It’s a shot that stands out on two fronts: to set up Michaud’s pensive stare and interest in the agent across the street, and to signify something offbeat through its visual language. Following from the back of O’Quinn and focusing on the skyline, the camera then pans with the helicopter that enters frame right and comes over the actor’s shoulder to focus on his profile. In what spells MONEY on the screen, Bowman indulges in the most technically difficult shot in the movie: a rack focus wrap around. Twelve minutes in and we finally meet our heroes, Mulder (David Duchovny) and Scully (Gillian Anderson), not in glorious close-up, but from a distance, as FBI agent Terry Michaud (Terry O’Quinn) furtively looks off the horizon at the federal building a few blocks away. Whereas television shows are required to info dump and most blockbusters are itching to get straight to the action, Future prizes puzzle pieces over set pieces…initially. A match cut from the ceiling of a prehistoric cave to a burst of light from a hole in the dirt kicks us into the present day, where our story begins. A lengthier runtime allows creator Chris Carter and director Rob Bowman to indulge in some juicy table setting and often in clever ways. Pacing is one of Fight the Future‘s greatest virtues.
But despite a brief violent encounter and some impressive creature effects, the opening is wordless and moody, an extended prologue that focuses on atmosphere to tantalizing effect. This is a film so big it has to go back all the way to the dawn of man. Opening with some sleek title design (differing from the grainy main titles of the television show), the film announces its grandiosity with a title card: 10,000 B.C. But it’s very seldom recognized as a glossy piece of pulp genre filmmaking. Indeed, the film was sandwiched between the show’s fifth and sixth seasons and even fit into its sprawling mythology.
The X-Files Movie is largely remembered as an extended episode. “Take your greatest fear, your most paranoid suspicion, and your darkest nightmare…and multiply it by X.”Ĭue “O Fortuna,” and a barrage of action-packed, mysterious, and evocative images, and you had the arrival of a brand juggernaut, a television hit so tailored made for the cinema that it’s alphabetic signifier became a giant, ready-made logo for the poster and print campaign. All the blockbuster boxes were checked, even down to the epic marketing, which featured a trio of sexy trailers intoning taglines such as: At a hearty length of 122 minutes, the film boasted the talents of a Hollywood DP, top dollar visual effects houses, and even a soundtrack comprised of the year’s pop and rock hit makers. The X-Files had that distinction in the summer of 1998 when it’s first movie, dubbed Fight the Future for marketing, was released on June 19. Even fewer make it while the show it still on the air. This is a limited edition on 3000 units.Very few hit television shows make the transition to the big screen.
Produced by Mark Snow and Nick Redman, and mastered by Mike Matessino, this exciting release also contains exclusive liners by writer Julie Kirgo and an updated print interview with Snow conducted by film music writer Randall D. Also, the incorrectly reversed stereo channels on the original soundtrack release have been corrected here. This special limited edition release features much improved sound and contains some music not previously released. Composer Snow launches the beloved television series, THE X-FILES onto the silver screen with an astounding score that retains the show’s already established sonic palette of atmospheric synths, while opening up its musical universe with the addition of a live orchestra.
La-La Land Records and 20th Century Fox present the remastered release of acclaimed composer Mark Snow’s (THE X-FILES, MILLENIUM, GHOST WHISPERER, BLUE BLOODS) original motion picture score to the 1998 motion picture THE X-FILES: FIGHT THE FUTURE, starring David Duchovny, Gillian Anderson and John Neville.