,960 --> 00:32:13,952
I'd say to her "OK, Gillian,
in this scene you're pregnant."
255
00:32:14,800 --> 00:32:16,677
(laughs)
256
00:32:18,200 --> 00:32:19,599
She has a great laugh.
257
00:32:29,360 --> 00:32:31,351
Now the fun begins.
258
00:32:37,200 --> 00:32:39,350
This portion of this was shot on the stage.
259
00:32:41,320 --> 00:32:42,878
They're gonna run into a door.
260
00:32:46,000 --> 00:32:50,596
Now watch. He's got a gun in his hand,
and he enters the staircase.
261
00:32:51,880 --> 00:32:55,759
Watch what happens on the staircase.
Doggett has no gun in his hand.
262
00:32:58,240 --> 00:33:00,708
This was shot downtown. No gun.
263
00:33:01,560 --> 00:33:03,949
There's Crane.
Now he's head off at the pass.
264
00:33:04,920 --> 00:33:09,198
And he'll come back out
and he's got his gun.
265
00:33:10,040 --> 00:33:11,758
Watch. You'll see it in his hand. There it is.
266
00:33:14,360 --> 00:33:17,193
Just a little bit of a continuity mistake.
267
00:33:18,120 --> 00:33:20,429
But you never would have seen it
unless I told you it was there.
268
00:33:27,920 --> 00:33:29,558
This shot you're about to see
269
00:33:29,720 --> 00:33:32,712
when Annabeth
throws the water in the ranger's face.
270
00:33:34,120 --> 00:33:38,830
That water actually hits the lens, but you
don't see it cos we use a spray deflector.
271
00:33:39,320 --> 00:33:41,515
It's a wheel spinning in front of the lens
272
00:33:41,720 --> 00:33:43,915
at I don't know
how many revolutions per minute,
273
00:33:44,360 --> 00:33:48,194
and it keeps the water from hitting the lens.
274
00:33:48,280 --> 00:33:50,430
You can't tell that
she's just thrown the water right in the lens.
275
00:33:58,320 --> 00:34:00,470
One of Cheri Medcalf's amazing make-ups.
276
00:34:05,960 --> 00:34:09,714
And now Monica is having a really bad day
cos Billy Miles is not dead.
277
00:34:12,560 --> 00:34:14,949
No sense playing with that shotgun
any more, huh, Monica?
278
00:34:23,360 --> 00:34:25,828
This is shot again in Century City.
279
00:34:28,840 --> 00:34:35,393
There's a car hit about to come up and you'll
notice the cement over the car is very low,
280
00:34:35,520 --> 00:34:38,478
and the stunt man
had to get up on top of the car.
281
00:34:40,680 --> 00:34:44,593
See how low that cement is? He had to
get up on top there without us killing him.
282
00:34:51,920 --> 00:34:55,310
And that stunt man
actually landed on top of that car.
283
00:34:55,400 --> 00:34:57,231
We hit him at about 12 miles an hour.
284
00:34:57,400 --> 00:34:59,038
Again, this is the same gag.
285
00:34:59,520 --> 00:35:03,911
That's real glass that we break at Robert
but he's protected by Lexan,
286
00:35:04,000 --> 00:35:05,911
and we blow a charge of
rubber glass on him
287
00:35:06,040 --> 00:35:07,837
at the same time the other window breaks.
288
00:35:12,640 --> 00:35:16,315
This was a very difficult scene
for Gillian and Annabeth, for all of us.
289
00:35:17,120 --> 00:35:19,190
This is actually the actor.
290
00:35:25,880 --> 00:35:29,873
He's tied onto the car
and he's doing about 40, 45 miles an hour.
291
00:35:39,560 --> 00:35:44,509
This was shot off an insert car.
We're doing probably 45 miles an hour.
292
00:36:01,920 --> 00:36:03,751
And this, of course, is a dummy.
293
00:36:05,600 --> 00:36:06,669
Ooh!
294
00:36:07,360 --> 00:36:08,793
That has to hurt.
295
00:36:17,080 --> 00:36:22,757
This explosion was shotjust as the sun was
coming up outside. We barely got that off.
296
00:36:23,840 --> 00:36:26,638
The sky's lighter.
We shot in that garage for four days.
297
00:36:27,160 --> 00:36:31,438
It was tough because we were breathing
carbon monoxide constantly.
298
00:36:58,480 --> 00:37:03,918
These people are all aliens,
or supersoldiers, if you will.
299
00:37:04,080 --> 00:37:09,950
They're all human replacements
watching the birth of Scully's baby.
300
00:37:14,280 --> 00:37:17,033
For this shot I had a crane clear up in the air
301
00:37:17,120 --> 00:37:20,999
and I actually brought the chopper
over the crane and then armed down with it.
302
00:37:39,440 --> 00:37:42,876
That helicopter couldn't
touch down on the ground,
303
00:37:43,080 --> 00:37:45,799
so that's why it hovered
and the stunt man crawled out of it.
304
00:37:45,880 --> 00:37:48,713
lt's hovering. It's not touching the ground.
305
00:37:49,120 --> 00:37:53,193
The state parks in California
will not let a helicopter land on their soil,
306
00:37:53,440 --> 00:37:55,795
but we could hover like that.
307
00:37:56,080 --> 00:37:59,675
As long as it didn't touch down we were OK,
but it could hover.
308
00:38:09,240 --> 00:38:10,878
Kind of a strange law.
309
00:38:31,400 --> 00:38:33,675
This scene is actually
the birth of season nine.
310
00:38:33,800 --> 00:38:36,598
This is the birth of the new series
without David Duchovny.
311
00:38:37,760 --> 00:38:42,356
And I tried to set it up with a real nice
two-shot of Annabeth and Robert
312
00:38:42,440 --> 00:38:44,715
who at the time we felt were gonna be
313
00:38:45,000 --> 00:38:47,116
carrying the flame here
for us in season nine,
314
00:38:47,200 --> 00:38:48,474
which they did.
315
00:38:49,240 --> 00:38:55,349
But it's a real series launching two-shot
at the end of the scene here.
316
00:39:14,600 --> 00:39:17,751
Here it is.
This is the new series shot right here.
317
00:39:48,920 --> 00:39:52,629
I don't know how many fans notice this
when they watch this show,
318
00:39:53,560 --> 00:39:55,994
but if you think of the three wise men,
there they are.
319
00:40:02,000 --> 00:40:03,479
Come to bear gifts.
320
00:40:36,840 --> 00:40:39,308
This is the scene
the fans waited eight years for.
321
00:40:46,920 --> 00:40:52,153
This baby right here belongs to one of
our co-executive producers, at the time,
322
00:40:52,240 --> 00:40:54,390
our executive producer now, John Shiban.
323
00:40:55,040 --> 00:40:57,429
This is his brand-new baby.
His name is Jerry.
324
00:41:00,800 --> 00:41:04,634
Only a few days old and John Shiban's
already got his son working for a living.
325
00:41:08,040 --> 00:41:09,439
Got his own trailer now.
326
00:41:11,200 --> 00:41:13,031
Probably have his own
series in another year.
327
00:41:23,400 --> 00:41:30,317
It was interesting because we established
Jerry as William Mulder here in this scene.
328
00:41:30,560 --> 00:41:32,915
And when we came back for season nine
329
00:41:33,200 --> 00:41:35,430
Jerry was a monster so
we couldn't use him.
330
00:41:35,880 --> 00:41:39,236
So we had to cast children,
new babies that looked like Jerry.
331
00:41:39,880 --> 00:41:41,393
Try doing that.
332
00:41:41,760 --> 00:41:44,399
It's not true - all babies don't look alike.
333
00:42:11,400 --> 00:42:13,675
This was David and Gillian's
last scene together
334
00:42:14,120 --> 00:42:15,872
and we shot it on the last day of the picture.
335
00:42:17,360 --> 00:42:22,115
And as they come together to kiss,
you'll see the camera will pull out the door.
336
00:42:22,640 --> 00:42:25,313
That was the last shot
with David and Gillian together.
337
00:42:26,360 --> 00:42:30,399
And we wrapped and David and Gillian
stood in that room together alone
338
00:42:33,520 --> 00:42:35,795
They didn't talk or move.
Theyjust held each other.
339
00:42:36,640 --> 00:42:38,631
Little tears running down their faces.
340
00:42:38,840 --> 00:42:41,400
It was a very touching moment,
one I'll never forget.
341
00:42:51,360 --> 00:42:53,157
I think we got the kiss in one take.
342
00:43:22,520 --> 00:43:23,919
Thank you.
343
00:44:02,040 --> 00:44:03,553
(child) I made this!
30147
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