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These are the user uploaded subtitles that are being translated: 1 00:00:02,920 --> 00:00:07,072 Hi, I'm Kim Manners, and | directed this episode, called "Milagro". 2 00:00:09,760 --> 00:00:12,320 This first shot here introduces Jonathan Hawkes. 3 00:00:12,400 --> 00:00:14,516 We brought a big crane in. 4 00:00:14,600 --> 00:00:16,989 We pulled the roof off the set, 5 00:00:17,120 --> 00:00:19,475 craned down into the... 6 00:00:20,520 --> 00:00:24,752 Our character here, at this typewriter, staring intently. 7 00:00:31,600 --> 00:00:36,310 I wanted to tell the story, basically, in a series of images. 8 00:00:36,400 --> 00:00:38,516 That's why all the quick cutting. 9 00:00:38,640 --> 00:00:42,110 This is a lock-off that we did, and we cross-faded. 10 00:00:42,200 --> 00:00:46,637 You lock off your camera, and just let the actor meander, and you cross-fade. 11 00:00:46,720 --> 00:00:49,518 It's a great way to tell the passage of time. 12 00:00:58,320 --> 00:01:01,869 The light change there that Billy Roe did. 13 00:01:01,960 --> 00:01:05,191 The sun has gone down, now we're into the evening. 14 00:01:05,320 --> 00:01:08,153 The camera's still locked, it hasn't moved. 15 00:01:31,120 --> 00:01:36,399 I think this scene here kind of foreshadows what this story is ultimately about, 16 00:01:36,480 --> 00:01:42,077 which is a man who has no love in his heart, only evil. 17 00:01:43,200 --> 00:01:46,715 And at the end of this episode he'll make the ultimate sacrifice 18 00:01:46,800 --> 00:01:51,191 by killing himself to prove that he does have love in his heart. 19 00:02:02,880 --> 00:02:04,233 That was tough to pull off, 20 00:02:04,600 --> 00:02:06,989 where we pulled his heart out of his chest, 21 00:02:07,080 --> 00:02:09,594 because we had to put this rubber heart in there, 22 00:02:09,680 --> 00:02:12,672 and hide it, and make it look believable. 23 00:02:12,760 --> 00:02:15,320 That's why we started the blood through the shirt. 24 00:02:15,400 --> 00:02:20,030 It helped hide the fact that we were doing a little sleight of hand there. 25 00:02:38,760 --> 00:02:41,035 This set was built in our "red-blue room". 26 00:02:41,120 --> 00:02:47,150 This set was originally built for a show called "The Beginning", the opening of season six. 27 00:02:47,240 --> 00:02:52,268 We've used this set over and over and over again, I think it's been 28 different things. 28 00:02:55,240 --> 00:02:59,358 There's our heart, burning in the fire. That was done with certain elements. 29 00:02:59,440 --> 00:03:03,911 We put a real heart in there - or a phoney heart, I should say. 30 00:03:04,000 --> 00:03:08,232 And then John Wash had to recreate it through CGI, 31 00:03:08,320 --> 00:03:11,039 because the phoney heart was just for a line-up. 32 00:03:11,120 --> 00:03:13,998 We couldn't put the fire on it, cos it would melt the heart. 33 00:03:14,080 --> 00:03:17,789 This is when our character first meets Scully. 34 00:03:20,400 --> 00:03:23,437 Obviously becomes quite infatuated with her. 35 00:03:25,680 --> 00:03:29,719 That shot there, you can't shoot a shot that tight in TV. That was shot with a... 36 00:03:29,800 --> 00:03:33,475 what they call a 45, a slant 45-millimetre lens 37 00:03:33,600 --> 00:03:37,593 with a time-and-a-half extender, so they can get that tight. 38 00:03:37,680 --> 00:03:42,800 Because of the television format, you can't get that tight with normal lenses. 39 00:04:00,640 --> 00:04:04,394 This scene was a little tough for Gillian to pull off, because, 40 00:04:05,160 --> 00:04:09,153 as scary as this might be for some reason, she somehow finds that, 41 00:04:09,240 --> 00:04:16,476 rather, there was something dangerously exciting about that encounter. 42 00:04:34,680 --> 00:04:38,673 Now, this is a series of murders that they're investigating, 43 00:04:40,440 --> 00:04:46,276 that are allegedly created by the main character of this man's books. 44 00:04:46,360 --> 00:04:52,117 Jonathan Hawkes played this character - I don't remember the character's name. 45 00:05:15,480 --> 00:05:19,393 I love this script. I love the author, 46 00:05:19,480 --> 00:05:26,716 who was living vicariously through his main character, a killer in his book. 47 00:05:28,720 --> 00:05:32,429 Now he's become infatuated with Scully here, and... 48 00:05:32,560 --> 00:05:37,714 now he'll write to this, and some of it comes true, 49 00:05:37,800 --> 00:05:42,191 that the character actually meets Scully, and so does he. 50 00:05:42,320 --> 00:05:45,596 | just thought it was kind of a very interesting character study. 51 00:05:45,720 --> 00:05:48,439 And I chose to shoot it very simply. 52 00:05:48,520 --> 00:05:51,990 I didn't put a lot of razzle-dazzle in the camera work or anything. 53 00:05:52,160 --> 00:05:55,470 | just tried to let the characters carry it. 54 00:06:10,000 --> 00:06:14,869 This is source lighting through the window. Nothing but moonlight through a window. 55 00:06:14,960 --> 00:06:18,475 Probably a little negative fill here on his left side, 56 00:06:18,560 --> 00:06:21,950 to just get some half-light on his face. 57 00:06:25,840 --> 00:06:28,229 We used a jib arm, because if you notice, 58 00:06:28,560 --> 00:06:33,190 the camera came from profile, right over the top of him. 59 00:06:34,240 --> 00:06:37,073 This was shot up at Griffith Park. 60 00:06:39,840 --> 00:06:46,029 There's a very small forest up there, and probably the only pine trees in Los Angeles. 61 00:06:46,160 --> 00:06:50,676 It's in one isolated spot in Griffith Park, so that's where we went to shoot this. 62 00:06:56,440 --> 00:07:00,956 And this is the character in the book. This is played by Nestor Serrano. 63 00:07:07,360 --> 00:07:12,309 This is what intrigued me about this script, you never know if this character is real, 64 00:07:12,400 --> 00:07:16,757 or how he escapes the pages of the book. 65 00:07:16,840 --> 00:07:19,070 I thought it was very interesting. 66 00:07:28,880 --> 00:07:34,113 That was shot on a 200mm lens to throw the lights of LA out of focus in the background, 67 00:07:34,240 --> 00:07:37,357 cos I did not want to know we were in LA. 68 00:07:53,680 --> 00:07:56,478 We created this - all these bushes, we brought in, 69 00:07:56,560 --> 00:07:59,632 because there was no foliage up at Griffith Park this thick. 70 00:07:59,720 --> 00:08:03,395 It was all brought in off a truck, all these bushes. 71 00:08:10,080 --> 00:08:15,950 That beating heart was being beaten by a man with a hose and a pump. (laughs) 72 00:08:16,840 --> 00:08:20,389 And that's our lead character again, just finishing typing 73 00:08:20,760 --> 00:08:24,070 that chapter of the book which just took place. 74 00:08:24,440 --> 00:08:26,749 We have a library of establishing shots 75 00:08:26,880 --> 00:08:29,758 for, um, especially the Hoover Building in Washington, 76 00:08:29,840 --> 00:08:33,469 and a number of establishing shots of Washington itself. 77 00:08:33,560 --> 00:08:37,599 So we, unfortunately, have used many of them over and over and over again. 78 00:08:37,680 --> 00:08:41,309 I think, about three years ago, we sent out Paul Rabwin 79 00:08:41,400 --> 00:08:45,951 and a group of Washingtonian filmmakers to shoot us a new batch, 80 00:08:46,080 --> 00:08:49,550 because the old ones were getting recycled too often. 81 00:09:15,080 --> 00:09:17,799 It's interesting to watch these older episodes 82 00:09:17,880 --> 00:09:20,872 and see David and Gillian, the different looks they had. 83 00:09:20,960 --> 00:09:27,399 Gillian's hair is short, so short here. And they're so much younger. (laughs) 84 00:09:37,440 --> 00:09:40,000 Here again, Scully's captivated by this. 85 00:09:40,120 --> 00:09:45,831 There's something very dangerous here that she finds very intriguing, very seductive. 86 00:09:53,560 --> 00:09:55,755 I wanted to ramp to slow motion here, 87 00:09:55,840 --> 00:09:58,513 and really study what she was... 88 00:09:58,600 --> 00:10:01,239 The seductiveness of this. 89 00:10:01,360 --> 00:10:06,559 And then cut over here to Jonathan Hawkes, and recreate basically the same move. 90 00:10:20,400 --> 00:10:22,470 He's a very good actor. 91 00:10:22,600 --> 00:10:28,072 I haven't seen him much, but he's a tremendous, tremendous talent. 92 00:10:28,200 --> 00:10:30,236 He was perfect for this role. 93 00:10:37,280 --> 00:10:41,193 This is one of my favourite episodes, actually, "Milagro". 94 00:11:01,320 --> 00:11:04,710 This looks like it was shot at about 120 frames a second. 95 00:11:04,800 --> 00:11:08,759 Now, film travels through a camera at 24 frames a second, which is normal speed. 96 00:11:08,840 --> 00:11:10,990 So we shot it at 120 frames a second, 97 00:11:11,080 --> 00:11:15,437 and then projected it at 24, so that's why you get your slow motion. 98 00:11:27,160 --> 00:11:30,948 This prop was made over and over and over again, to get it right. 99 00:11:31,520 --> 00:11:35,149 It was very difficult. A heart with a hand. 100 00:12:28,960 --> 00:12:32,077 This church is in downtown... actually, it's not downtown. 101 00:12:32,160 --> 00:12:35,789 lt's down here, off of Olympic, I believe. 102 00:12:35,880 --> 00:12:38,519 It's a beautiful, beautiful old church. 103 00:12:39,440 --> 00:12:42,159 This is one of my favourite scenes in the movie. 104 00:12:42,320 --> 00:12:47,394 This is Jonathan Hawkes' point of view of Scully entering this church. 105 00:12:47,520 --> 00:12:51,115 I wanted to shoot this simply. Once they get there, the camera won't move. 106 00:12:51,200 --> 00:12:55,830 We shot wide, medium and tight overs. 107 00:12:55,960 --> 00:12:59,270 And we just let... again, just let the actors carry the scene. 108 00:12:59,360 --> 00:13:02,636 But it's such beautiful backgrounds. 109 00:13:09,400 --> 00:13:13,279 Now, this is their first encounter, and he knows all about her. 110 00:13:13,360 --> 00:13:18,115 He seems to know more about her than... And it's frightening her. 111 00:13:18,200 --> 00:13:23,911 But at the same time, her fear is, again, very seductive. 112 00:13:28,800 --> 00:13:31,519 This scene reminds me of the moth to the flame, 113 00:13:31,600 --> 00:13:34,433 the moth's attraction to the flame. 114 00:14:56,560 --> 00:14:59,870 This is terrific, a great example of a well-written scene. 115 00:15:00,000 --> 00:15:04,152 Actors don't struggle with scenes like this when they're really well-written. 116 00:15:04,240 --> 00:15:09,872 As I recall, we did three different sizes here, and I had to shoot them all with one camera. 117 00:15:09,960 --> 00:15:14,317 I couldn't get two cameras in to get two sizes at the same time, it was just too crowded. 118 00:15:14,440 --> 00:15:17,079 But as I recall, we didn't go many more 119 00:15:17,160 --> 00:15:20,550 than maybe two or three takes for each one of these. 120 00:15:20,680 --> 00:15:24,593 Because the material is so good, the actors just eat it up. 121 00:15:28,760 --> 00:15:32,833 It's also easy for an actress like Gillian to work with an actor like Jonathan, 122 00:15:32,920 --> 00:15:39,393 who does his homework, and is well prepared and is as talented as he is. 123 00:15:39,520 --> 00:15:44,548 I mean, it really becomes a joy to watch two actors who really bounce off of each other. 124 00:15:47,280 --> 00:15:51,831 They didn't improvise, but look at the tears in her eyes here. I mean, this is... 125 00:15:51,920 --> 00:15:54,388 Nobody blew menthol crystals in her eyes. 126 00:15:54,520 --> 00:15:58,035 She's listening to the actor here, and he's listening to her. 127 00:15:58,120 --> 00:16:04,116 This is a real good example of two actors who are in the scene together, 128 00:16:04,200 --> 00:16:08,751 and the reason they're in the scene is because they're listening to each other. 129 00:16:08,840 --> 00:16:14,597 They're not listening for their cues, they're listening to what the other person is saying. 130 00:16:15,520 --> 00:16:20,230 And that's why Gillian got so emotional there, because she was totally in the scene. 131 00:16:20,400 --> 00:16:25,110 This is when acting is not acting. lt's, you know... it's the real deal. 132 00:16:25,920 --> 00:16:30,835 It's the real thing. Method acting is when you're... you're working it too hard. 133 00:16:30,920 --> 00:16:38,156 You know, acting is a craft that... No one should ever catch another person acting. 134 00:16:38,240 --> 00:16:42,552 If you're really a good actor, you shouldn't make... it shouldn't look like acting. 135 00:16:42,640 --> 00:16:48,078 And that's what a scene like that was. It was two people who are really in the moment. 136 00:16:49,680 --> 00:16:53,673 That's why this episode is really so special, because it's great actors 137 00:16:53,760 --> 00:16:56,877 who are doing some very well-drawn characters. 138 00:17:14,240 --> 00:17:18,631 Again, I wanted it... You wanna be in the character's head in an episode like this, 139 00:17:18,720 --> 00:17:23,032 because, you know, it's not about the monster of the week, or anything like that. 140 00:17:23,120 --> 00:17:27,079 So you wanna... Especially me, as a director, I love to shoot tight, 141 00:17:27,160 --> 00:17:29,469 and get into their heads. 142 00:17:29,600 --> 00:17:33,593 These close-ups right here, in this scene, are loose as far as I'm concerned. 143 00:17:33,680 --> 00:17:36,911 I love to get into, you know, eyebrows and chin and... 144 00:17:57,120 --> 00:18:00,908 And this was a scene that I call the Quinn Martin scene. 145 00:18:01,000 --> 00:18:04,993 | start tight on the mailbox and pull back, and I had to do it over and over again, 146 00:18:05,080 --> 00:18:07,958 so it didn't look like a 1970s TV shot. 147 00:18:08,040 --> 00:18:11,669 But we finally got it to... Phillip Padgett, that's his name. 148 00:18:11,760 --> 00:18:16,709 But we finally got it to pull back and fit, rather than look like a zoom, you know? 149 00:18:30,360 --> 00:18:32,555 Here comes Phillip Padgett now. 150 00:18:44,680 --> 00:18:50,869 It's a fake elevator, and there it is. It's on the lobby floor, and we shoot inside of it. 151 00:18:50,960 --> 00:18:55,715 And at a point here, we're gonna have to move the whole elevator to the next floor, 152 00:18:55,800 --> 00:18:59,554 so when the doors open you're someplace else. 153 00:19:12,120 --> 00:19:14,839 They're walking down the hall of Mulder's apartment, 154 00:19:14,920 --> 00:19:18,390 so we actually had to move it to the hall from the lobby. 155 00:19:26,160 --> 00:19:29,072 I don't like storyboards. I'd rather... 156 00:19:29,160 --> 00:19:33,199 The way I do my homework is, | see the scenes in my head, 157 00:19:33,280 --> 00:19:37,671 and I make some kind of very rudimentary notes to myself that only I can read. 158 00:19:37,760 --> 00:19:41,309 l have a shorthand. And I'm a very, very fortunate director, 159 00:19:41,400 --> 00:19:44,358 because after I see a scene and make my notes, 160 00:19:44,440 --> 00:19:50,356 I can pick up the script a week and a half later, and the notes prompt me to the visions I had, 161 00:19:50,440 --> 00:19:53,193 and I can recreate them then with the camera. 162 00:20:00,080 --> 00:20:03,231 Basically, I put myself in the audience's chair. 163 00:20:03,320 --> 00:20:05,834 I'd read a scene over and over again, and I'd say 164 00:20:05,960 --> 00:20:09,555 "What do I wanna see as an audience member? What images do I wanna see?" 165 00:20:09,640 --> 00:20:15,272 "What cool images do I wanna see, to make this scene... to tell the story of this scene?" 166 00:20:15,400 --> 00:20:19,029 And that's how I started, and then... 167 00:20:22,440 --> 00:20:26,752 I've been doing it for so long that I understand the characters, 168 00:20:26,840 --> 00:20:29,877 I understand what Chris wants. 169 00:20:32,880 --> 00:20:35,997 This is a different prop than the one you saw earlier. 170 00:20:36,080 --> 00:20:41,108 We're not gonna show you the face of it, only the back of it. 171 00:21:04,680 --> 00:21:06,910 And this is Scully's fantasy here. 172 00:21:57,560 --> 00:22:01,439 We didn't really have time to improvise much on The X-Files. 173 00:22:01,520 --> 00:22:06,275 They'd read a scene, and if it didn't work for them, they might change some dialogue, 174 00:22:06,360 --> 00:22:10,478 but, you know, the storytelling in The X-Files is always very specific. 175 00:22:10,560 --> 00:22:14,872 So it really isn't an arena for improvisation. 176 00:22:43,840 --> 00:22:48,595 That would be a second-unit insert. But you can see what's happening here on screen. 177 00:22:48,720 --> 00:22:51,712 What he's writing is actually happening to Scully, 178 00:22:51,800 --> 00:22:56,794 so he's... almost hypnotising her through his writing. 179 00:23:44,760 --> 00:23:50,676 They say danger's very exciting, and that's what this episode is about for Scully. lt's... 180 00:23:52,840 --> 00:23:57,675 She knows every step of the way she's doing something wrong, but it's too enticing. 181 00:23:57,760 --> 00:24:02,834 The danger element of it is too enticing to her. It's a very sexy story, actually. 182 00:24:26,280 --> 00:24:30,592 Meanwhile, Mulder's working the case here. He's up to something. 183 00:25:52,760 --> 00:25:56,594 Basically, working in Los Angeles and working in Vancouver was... 184 00:25:56,680 --> 00:25:59,797 While Vancouver was exciting, and we had the opportunity 185 00:25:59,960 --> 00:26:04,431 to be in a very dark, dreary, rainy, wet atmosphere, 186 00:26:04,520 --> 00:26:07,717 which suited The X-Files and the mood of The X-Files, 187 00:26:07,800 --> 00:26:10,030 it was a wonderful relief, for me anyhow, 188 00:26:11,680 --> 00:26:15,912 to be able to come to Los Angeles and work in the dry air, 189 00:26:16,000 --> 00:26:19,276 and have a little sunshine and a little warmth. 190 00:26:19,360 --> 00:26:22,670 Vancouver was very demanding. Very, very demanding, 191 00:26:22,760 --> 00:26:27,754 and it was nice for me to be able to work here in LA, 192 00:26:27,840 --> 00:26:31,913 go home at night and have a home-cooked meal, be with my wife and children. 193 00:26:32,000 --> 00:26:35,470 I think it worked. I think David and Gillian liked the move, as well. 194 00:26:35,560 --> 00:26:40,315 I think it worked really well for them and their... and their spirits. 195 00:26:40,400 --> 00:26:42,789 I think... I think the work... 196 00:26:44,600 --> 00:26:47,637 I don't think the work suffered for moving it from Vancouver. 197 00:26:47,720 --> 00:26:51,395 lthink, if anything, it may have gotten a little better. 198 00:27:07,640 --> 00:27:12,555 The crews in Vancouver worked... You know, our crew in Vancouver was tremendous. 199 00:27:12,640 --> 00:27:17,430 We worked at North Shore Studios, and they were small sound stages. 200 00:27:17,520 --> 00:27:23,868 To be able to come up here and work on Fox's massive sound stages was a treat. 201 00:27:24,040 --> 00:27:26,554 You know, it's always kind of a treat 202 00:27:26,640 --> 00:27:29,791 to be able to work on a lot that has so much history. 203 00:27:31,440 --> 00:27:36,195 And we got very lucky, cos our biggest concern when we moved from Vancouver 204 00:27:36,280 --> 00:27:39,511 was that we would never find a crew as good as that Vancouver crew. 205 00:27:39,600 --> 00:27:43,673 As a matter of fact, we found a crew that was more than up to the task. 206 00:27:43,760 --> 00:27:50,711 Our crew in Los Angeles were just the hardest-working people, and a great family. 207 00:27:50,800 --> 00:27:54,076 We were very fortunate to be able to replace the Vancouver people 208 00:27:54,200 --> 00:27:59,035 with such a tremendous group of people here in Los Angeles. 209 00:27:59,120 --> 00:28:01,395 This shot was done, again, on a jib arm. 210 00:28:01,480 --> 00:28:08,033 This is a remote-controlled camera that's underslung from a long jib arm on the dolly. 211 00:28:08,120 --> 00:28:10,793 And I've come all the way around them here. 212 00:28:13,520 --> 00:28:15,670 It's tough for Bill Roe, 213 00:28:15,760 --> 00:28:20,231 because I'm seeing almost all of the set, so he doesn't have a lot of place to put light. 214 00:28:20,320 --> 00:28:25,075 But Bill's... He's never had a challenge that he couldn't meet. 215 00:28:25,160 --> 00:28:28,948 He'll light from the floor, light could come through the windows. 216 00:28:29,120 --> 00:28:34,911 Everything he does, he makes it... You can't throw him a curve ball, Bill. 217 00:28:39,480 --> 00:28:41,789 Here Mulder's put together the crime, 218 00:28:41,880 --> 00:28:45,953 he's figured out that what this man is writing is exactly what the murders are, 219 00:28:46,040 --> 00:28:48,713 that are going around here in town. 220 00:28:48,800 --> 00:28:51,633 So he's... he's got him now as a suspect, 221 00:28:51,720 --> 00:28:55,076 when in fact it's not him at all, but the character of his book, 222 00:28:55,480 --> 00:29:00,713 which is obviously the paranormal element here in this element... this episode. 223 00:29:52,160 --> 00:29:57,712 I work on the editing process quite a bit, once we're done shooting a show. 224 00:29:57,800 --> 00:30:01,759 l'll spend two, three days in the cutting room with the editor, 225 00:30:01,840 --> 00:30:05,310 and we'll go through the show, shot for shot, scene for scene, 226 00:30:05,400 --> 00:30:10,520 and we'll get it just the way we want it, and then I turn it over to the other producers. 227 00:30:10,600 --> 00:30:16,789 And lwork together hand in hand with them, to make sure the show maintains its integrity. 228 00:30:16,880 --> 00:30:19,235 Oftentimes, our shows will run long, 229 00:30:19,320 --> 00:30:23,074 maybe 10, 12 minutes long, and we have to find that film to cutout. 230 00:30:23,160 --> 00:30:27,039 We only have a certain amount of time that each episode can run. 231 00:30:27,120 --> 00:30:30,829 But, because I'm also an executive producer here, 232 00:30:31,200 --> 00:30:36,069 the other producers take great care to preserve my vision and my film. 233 00:30:36,160 --> 00:30:43,236 They're always ready to cut dialogue in order to preserve my shots, my vision, as it were. 234 00:30:43,400 --> 00:30:45,630 For that, I'm very lucky, really. 235 00:31:20,120 --> 00:31:26,389 This is shot downtown. This is, I believe... I can't remember the name of this building. 236 00:31:26,480 --> 00:31:28,948 This was shot downtown in a giant warehouse, 237 00:31:29,040 --> 00:31:34,637 where other studios have come in, and they built this jail set. 238 00:31:34,720 --> 00:31:38,429 And so we heard of it, and we went downtown and used it, utilised it. 239 00:31:38,520 --> 00:31:40,829 We were there for a day or two, I think. 240 00:32:27,960 --> 00:32:31,350 This was a very simple episode. There weren't a lot of locations, 241 00:32:31,480 --> 00:32:33,710 there weren't a lot of exteriors. 242 00:32:33,800 --> 00:32:37,679 It was a real... a real interior show. 243 00:32:38,480 --> 00:32:40,948 That's why I'm shooting here so tight. ljust... 244 00:32:41,040 --> 00:32:44,271 It's all up to the actors to carry a piece like this. 245 00:33:30,440 --> 00:33:36,709 This cemetery, this is all special-effects fog that we had to lay out, and it was a huge area. 246 00:33:36,800 --> 00:33:40,873 And they put down... It's notjust smoke, they put down little misters. 247 00:33:40,960 --> 00:33:44,555 And it was cold, so the mist would stay low to the ground. 248 00:33:50,120 --> 00:33:53,635 This is on location, I believe someplace in Glendale. 249 00:33:54,840 --> 00:33:57,434 This was tough, because we've got a chase coming up, 250 00:33:57,560 --> 00:34:00,597 and there were lots of holes in the ground, 251 00:34:00,680 --> 00:34:03,877 and I didn't want this little girl to get hurt, or Nestor - 252 00:34:03,960 --> 00:34:08,033 Nestor Serrano, who plays the character in the book. 253 00:34:08,120 --> 00:34:10,839 There he is, there. 254 00:34:15,880 --> 00:34:20,271 Those are stunt people, stunt doubles, who took that fall. 255 00:34:47,680 --> 00:34:50,592 This was interesting. One of the reasons that... 256 00:34:50,680 --> 00:34:55,674 One of the big things that attracted me to this story is that this character is never explained. 257 00:34:55,800 --> 00:35:00,590 In other words, it's the evil in Jonathan Hawkes', or Phillip Padgett's heart, 258 00:35:00,680 --> 00:35:02,716 really creating these murders. 259 00:35:02,840 --> 00:35:06,435 But we never answer whether it's Phillip Padgett that does the murders 260 00:35:06,520 --> 00:35:10,149 or if it's really the character in the book that comes from the pages. 261 00:35:10,240 --> 00:35:14,233 That was never answered, and I found that very intriguing, really. 262 00:35:14,320 --> 00:35:16,515 That's the thing about The X-Files. 263 00:35:16,640 --> 00:35:20,918 lt oftentimes will leave more questions than it'll give you answers. 264 00:35:21,040 --> 00:35:23,270 But that's what gets the audience thinking. 265 00:35:23,360 --> 00:35:27,876 This was shot on a motorcycle. David Duchovny can run faster... 266 00:35:28,720 --> 00:35:33,111 Well, we did an episode called "Tunguska", and he outran two horses. 267 00:35:33,200 --> 00:35:37,079 So I had to get on a motorcycle with a camera to keep up with him. 268 00:35:52,960 --> 00:35:58,080 This was tough on this little actress. We had to bury her in all of these flowers. 269 00:35:59,080 --> 00:36:03,073 As I recall, she had allergies. (laughs) 270 00:36:03,160 --> 00:36:09,235 And it was very tough for her to lay quiet underneath there, until we got her uncovered. 271 00:36:16,800 --> 00:36:19,189 Back in the jail again. 272 00:36:19,320 --> 00:36:22,118 You can see it's a big complex that this company built. 273 00:36:22,240 --> 00:36:25,994 That's why we went down there to use this set. 274 00:36:26,120 --> 00:36:30,159 For us to build a set like this would have cost maybe $400,000, 275 00:36:30,240 --> 00:36:33,038 and we probably rented it for $5,000, so... 276 00:37:39,280 --> 00:37:45,310 The mythology episodes are very complicated. We have to get them just right. 277 00:37:45,400 --> 00:37:48,995 The stand-alones give you a little more freedom, creatively. 278 00:37:49,120 --> 00:37:55,355 The mythology episodes are an established style or established story line. 279 00:37:56,840 --> 00:38:01,311 They're usually shot... They're usually bigger episodes, 280 00:38:01,400 --> 00:38:06,713 where with your stand-alone episodes, it's kind of your independent vision. 281 00:38:06,800 --> 00:38:09,394 It's not part of a running story. 282 00:38:10,440 --> 00:38:15,514 So, like I say, | used to prefer the stand-alones. Now I... 283 00:38:15,600 --> 00:38:19,718 They're both... they're both challenging, in their own way. 284 00:38:30,000 --> 00:38:35,870 This is the scene here where the character actually confronts the author, 285 00:38:36,080 --> 00:38:40,232 and again, we never... we never say whether this is real or not, 286 00:38:40,320 --> 00:38:44,438 although at one point the character disappears, so this is really a conversation 287 00:38:44,520 --> 00:38:47,398 that Phillip Padgett is having in his own head. 288 00:39:04,840 --> 00:39:07,274 Interesting wardrobe choice, this hood. 289 00:39:07,360 --> 00:39:13,276 We wanted to make him look like Death himself. 290 00:39:24,920 --> 00:39:27,957 Mulder and Scully are watching. There's nothing happening. 291 00:39:28,080 --> 00:39:31,072 He's not talking to anybody. 292 00:39:34,440 --> 00:39:37,910 So this whole scene is a figment of this imagination. 293 00:39:53,640 --> 00:39:58,760 I worked with Nestor on a series called Hat Squad that we shot in Vancouver, 294 00:39:58,840 --> 00:40:00,990 about three brothers who were cops, 295 00:40:01,080 --> 00:40:06,996 and who had a father, played by James Tolkan, who was an ex-cop. 296 00:40:07,120 --> 00:40:11,159 And these guys, these three brothers, all wore hats, fedoras. 297 00:40:12,280 --> 00:40:17,115 It was based on an actual squad of police, I believe, out of Chicago. 298 00:40:19,360 --> 00:40:21,635 Nestor's a great actor. 299 00:40:58,640 --> 00:41:02,349 This scene is where the character is telling Phillip Padgett 300 00:41:02,480 --> 00:41:05,153 that he only has evil in his heart, no love in his heart, 301 00:41:05,240 --> 00:41:09,233 that he can't feel love because he has no love, he only has evil. 302 00:41:09,400 --> 00:41:13,951 This is the scene that sets Phillip Padgett up at the end of the hour, 303 00:41:14,040 --> 00:41:18,431 to tear out his own heart, to prove that he can sacrifice his own life 304 00:41:18,560 --> 00:41:20,949 for the love that he feels for Scully, 305 00:41:21,720 --> 00:41:25,998 so that nothing, no ill will, befalls Scully. 306 00:42:18,640 --> 00:42:22,235 This is the scene where he's gonna burn his manuscript. 307 00:42:29,120 --> 00:42:34,114 This is on stage. This is back in that set that I was talking about, the red-blue room. 308 00:42:34,200 --> 00:42:37,875 This is over on stage six at Twentieth Century Fox. 309 00:42:40,920 --> 00:42:46,756 Now we have a little interaction.The character from the book is now gonna kill Scully. 310 00:42:46,880 --> 00:42:50,634 And Phillip Padgett knows it, and Mulder now is... 311 00:42:52,480 --> 00:42:55,153 Unbeknownst to him, 312 00:42:55,640 --> 00:43:00,668 Mulder is actually interfering with Phillip Padgett saving Scully's life. 313 00:44:11,400 --> 00:44:13,868 This was a really well-written piece. 314 00:44:14,000 --> 00:44:17,197 Revisiting it has been a lot of fun here. 315 00:44:47,440 --> 00:44:49,556 There you have it. 316 00:45:26,360 --> 00:45:28,351 ENGLISH SDH 29833

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