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Fixed & Synced By MoUsTaFa ZaKi
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Hi, I'm Kim Manners, and I directed
this episode, called "IVIilagro"
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This first shot here
introduces Jonathan Hawkes.
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We brought a big crane in.
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We pulled the roof off the set,
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craned down into the...
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Our character here,
at this typewriter, staring intently.
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I wanted to tell the story,
basically, in a series of images.
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That's why all the quick cutting.
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This is a lock-off that we did,
and we cross-faded.
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You lock off your camera, and just let
the actor meander, and you cross-fade.
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It's a great way to tell the passage of time.
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The light change there that Billy Roe did.
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The sun has gone down,
now we're into the evening.
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The camera's still locked, it hasn't moved.
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I think this scene here kind of foreshadows
what this story is ultimately about,
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which is a man
who has no love in his heart, only evil.
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And at the end of this episode
he'll make the ultimate sacrifice
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by killing himself to prove
that he does have love in his heart.
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That was tough to pull off,
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where we pulled his heart out of his chest,
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because we had to
put this rubber heart in there,
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and hide it, and make it look believable.
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Thats why we started
the blood through the shirt.
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It helped hide the fact that
we were doing a little sleight of hand there.
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This set was built in our "red-blue room"_
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This set was originally built for a show called
"The Beginning", the opening of season six.
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We've used this set over and over and over
again, I think it's been 28 different things.
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There's our heart, burning in the fire.
That was done with certain elements.
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We put a real heart in there -
or a phoney heart, I should say.
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And then John Wash
had to recreate it through CGI,
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because the phoney heart
was just for a line-up.
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We couldn't put the fire on it,
cos it would melt the heart.
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This is when our character first meets Scully.
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Obviously becomes
quite infatuated with her.
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That shot there, you can't shoot a shot
that tight in TV. That was shot with a...
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What they call a 45, a slant 45-millimetre lens
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with a time-and-a-half extender,
so they can get that tight.
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Because of the television format,
you can't get that tight with normal lenses.
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This scene was a little tough
for Gillian to pull off, because,
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as scary as this might be for some reason,
she somehow finds that,
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rather, there was something
dangerously exciting about that encounter.
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Now, this is a series of murders
that they're investigating,
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that are allegedly created by
the main character of this man's books.
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Jonathan Hawkes played this character -
I don't remember the character's name.
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I love this script. I love the author,
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who was living vicariously through
his main character, a killer in his book.
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Now he's become infatuated
with Scully here, and...
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Now he'll write to this,
and some of it comes true,
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that the character
actually meets Scully, and so does he.
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I just thought it was kind of
a very interesting character study.
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And I chose to shoot it very simply.
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I didn't put a lot of razzle-dazzle
in the camera work or anything.
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I just tried to let the characters carry it.
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This is source lighting through the window.
Nothing but moonlight through a window.
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Probably a little negative fill
here on his left side,
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to just get some half-light on his face.
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We used a jib arm, because if you notice,
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the camera came from profile,
right over the top of him.
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This was shot up at Griffith Park.
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There's a very small forest up there, and
probably the only pine trees in Los Angeles.
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It's in one isolated spot in Griffith Park,
so that's where we went to shoot this.
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And this is the character in the book.
This is played by Nestor Serrano.
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This is what intrigued me about this script,
you never know if this character is real,
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or how he escapes the pages of the book.
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I thought it was very interesting.
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That was shot on a 20omm lens to throw the
lights of LA out of focus in the background,
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cos I did not want to know we were in LA.
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We created this -
all these bushes, we brought in,
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because there was no foliage
up at Griffith Park this thick.
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It was all brought in off a truck,
all these bushes.
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That beating heart was being beaten
by a man with a hose and a pump. (laughs)
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And that's our lead character again,
just finishing typing
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that chapter
of the book which just took place.
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We have a library of establishing shots
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for, um, especially
the Hoover Building in Washington,
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and a number of establishing shots
of Washington itself.
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So we, unfortunately, have used
many of them over and over and over again.
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I think, about three years ago,
we sent out Paul Rabwin
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and a group of Washingtonian
filmmakers to shoot us a new batch,
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because the old ones
were getting recycled too often.
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It's interesting to watch these older episodes
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and see David and Gillian,
the different looks they had.
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Gillian's hair is short, so short here.
And they're so much younger. (laughs)
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Here again, Scully's captivated by this.
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There's something very dangerous here
that she finds very intriguing, very seductive.
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I wanted to ramp to slow motion here,
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and really study what she was...
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The seductiveness of this.
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And then cut over here to Jonathan Hawkes,
and recreate basically the same move.
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He's a very good actor.
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I haven't seen him much,
but he's a tremendous, tremendous talent.
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He was perfect for this role.
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This is one of my favourite episodes,
actually, "IVlilagro".
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This looks like it was shot
at about 120 frames a second.
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Now, film travels through a camera at 24
frames a second, which is normal speed.
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So we shot it at 120 frames a second,
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and then projected it at 24,
so that's why you get your slow motion.
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This prop was made over
and over and over again, to get it right.
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It was very difficult. A heart with a hand.
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This church is in downtown...
actually, it's not downtown.
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It's down here, off of Olympic, I believe.
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It's a beautiful, beautiful old church.
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This is one of my favourite scenes
in the movie.
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This is Jonathan Hawkes' point of view
of Scully entering this church.
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I wanted to shoot this simply.
Once they get there, the camera won't move.
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We shot wide, medium and tight overs.
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And we just let... again,
just let the actors carry the scene.
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But it's such beautiful backgrounds.
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Now, this is their first encounter,
and he Knows all about her.
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He seems to know more about her than...
And it's frightening her.
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But at the same time,
her fear is, again, very seductive.
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This scene reminds me
of the moth to the flame,
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the moth's attraction to the flame.
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This is terrific,
a great example of a well-written scene.
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Actors don't struggle with scenes like this
when they're really well-written.
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As I recall, we did three different sizes here,
and I had to shoot them all with one camera.
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I couldn't get two cameras in to get two sizes
at the same time, it was just too crowded.
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But as I recall, we didn't go many more
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than maybe two or three takes
for each one of these.
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Because the material is so good,
the actors just eat it up.
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It's also easy for an actress like Gillian
to work with an actor like Jonathan,
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who does his homework, and is well
prepared and is as talented as he is.
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I mean, it really becomes a joy to watch two
actors who really bounce off of each other.
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They didn't improvise, but look at
the tears in her eyes here. I mean, this is...
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Nobody blew menthol crystals in her eyes.
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She's listening to the actor here,
and he's listening to her.
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This is a real good example of two actors
who are in the scene together,
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and the reason they're in the scene
is because they're listening to each other.
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They're not listening for their cues, they're
listening to what the other person is saying.
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And that's why Gillian got so emotional there,
because she was totally in the scene.
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This is when acting is not acting.
It's, you know... it's the real deal.
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It's the real thing. Method acting
is when you're... you're working it too hard.
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You know, acting is a craft that... No one
should ever catch another person acting.
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If you're really a good actor, you shoulcln't
make... it shoulcln't look like acting.
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And that's what a scene like that was. It was
two people who are really in the moment.
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That's why this episode is really so special,
because it's great actors
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who are doing
some very well-drawn characters.
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Again, I wanted it... You wanna be in the
character's head in an episode like this,
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because, you know, it's not about the
monster of the week, or anything like that.
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So you wanna... Especially me,
as a director, I love to shoot tight,
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and get into their heads.
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These close-ups right here, in this scene,
are loose as far as I'm concerned.
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I love to get into, you know,
eyebrows and chin and...
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And this was a scene that
I call the Quinn Martin scene.
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I start tight on the mailbox and pull back,
and I had to do it over and over again,
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so it didn't look like a 1970s TV shot.
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But we finally got it to...
Phillip Padgett, that's his name.
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But we finally got it to pull back and fit,
rather than look like a zoom, you know?
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Here comes Phillip Padgett now.
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It's a fake elevator, and there it is. It's on
the lobby floor, and we shoot inside of it.
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And at a point here, we're gonna have to
move the whole elevator to the next floor,
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so when the doors open
you're someplace else.
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They're walking down
the hall of Mulder's apartment,
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so we actually had to move it
to the hall from the lobby.
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I don't like storyboards. I'd rather...
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The way I do my homework is,
I see the scenes in my head,
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and I make some kind of very rudimentary
notes to myself that only I can read.
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I have a shorthand.
And I'm a very, very fortunate director,
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because after I see a scene
and make my notes,
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I can pick up the script a week and a half later,
and the notes prompt me to the visions I had,
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and I can recreate them then with the camera.
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Basically, I put myself in the audience's chair.
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I'd read a scene over and over again,
and I'd say
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"What do I wanna see as an audience
member? What images do I wanna see?"
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"What cool images do I wanna see, to make
this scene... to tell the story of this scene?"
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And that's how I started, and then...
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I've been doing it for so long
that I understand the characters,
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I understand what Chris wants.
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This is a different prop
than the one you saw earlier.
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We're not gonna show you
the face of it, only the back of it.
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And this is Scully's fantasy here.
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We didn't really have time
to improvise much on The X-Files.
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They'd read a scene, and if it didn'twork
for them, they might change some dialogue,
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but, you know, the storytelling
in The X-Files is always very specific.
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So it really isn't an arena for improvisation.
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That would be a second-unit insert. But you
can see what's happening here on screen.
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What he's writing
is actually happening to Scully,
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so he's... almost
hypnotising her through his writing.
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They say danger's very exciting, and that's
what this episode is about for Scully. it's.__
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She Knows every step of the way she's doing
something wrong, but it's too enticing.
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The danger element of it is too enticing
to her. It's a very sexy story, actually.
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Meanwhile, Mulder's working the case
here. He's up to something.
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Basically, working in Los Angeles
and working in Vancouver was...
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While Vancouver was exciting,
and we had the opportunity
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to be in a very dark,
dreary, rainy, wet atmosphere,
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which suited The X-Files
and the mood of The X-Files,
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it was a wonderful relief, for me anyhow,
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to be able to come
to Los Angeles and work in the dry air,
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and have a little sunshine
and a little warmth.
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Vancouver was very demanding.
Very, very demanding,
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and it was nice for me
to be able to work here in LA,
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go home at night and have a home-cooked
meal, be with my wife and children.
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I think it worked. I think David
and Gillian liked the move, as well.
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I think it worked really well
for them and their... and their spirits.
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I think... I think the Work...
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I don't think the work suffered
for moving it from Vancouver.
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I think, if anything,
it may have gotten a little better.
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The crews in Vancouver worked... You know,
our crew in Vancouver was tremendous.
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We worked at North Shore Studios,
and they were small sound stages.
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To be able to come up here and work on
Fox's massive sound stages was a treat.
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You know, it's always kind of a treat
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to be able to work on a lot
that has so much history.
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And we got very lucky, cos our biggest
concern when we moved from Vancouver
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was that we would never find
a crew as good as that Vancouver crew.
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As a matter of fact, we found a crew
that was more than up to the task.
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Our crew in Los Angeles were just the
hardest-working people, and a great family.
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We were very fortunate to be able
to replace the Vancouver people
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with such a tremendous
group of people here in Los Angeles.
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This shot was done, again, on a jib arm.
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This is a remote-controlled camera that's
underslung from a long jib arm on the dolly.
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And I've come all the way around them here.
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It's tough for Bill Roe,
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because I'm seeing almost all of the set,
so he doesn't have a lot of place to put light.
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But Bill's... He's never had
a challenge that he couldn't meet.
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He'll light from the floor,
light could come through the windows.
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Everything he does, he makes it...
You can't throw him a curve ball, Bill.
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Here Mulder's put together the crime,
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he's figured out that what this man is
writing is exactly what the murders are,
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that are going around here in town.
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So he's... he's got him now as a suspect,
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when in fact it's not him at all,
but the character of his book,
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which is obviously the paranormal
element here in this element... this episode.
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I work on the editing process quite a bit,
once we're done shooting a show.
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I'll spend two, three days
in the cutting room with the editor,
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and we'll go through the show,
shot for shot, scene for scene,
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and we'll get it just the way we want it,
and then I turn it over to the other producers.
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And I work together hand in hand with them,
to make sure the show maintains its integrity.
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Oftentimes, our shows will run long,
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maybe 10, 12 minutes long,
and we have to find that film to cutout.
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We only have a certain amount of time
that each episode can run.
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But, because I'm also
an executive producer here,
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the other producers take great care
to preserve my vision and my film.
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They're always ready to out dialogue in order
to preserve my shots, my vision, as it were.
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For that, I'm very lucky, really.
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This is shot downtown. This is, I believe...
I can't remember the name of this building.
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This was shot downtown
in a giant warehouse,
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where other studios have come in,
and they built this jail set.
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And so we heard of it, and we went
downtown and used it, utilised it.
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We were there for a day or two, I think.
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This was a very simple episode.
There weren't a lot of locations,
241
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there weren't a lot of exteriors_
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It was a real... a real interior show.
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That's why I'm shooting here so tight. I just...
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It's all up to the actors
to carry a piece like this.
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This cemetery, this is all special-effects fog
that we had to lay out, and it was a huge area.
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And they put down... It's not just smoke,
they put down little misters.
247
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And it was cold,
so the mist would stay low to the ground.
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This is on location,
I believe someplace in Glendale.
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This was tough,
because we've got a chase coming up,
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and there were lots of holes in the ground,
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and I didn'twant
this little girl to get hurt, or Nestor -
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Nestor Serrano,
who plays the character in the book.
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There he is, there.
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Those are stunt people,
stunt doubles, who took that fall.
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This was interesting.
One of the reasons that...
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One of the big things that attracted me to this
story is that this character is never explained.
257
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In other words, it's the evil in Jonathan
Hawkes', or Phillip Padgett's heart,
258
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really creating these murders.
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00:35:02,840 --> 00:35:06,447
But we never answer whether
it's Phillip Padgett that does the murders
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or if it's really the character
in the book that comes from the pages.
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That was never answered,
and I found that very intriguing, really.
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That's the thing about The X-Files.
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It oftentimes will leave more questions
than it'll give you answers.
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00:35:21,040 --> 00:35:23,281
But that's what gets the audience thinking.
265
00:35:23,360 --> 00:35:27,888
This was shot on a motorcycle.
David Duchovny can run faster...
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Well, we did an episode called "Tunguska",
and he outran two horses.
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So I had to get on a motorcycle
with a camera to keep up with him.
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This was tough on this little actress.
We had to bury her in all of these flowers.
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As I recall, she had allergies. (laughs)
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And it was very tough for her to lay quiet
underneath there, until we got her uncovered.
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Back in the jail again.
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You can see it's a big complex
that this company built.
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That's why we went
clown there to use this set.
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For us to build a set
like this would have cost maybe $400,000,
275
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and we probably rented it for $5,000, so...
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The mythology episodes are very
complicated. We have to get them just right.
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The stand-alones give you
a little more freedom, creatively.
278
00:37:49,120 --> 00:37:55,366
The mythology episodes are
an established style or established story line.
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They're usually shot...
They're usually bigger episodes,
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where with your stand-alone episodes,
it's kind of your independent vision.
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It's not part of a running story.
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So, like I say,
I used to prefer the stand-alones. Now I...
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They're both...
they're both challenging, in their own way.
284
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This is the scene here where the character
actually confronts the author,
285
00:38:36,080 --> 00:38:40,244
and again, we never...
we never say whether this is real or not,
286
00:38:40,320 --> 00:38:44,450
although at one point the character
disappears, so this is really a conversation
287
00:38:44,520 --> 00:38:47,410
that Phillip Padgett is having in his own head.
288
00:39:04,840 --> 00:39:07,286
Interesting wardrobe choice, this hood.
289
00:39:07,360 --> 00:39:13,288
We wanted to make him
look like Death himself.
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00:39:24,920 --> 00:39:27,969
Mulder and Scully are watching.
There's nothing happening.
291
00:39:28,080 --> 00:39:31,084
He's not talking to anybody.
292
00:39:34,440 --> 00:39:37,922
So this whole scene
is a figment of this imagination.
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I worked with Nestor on a series called
Hat Squad that we shot in Vancouver,
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00:39:58,840 --> 00:40:01,002
about three brothers who were cops,
295
00:40:01,080 --> 00:40:07,008
and who had a father,
played by James Tolkan, who was an ex-cop.
296
00:40:07,120 --> 00:40:11,170
And these guys,
these three brothers, all wore hats, fedoras.
297
00:40:12,280 --> 00:40:17,127
It was based on an actual
squad of police, I believe, out of Chicago.
298
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Nestor's a great actor.
299
00:40:58,640 --> 00:41:02,361
This scene is where the character
is telling Phillip Padgett
300
00:41:02,480 --> 00:41:05,165
that he only has evil in his heart,
no love in his heart,
301
00:41:05,240 --> 00:41:09,245
that he can't feel love
because he has no love, he only has evil.
302
00:41:09,400 --> 00:41:13,962
This is the scene that sets
Phillip Padgett up at the end of the hour,
303
00:41:14,040 --> 00:41:18,443
to tear out his own heart,
to prove that he can sacrifice his own life
304
00:41:18,560 --> 00:41:20,961
for the love that he feels for Scully,
305
00:41:21,720 --> 00:41:26,009
so that nothing, no ill will, befalls Scully.
306
00:42:18,640 --> 00:42:22,247
This is the scene where
he's gonna burn his manuscript.
307
00:42:29,120 --> 00:42:34,126
This is on stage. This is back in that set
that I was talking about, the red-blue room.
308
00:42:34,200 --> 00:42:37,886
This is over on stage six
at Twentieth Century Fox.
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00:42:40,920 --> 00:42:46,768
Now we have a little interaction.The character
from the book is now gonna kill Scully.
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00:42:46,880 --> 00:42:50,646
And Phillip Padgett knows it,
and Mulder now is...
311
00:42:52,480 --> 00:42:55,165
Unbeknownst to him,
312
00:42:55,640 --> 00:43:00,680
Mulder is actually interfering
with Phillip Padgett saving Scully's life.
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00:44:11,400 --> 00:44:13,880
This was a really well-written piece.
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00:44:14,000 --> 00:44:17,209
Revisiting it has been a lot of fun here.
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00:44:47,440 --> 00:44:49,568
There you have it.
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