On May 19th 2013, fans of The X-Files were given a rare treat; a chance to spend time with the minds behind the art of The X-Files. The event, held at the iconic Egyptian Theater in Los Angeles, and celebrated by the Art Directors Guild Film Society, the American Cinematheque, and The Hollywood Reporter, brought together production designer Corey Kaplan (The X-Files, Scandal, Cold Case, Robbery Homicide Division), writer-producer-director Vince Gilligan (The X-Files, Breaking Bad, The Lone Gunmen, Harsh Realm) and Creator-Writer-Producer-Director Chris Carter (The X-Files, Harsh Realm, Millennium, The Lone Gunmen). Moderated by production designer John Muto (Home Alone, River’s Edge, Terminator 2 3-D), the event presented the art and design of The X-Files by screening “Je Souhaite” and “Triangle” and included a panel discussion. What made this event unique is that as a television viewing audience, we often celebrate and obsess over actors, and at times writers and producers. We become deeply connected to the characters and to the story of the hardships they face. However, the world that is created by the Art Department under the guidance of the Production Designer often goes unmentioned. This is likely due to the ability of the visual medium to submerse the viewer into an environment so compelling that we momentarily suspend belief. We forget the complexities of set design and construction, of picking out the right costumes and maintaining outfit continuity, of choosing makeup that both enhances the character yet seems realistic, of creating convincing special effects, and the arduous search for the perfect location. The style that unifies the image goes unnoticed because Production Design, when done right, complements the story and actors so well it becomes their world. It is the job of the Production Designer to tell a visual story by taking the words off the page of the script and manifesting them on screen. Working alongside the cinematography department, they create a world that both matches and enhances the characters and their story. By utilizing sets, locations, props, special effects, costume design, framing, lighting, and pacing, the image communicates not only visual information but also emotional information. Production Design on The X-Files took this a step farther. The visuals of The X-Files not only brought us into the world of Mulder and Scully, they also gave validity to a science fiction genre that is often plagued with big ideas but campy production by telling complex stories with fantastical elements in a believable way. With The X-Files, sci-fi suddenly found a mainstream audience. The Pilot The pilot does an excellent job of setting up the viewer for the nature of the show by utilizing emotional information through production design. After a fade in, we see a female running in a sky blue nightgown, her figure barely lit by the moon as she becomes encapsulated by the shadows of the woods. We only see her face as a dark figure approaches and a bright light fills the screen then fades to the dead body of the young woman. In this scene we understand her fear through the visual medium and we are left to question what happened. A low lighting source enhances the production design by appearing throughout the pilot with several different types of light: moonlight, streetlights, headlights, flashlights, slideshow projector lights, police lights, fire light, and candlelight. At its most intense moments, the lighting is reduced and the use of window shades, rain, and foliage are used to create eerie or strong emotional moments, such as when Mulder reveals his sister’s abduction to Scully in the motel room. The episode features prominent sets such as Mulder’s office, which automatically gives the viewer visual cues as to Mulder’s character. The IWTB poster, photos, and office clutter suggest a man both obsessed with the paranormal and his work. Along with the dim lighting situations, the costume design maintained a subdued neutral color palette and established the two tone suits for Mulder and Scully. For visual effects, the chimpanzee alien body in the casket, the nosebleed from Theresa Hoese, and the leaves circling Billy towards the end of the episode all stand out as well done and help drive the episode forward. At the end of the episode, as Cancerman logs the evidence, the viewer is informed of the vastness of the room by the large shelving units, and even though you only see one row, you are led to believe the room is much larger. The use of signage outside the door clues the viewer in that the evidence is being stored in a secure facility at the heart of the Pentagon, and the viewer suddenly realizes how deep the conspiracy goes. Favorite scenes from The Pilot When Scully enters the FBI in the beginning to go to Blevins office and passes all the office workers, and even as she talks to Blevins, you see people through the blinds moving around. This gives the viewer visual cues that there is a much larger world than what is being filmed. The silhouette of Cancerman, with his head bowed, as Billy recounts the abductions in the brightly lit interrogation room. This scene is interesting in that the viewer questions why Cancerman is there, and begins to wonder about his connection to what happened to Billy. Home It would be easy to congratulate the special effects department on the makeup and prosthetics of the Peacock family and be done with this; however, this episode features some extraordinarily well designed production design with a remarkably small amount of locations for an episode including: the Peacock’s House, the Sheriff’s station, the Hotel, and the Sheriff’s House. As with the pilot, lighting during the opening scenes plays an important role in setting the mood. The lighting filters through the vines with the sickle and then continues with the addition of candlelight to set the ambiance for the grisly birthing scene. This low level lighting enhances the suspense while the candlelight enhances the abnormalities of the Peacock’s faces. Following the birth, the shot of the baby’s last view as the man shovels dirt onto his body is riveting. The baby’s hand also plays a symbolic role of the need for help as it reaches from the dirt where the boys playing baseball discover it. It is only later that we see the baby’s body, most likely so that the viewer does not write off what happened to the child as a result of his deformities. “Home” makes great use of light and dark with many of the exterior shots of the town showing a sunny, perfect day in contrast to the interior of the Peacock’s House which is starkly dark in comparison. While the darkness is technically due to a lack of electricity, it serves as a symbolic way to hide the dark secrets of the Peacock family, which Mulder and Scully later begin to uncover, as they enter the house upon seeing a pair of bloody scissors. Lighting is effectively used as the camera zooms in on the eyes of a hidden figure as Mulder and Scully search the house. Probably the most interesting aspect of “Home” is that it really deals with the struggle of two sides trying to maintain their way of life. As the Sheriff takes a nondescript gray box out of his desk, he opens it and pulls out a pistol. We see his character struggle with the thought of using it. He puts it back. Later, as the Peacock brothers get in their car to head to the Sheriff’s home, the choice of car is of great interest as it lends to the notion of a bygone era, which this episode heavily deals with. The Peacocks and the Sherriff are both in a struggle to hold on to their way of life against outside forces. As the Sheriff is being bludgeoned, the camera angle from his wife’s POV, along with her attempt to muffle her anguish as his blood creeps along the floor towards her fingers, heightens the viewer’s sense of impending doom. The viewer fears for her, knowing she can’t escape. Some may have thought this scene too brutal, and in fact the episode was banned for years from being re-shown on the network, but this brutal scene highlights the desire for peace with the reality of violence. The success of the production design in “Home” lies in locations that feel like real places rather than poke a rural living. As Mulder uses a 2x4 to open a door and the trap springs, the door cracks from the pressure and the panes break. It makes the viewer feel as if the characters are in true danger. The special effects to make the Peacock mother a quadriplegic was also both outstanding and wholly believable. The old family photos are informative and help to identify the woman to the viewer. Another item of note is that the costume design in this episode absolutely fits the characters. For the Sheriff who took great pride in his job, his uniform was clean and pressed. While the clothes of the Peacocks were dirty and disheveled, their costumes fit with the rural styles of the Amish and Mennonites, two equally reclusive groups that take pride in family. Favorite Scene from Home The burial of the baby was excellently executed. The visuals were both beautiful and disturbing at the same time. The Peacock brother crying while another comforts him; the dark figure with a shovel in the rain as lightning illuminates his frame; the baby’s wails as its hand protrudes its cover.