American Cinematographer - August 2008 - (Page 29) for four years, notes, “There were a lot of bitter-cold nights and a lot of wet nights, but it wouldn’t have been The X-Files otherwise.” Though maintaining the XFiles look was a given, during prep, the filmmakers considered achieving that look in a new way: digitally. Except for a humorous foray into high-definition (HD) video on the episode “X-Cops,” which Roe shot in the run-and-gun style of Cops (using Panavised Sony HDW-F900s), The X-Files was a 35mm show. “We debated whether to shoot this movie with the [Panavision] Genesis,” says Roe, whose HD credits include the series Robbery Homicide Division (2002-2003) and the ASC-nominated telefilm Faith of My Fathers (2005). “Frank Spotnitz fell in love with the Genesis on Night Stalker [2005], and we entertained the idea for a long time.” Spotnitz, who first encountered HD as an executive producer on Robbery Homicide, explains, “It’s very exciting to see something in a way you’ve never seen it before, and on Robbery Homicide, I was blown away the first time we pointed Sony 950s out at the Los Angeles skyline from an office downtown at night — you could see the city out there, and it was gorgeous. I then became intensely aware of how most TV shows have to hide the fact they’re onstage by blowing out windows or using blinds, so on Night Stalker, we made a point of shooting almost everything on location and having open windows in the background so you could see the world outside. It wasn’t a gimmick; the idea was if you set a scary story in the real world, and it actually feels like the real world, it will be scarier.” ¢ Above: Director of photography Bill Roe, ASC (left) talks over a shot with Marty McInally, the production’s A-camera/ Steadicam operator. McInally started working on The X-Files as a focus puller when the series filmed in Vancouver. Left: McInally prepares to film Connolly and Anderson in Crissman’s residence. American Cinematographer 29
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