The Creative Team
Executive producer Lata Ryan was brought into the production by Chris Carter for the tremendous work she had done on such epic-scale productions as "Jurassic Park," "Indiana Jones and the Temple of Doom," "Return of the Jedi," "Back to the Future II" and
Executive producer Lata Ryan was brought into the production by
Chris Carter for the tremendous work she had done on such epicscale
productions as "Jurassic Park," "Indiana Jones
and the Temple of Doom," "Return of the Jedi,"
"Back to the Future II" and "Back to the Future
III." "She understands production very well," Carter
notes, "and we needed someone who could facilitate getting
the job done. While Dan [Sackheim] was there to make artistic
judgments, Lata made sure we had the tools and ability to get
things in front of the camera to make a good film."
Ryan was integral not only in overseeing the nuts and bolts of
physical production, but also in bringing aboard the myriad consultants
and technical specialists, such as storyboard artists, aerial
coordinators, insect experts, and special effects, visual effects
and creature effects technicians.
The key figure in bringing Carter's story to life is director
Rob Bowman, one of the best and most prolific helmers of the series.
Says Carter: "I chose Rob to direct because of his loyalty
and all the great work he's done on the show and with me. I don't
think there was anyone more equipped to do it. He understands
the storytelling techniques we like to employ. He knows how to
scare people. And he's got a 'big movie' sensibility that he always
brought to the small screen."
Dan Sackheim agrees: "Without question, Rob was the best
choice to direct. Short of Chris Carter, he knows 'The XFiles'
better than anybody. He's a wonderful collaborator and the talent
The road that led to Bowman getting the nod to direct the feature
began nearly six years ago when he saw the show's pilot episode.
Bowman said to himself, "That's a great show! I could really
sink my teeth into that" ... which he did, 25 times over
five seasons. Bowman always knew the show lent itself to theatrical
possibilities and he hoped to be considered when the time came
to make an "XFiles" feature film. So when he received
a call from Carter asking if he'd like to direct the movie, he
Bowman was particularly delighted that the scope of the movie
would offer him more time to flesh out the characters, focus on
individual moments, and provide a stronger attention to detail
than is possible in a television format. "When watching a
film in a movie theater, you're not a prisoner to the distractions
of viewing something in your living room," he points out.
"You're only there to watch a movie. And therefore the focus
is more intense. The screen is bigger. Everything is magnified."
Along with its provocative stories and subject matter, "The
XFiles" has developed a signature visual style, which
utilizes elements such as extreme closeups and flashlight
beams searching through the dark. To continue that look and convey
his own cinematic style, Bowman chose Ward Russell as the film's
director of photography.
"This film is unique in that there was a body of work on
the TV show that precedes it," notes Russell. "So my
challenge was to transform the moods and images that have become
known as 'XFiles' into the bigscreen version. We weren't
trying to duplicate what has been done on the TV series; we tried
to amplify it, creating what wou
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