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Spaceship Earth (Epcot)
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Spaceship Earth
Epcot
Area
Future World
Coordinates
28°22′31″N 81°32′58″W / 28.375321°N 81.549408°W / 28.375321; -81.549408Coordinates: 28°22′31″N 81°32′58″W / 28.375321°N 81.549408°W / 28.375321; -81.549408
Status
Operating
Opening date
October 1, 1982
General statistics
Attraction type
Dark ride
Designer
Walt Disney Imagineering
Music
Edo Guidotti (1994–2007)
Bruce Broughton (2008–present)
Site area
109,375 sq ft (10,161.3 m2)
Vehicle type
Omnimover
Riders per vehicle
4
Rows
2
Riders per row
2
Duration
15:00
Host
Lawrence Dobkin (1982–1986)[1]
Walter Cronkite (1986–1994)
Jeremy Irons (1994–2007)
Judi Dench (2008–present)
Diameter
165 ft (50 m)
Height
180 ft (54 m)
Circumference
518.1 ft (158 m)
Volume
2,350,000 ft3 (716,280 m3)
Weight
15,520,000 lbs (7,040,000 kg)
Number of tiles
11,324[2]
Sponsor
Bell System (1982–1984)
AT&T (1984–2004)
Siemens (2005-2017)
Fastpass+ available
Must transfer from wheelchair
Assistive listening available
Spaceship Earth is a geodesic sphere that serves as the symbolic structure of Epcot, at the Walt Disney World Resort. One of the most recognizable structures of any theme park, it is also the name of the dark ride attraction that is housed within the sphere that takes guests on a time machine-themed experience using the Omnimover system.
The 15-minute dark ride demonstrates to guests how advancements in human communication have helped to create the future one step at a time. Passengers journey back in time to witness the origins of prehistoric man, then travel forward in time to witness important breakthroughs in communication throughout history—from the invention of the alphabet to the creation of the printing press to today's modern communication advancements, including telecommunication and mass communication. At the conclusion of the ride, passengers have the chance to design their own future using touch screens that are embedded into the ride cars.
Contents
[hide]
1 Structure
2 History
2.1 Design and construction
2.2 Opening
2.3 Wand and update
3 Attraction experience
3.1 Show scenes
3.2 Post-show
3.2.1 Earth Station
3.2.2 Global Neighborhood
3.2.3 Project Tomorrow: Inventing the Wonders of the Future
3.2.4 VIP Lounge
4 Timeline
4.1 Narrators
5 See also
6 References
7 Further reading
8 External links
Structure[edit]
Close-up of Spaceship Earth's Alucobond tiles.
The structure is similar in texture to the United States pavilion from Expo 67 in Montreal, but unlike that structure, Spaceship Earth is a complete sphere, supported by three pairs of legs. The architectural design was conceived by Wallace Floyd Design Group.[3] [4]The structural designs of both Expo 67 and Spaceship Earth were completed by Simpson Gumpertz & Heger Inc. of Boston, Massachusetts.
Geometrically, Spaceship Earth is derived from the Class 2 geodesic polyhedron with frequency of division equal to 8. Each face of the polyhedron is divided into three isosceles triangles to form each point. In theory, there are 11,520 total isosceles triangles forming 3840 points. In reality, some of those triangles are partially or fully nonexistent due to supports and doors; there are actually only 11,324 silvered facets, with 954 partial or full flat triangular panels.[5]
The appearance of being a monolithic sphere is an architectural goal that was achieved through a structural trick. Spaceship Earth is in fact two structural domes. Six legs are supported on pile groups that are driven up to 160 feet into Central Florida's soft earth. Those legs support a steel box-shaped ring at the sphere's perimeter, at about 30 degrees south latitude in earth-terms.[6] The upper structural dome sits on this ring. A grid of trusses inside the ring supports two helical structures of the ride and show system. Below the ring, a second dome is hung from the bottom, completing the spherical shape. The ring and trusses form a table-like structure which separates the upper dome from the lower. Supported by and about three feet off the structural domes is a cladding sphere to which the shiny Alucobond panels and drainage system are mounted.
The cladding was designed so that when it rains, no water pours off the sides onto the ground. All water is collected through one-inch gaps in the facets into a gutter system, and finally channeled into the World Showcase Lagoon.
History[edit]
Design and construction[edit]
The Alucobond construction, which took over two years to complete.
The structure was designed with the help of science fiction writer Ray Bradbury, who also helped write the original storyline for the attraction.[7][8][9] The term "Spaceship Earth" was popularised by Buckminster Fuller,[10] who also popularized the geodesic dome.
Construction took 26 months. Extending upwards from the table are "quadropod" structures, which support smaller beams which form the shell of the steel skeleton. Pipes stand the aluminum skin panels away from the skeleton and provide space for utilities. A small service car is parked in the interstitial space between the structural and cladding surfaces, and can carry a prone technician down the sides to access repair locations. The shop fabrication of the steel (done in nearby Tampa, Florida) was an early instance of computer-aided drafting and materials processing. Spaceship Earth was originally sponsored by the Bell System from 1982 until 1984, when it was broken into smaller companies in 1984, and its parent company, AT&T, became an independent company. AT&T sponsored Spaceship Earth from 1984 until 2004. From 2005 onwards, the German company Siemens has been the sponsor of Spaceship Earth.
Opening[edit]
In October 1982, the attraction experience began as the ride vehicles moved up into the structure through a lighted tunnel enhanced by a fog machine, and then ascended on a spiraling track up through dark spaces featuring a series of lighted historic vignettes. The attraction featured actor Lawrence Dobkin as the narrator along with a very simple and quiet orchestral composition throughout the attraction. The theme of communication through the ages is presented in chronological order in settings peopled with Audio-Animatronics figures. Actors are seen (and heard quietly) declaiming in a Greek theater. Charioteers carry messages from a Roman court, and Jewish and Islamic scholars discuss texts. With typical Disney whimsy, a monk is seen having fallen asleep on a manuscript he was inscribing. Michelangelo, overhead, paints the ceiling of the Sistine chapel, and Gutenberg mans his printing press. Suggesting the rush of 20th-century technology, subsequent scenes meld together, overlapping each other as the circumference of the ride track narrows. A newsboy hawks papers, a movie marquee and film clips represent motion pictures, and radio and television are represented. As the vehicles reach the large space at the apex of the ride system, guests see, on the planetarium ceiling of the sphere, projections of stars, planets, the Milky Way, and, closest and largest, "spaceship earth." The Omnimover vehicles then revolve 180 degrees, so that the passengers lie backward facing the "sky" as they begin their descent on a relatively straight track. The ride stops intermittently as wheelchairs are loaded or unloaded.
Spaceship Earth at night.
In May 1986, the attraction was given a slight remodel. This second version of the attraction started off with the lighted tunnel enhanced by twinkling lights, meant to depict stars, with the fog machine removed. News journalist Walter Cronkite was the new narrator, reading from an updated script. A theme song called Tomorrow's Child was composed for the ending of the attraction, which was redesigned with projected images of children on screens to help fit with the theme of "Tomorrow's Child".
On August 15, 1994, the attraction was closed to receive a major remodel. This third version of the attraction kept the lighted tunnel as it was in 1986, and maintained the majority of the scenes depicted in the beginning and middle of the attraction. Three scenes toward the end of the attraction that showed a computer in a boy's bedroom of the 1980s, a woman's office of the 1980s, and a network operations center of the 1990s, were all removed and replaced with one scene depicting a boy and girl using the Internet to communicate between America and Asia. Actor Jeremy Irons was the new narrator, reading from an updated script. A new orchestral composition was composed for the beginning, middle, and end of the attraction. The ending itself was completely redone, with the removal of the Space Station scene located in the attraction's planetarium (the astronauts from the scene subsequently turned up in Space Mountain's post-show, where they were used until 2009), replacement of an old projected image of Earth in the planetarium with a new image, and replacement of the 1982 and 1986 ending scenes of the ride with miniature architectural settings connected by color-changing fiber optic cables and arrays of blinking lights representing electronic communication pathways. The attraction re-opened on November 23, 1994.
Wand and update[edit]
Spaceship Earth with the Mickey Mouse wand, added in 2000 and removed in 2007.
In celebration of the year 2000, a large 25-story "magic wand" held by a representation of Mickey Mouse's hand was built next to the sphere. Inspiration for it came from the Sorcerer's Apprentice sequence of Fantasia (although Mickey did not actually use a magic wand in that sequence). At the top of the structure was a large cut-out of the number 2000. While the structure wasn't intended to be permanent, it was constructed to have a lifetime of about 10 years. After the Millennium Celebration ended, the structure was left standing. In 2001, the number 2000 was replaced with the word "Epcot" in a script font that differs from the park's logotype.
On July 5, 2007, Epcot Vice President Jim MacPhee announced that Spaceship Earth would be restored to its original appearance, and that the "magic wand" structure would be removed in time for the park's 25th anniversary on October 1, 2007. Siemens AG, the new sponsor of Spaceship Earth, was rumored to have requested the wand removed as it did not fit their corporate image. The attraction was closed on July 9, 2007, and by October 1 the wand structure, the stars and the star supports were gone, replaced by palm trees and other plants. Components of the structure were later auctioned on eBay.[citation needed]
Spaceship Earth seen from within the park in 2016.
The closure also saw the ride's fourth update, which included new scenes and modifications to existing scenes, some new costumes, lighting, and props, a new musical score by Bruce Broughton, new narration by Judi Dench,[11] and a new interactive ending. New scenes showed a Greek classroom, mainframe computers and the creation of the personal computer.[12] The attraction opened for "soft launch" previews starting in December 2007. After some last-minute adjustments in January, the ride had its official re-opening on February 15, 2008.
The "time machine" vehicles now have an interactive screen where riders can choose their vision of the future.[13] This resembles a similar idea to the now-defunct Horizons attraction. At the beginning of the ride, a camera takes riders' pictures (using facial recognition technology) which are used at the end of the ride to conduct an interactive experience about the future of technology, featuring the riders' faces on animated characters with narration by Cam Clarke. Visitors are now also asked where in our Spaceship Earth they live; this is used in the post-show area where a map of the world is displayed with the riders' faces shown where they live.
Attraction experience[edit]
As the ride is built on an omnimover system, there are no triggered ride events. Rather, a narration plays as the show scenes and music run on loop. The script, originally penned by Ray Bradbury, has since been updated to meet contemporary technological trends. The current host is Judi Dench, who narrates along an orchestral score by Bruce Broughton.
Show scenes[edit]
Audio-animatronic cavemen in the first scene of the ride. The scene has since been updated with new figures and an animated background.
The ride begins with the time-machine vehicles ascending into a dark tunnel with twinkling stars all around. An adventurous orchestral theme starts to play. As the score shifts to the theme ostinato, a leitmotif that comes to represent digital interference, guests have their picture taken which, unknown to the riders, will be used later in the ride and in the post-show.
As the vehicle arrives at the first story of the structure, it begins a slow curve. A large film screen is stretched along the inside of the sphere, depicting early humans fighting for survival without a form of communication and language. As the screen dims behind them, guests enter a cavern populated by audio animatronic early humans, who represent the development of early language through cave paintings. The drawings on the walls come to life and begin to dance as the car continues onward.
The score modulates, presenting the theme in a phrygian mode, implying a middle eastern atmosphere. Guests are brought through a heated diorama of the Egyptians, who invented a system of portable communication using hieroglyphs recorded on papyrus, as opposed to cave paintings that were unable to be transported as humans migrated.
The Phoenicians animatronics in an early scene from the ride discussing how our modern alphabet evolved.
Phoenician merchants are seen carrying goods to faraway lands. The narration explains how each civilization is trying to communicate, but cannot understand each other due to the language barrier. But the Phoenicians, who trade with all of them create a simple common alphabet, so that trade and communication becomes easier. Turning a corner, riders see a lesson in mathematics being taught in a piazza in an ancient Greek city, in a sequence that attempts to show how math helped invent the 'birth of a high tech life we enjoy today.' Shifting to ancient Rome, a night scene including a traveler in a chariot delivering news depicts how language is portrayed as a tool for cultural unification with the vast network of roads that stretched across Europe, ultimately all leading to Rome.
Suddenly, the scene takes a dark turn as crashes are heard and the smell of burnt wood fills the air. The fall of Rome by invading mercenary armies also brought the destruction of the bulk of the world's recorded knowledge, including the loss of scrolls at the Library of Alexandria. But the narration gives hope as the vehicle reaches the next level, where Jewish and Islamic scholars of the Middle Ages are seen preserving recorded information, and continuing to progress in science.
Winding through exotic fabrics and drapery, guests arrive at a monastery where biblical manuscripts are being painstakingly copied. The composition shifts to a rousing hallelujah chorus, sung to the melody of the piece's exposition. Gutenberg is seen working the first movable-type printing press, allowing information to travel freely across the globe. The European Renaissance is portrayed, with animatronics of ensembles playing rich, polyphonic secular motets, sculpting a woman, and the painting of a portrait of fruit. The scene ends as the car passes under a scaffold, where Michelangelo is seen painting the ceiling of the Sistine Chapel.
The time machines transition to a post-Civil War North. Guests witness syndicated news reports illuminating the planet of current events with amazing efficiency. Loud, industrial-sized printing presses show the incredible influence of the machine as an advancement in mass communication. As guests pass the clanging sounds of the press, the score's theme is presented again, this time with an uptempo ragtime piano. Seen next is a romanticized version of the 20th century communications revolution—after passing telegraphs, radio, telephones, and movies, riders see the 1969 television broadcast of Apollo 11 landing on the moon, featuring Walter Cronkite. Language had progressed to such an extent that it no longer was spoken solely by humans, but by machines as well.
Guests turn a corner and find themselves in a large mainframe computer as they ascend up the final hill. At the top, a slow descent starts, progressing through a garage in California, where a man[12] is seen building one of the first home computers. The score becomes suddenly percussive and dramatic as guests fly through a tunnel with computer code projected onto the walls. At a crescendo, the car makes its final turn into the cupola of Spaceship Earth. The top of the structure is, in fact, a planetarium studded with stars and a large projection of a rotating Earth. Before the omnimover vehicles start to move down the long descent to the unloading area, they rotate 180 degrees clockwise and guests ride the end of the attraction backwards.
The remainder of the ride moves past a seemingly infinite number of stars and into a realm of glowing triangles. The guests can then use the touch-screens in their Omnimover vehicle to fill out a questionnaire to create a possible depiction of their future, which uses the pictures taken at the beginning of the ride.
Siemens then invites guests to visit Project Tomorrow as they exit the ride cars.
Post-show[edit]
Earth Station[edit]
The original post show for Spaceship Earth was called Earth Station. It lasted from 1982 until 1994. It was a wide open exhibit space that included:
EPCOT Center Guest Relations
Seven large rear projector screens mounted on the walls of the exhibit space toward the ceiling that displayed visual previews of various EPCOT Center attractions.
WorldKey Information: Interactive kiosks that offered previews of various EPCOT Center attractions. Guests could also talk to a live cast member via two-way closed-circuit video, or make a restaurant reservation while in the park.
Global Neighborhood[edit]
When AT&T renewed their sponsorship in 1994, they redesigned the exhibit space for Earth Station into the Global Neighborhood. The original Global Neighborhood lasted from 1994 until 1999. In 1999, the exhibit space was updated to become the New Global Neighborhood for the Millennium Celebration. The exhibit space closed in 2004 after AT&T left as sponsor.
Project Tomorrow: Inventing the Wonders of the Future[edit]
AT&T's departure as sponsor in 2004 caused the exhibit to close. Siemens AG, the new sponsor of Spaceship Earth, having signed on in 2005, created a new exhibit space called Project Tomorrow: Inventing the Wonders of the Future. The new exhibit space once again uses the entire exhibit space that only Earth Station had once used. The new exhibit space houses interactive exhibits featuring various Siemens AG technology. These interactive displays and games allow guests to see the future of medicine, transportation and energy management. The space opened with two games, with two new games added in December 2007 and January 2008.
Project Tomorrow current attractions are:
An illuminated globe that shows the hometown of all Spaceship Earth visitors for the day.
Body Builder – a 3-D game that challenges guests to reconstruct a human body. Features the voice of Wallace Shawn as Dr. Bones.
Super Driver – a driving simulation video game featuring vehicle accident and avoidance systems. It simulates what is supposed to be the future of driving. You drive a "smart-car" and try to stop the city from being destroyed.
Power City – a large, digital "shuffleboard-style" game that has guest racing around the board to power their city.
InnerVision – a coordination and reaction-time game with elements similar to Simon and Dance Dance Revolution[13]
VIP Lounge[edit]
A VIP lounge, operated by the pavilion sponsor, exists above the post-show area of Spaceship Earth. Employees of the current sponsoring company and their guests can relax in the lounge while visiting Epcot. The sponsor can also hold receptions in the space as well as conduct workshops and business presentations. When Spaceship Earth was without sponsorship from 2004–2005, the room was utilized for private events such as weddings and conventions.[citation needed] The layout is small and curved in shape, with one wall consisting of large windows where visitors can look out onto the park.
When Siemens AG took over as sponsor, the lounge was given the name "Base21."[14] In 2012, the name was dropped and it is now simply known as the "Siemens VIP Center."
Timeline[edit]
Spaceship Earth's original logo, visible at the entrance of the ride until 2007.
October 1, 1982: Spaceship Earth opens with the opening of EPCOT Center. Sponsored by the Bell System.[15][16] The narrator is Lawrence Dobkin.
May 26, 1986: Attraction reopens from first major renovation. AT&T is now the sponsor, having signed on in 1984. New narration by Walter Cronkite. Finale music changed to Tomorrow's Child.
August 15, 1994: Closes for second major renovation. "Home computer", "Office Computer", "Network Operations Center", and "Space Station" scenes removed. New final scenes installed and replace old final scenes. Earth Station closes. Tomorrow's Child ending removed.
November 23, 1994: Attraction reopens. New ride narration by Jeremy Irons.[17][18] New ride score by Edo Guidotti.[19] The Global Neighborhood replaces Earth Station.
September 29, 1999: The Mickey Mouse arm holding a wand is dedicated with "2000" over Spaceship Earth.
November 24, 1999: The Global Neighborhood is replaced with The New Global Neighborhood, a new exhibit space serving as a hands-on playground for Spaceship Earth's post show.
May 2001: The Mickey Mouse arm holding a wand is changed to say "Epcot" over Spaceship Earth.
January 1, 2004: AT&T Corporation sponsorship ends.
April 2004: The New Global Neighborhood is removed and the area is boarded up. AT&T references removed.
November 2005: It is announced that Siemens AG[20] will sponsor Spaceship Earth for twelve years.
April 11, 2007: Major changes coming to Spaceship Earth are announced.[13]
April 25, 2007: The new exhibit space in Spaceship Earth's post show called Project Tomorrow: Inventing the Wonders of the Future opens.
July 5, 2007: Epcot Vice President Jim Macphee announces the removal of the wand structure in time for the park's 25th anniversary on October 1, 2007.
July 9, 2007: Closes for a fourth renovation. Removal of the wand structure begins.
August 24, 2007: Removal of the wand structure completed.
December 2007: Guest previews of fourth edition begin.
February 15, 2008: Fourth edition opens to the general public. New narration by Dame Judi Dench.
March 4, 2008: Spaceship Earth is rededicated.
October 1, 2012: Spaceship Earth and Epcot celebrate their 30th anniversary.
Narrators[edit]
Lawrence Dobkin:[1] October 1, 1982 – May 25, 1986
Walter Cronkite: May 29, 1986 – August 15, 1994
Jeremy Irons: November 23, 1994 – July 9, 2007
Judi Dench: February 15, 2008–present
See also[edit]
Epcot attraction and entertainment history
References[edit]
^ Jump up to: a b Sklar, Martin. Dream It! Do It! My Half-Century Creating Disney's Magic Kingdoms. ISBN 1-4231-7406-2.
Jump up ^ WDW Twitter. January 25, 2016. This figure has been widely cited for quite some time. Any assertion of a different figure should be accompanied by solid evidence.
Jump up ^ "Emporis Building Data". Archived from the original on September 24, 2015.
Jump up ^ "Spaceship Earth, EPCOT Center". Top Flight Specs. Archived from the original on March 4, 2016.
Jump up ^ Kurtti, Jeff (1996). Since the World Began: Walt Disney World, The First 25 Years. New York, New York: Hyperion. p. 91. ISBN 0-7868-6248-3.
Jump up ^ Spence, Jack (January 16, 2010). "Spaceship Earth – Epcot's Icon – Part 1 (The "World" According to Jack)". Land.allears.net. Archived from the original on August 1, 2012. Retrieved August 20, 2012.
Jump up ^ "About Ray Bradbury". Ray Bradbury. Archived from the original on September 8, 2006. Retrieved August 13, 2006. In 1982 he created the interior metaphors for the Spaceship Earth display at EPCOT Center, Disney World.
Jump up ^ Miller, Robin (February 2000). "Ray Bradbury - Following his passion to Mars". Ray Bradbury. Archived from the original on October 18, 2006. Retrieved August 13, 2006. The images at Spaceship Earth in DisneyWorld's EPCOT Center in Orlando? Well, they are all Bradbury's ideas.
Jump up ^ Mesic, Penelope (January 1999). "Cosmic Ray". Ray Bradbury. Archived from the original on September 12, 2006. Retrieved August 13, 2006. He also serves as a consultant, having collaborated, for example, in the design of a pavilion at EPCOT Center at Walt Disney World.
Jump up ^ Lidor, Danit (July 12, 2004). "'Bucky' Gets Lucky With Stamp". Wired.com. Archived from the original on October 19, 2007.
Jump up ^ Boyd, Christopher; Garcia, Jason; Powers, Scott. "Epcot's Spaceship Earth to reopen in mid-December for sneak previews with a new story overlay, new technology and a whole new soundtrack". orlandosentinel.com. Orlando Sentinel. Archived from the original on October 14, 2014. Retrieved October 14, 2014.
^ Jump up to: a b Dehnart, Andy (February 1, 2008). "Who's the Mystery Man in Epcot's Garage? Neither Woz nor Jobs". Wired. Archived from the original on May 17, 2008. Retrieved March 3, 2008.
^ Jump up to: a b c "Re-Imagined Time-Travel Adventure, New Finale Transform Spaceship Earth Presented by Siemens at Epcot". wdwnews.com. Disney Parks. Archived from the original on July 17, 2007. Retrieved October 14, 2014.
Jump up ^ Sparks, Darren. "Walt Disney Parks and Resorts Strategic Marketing and Technology Alliance". usa.siemens.com. Siemens USA. Archived from the original on October 9, 2014. Retrieved October 14, 2014.
Jump up ^ Burns, Steve. "EPCOT Center Photo Tour - Spaceship Earth by Steve Burns". startedbyamouse.com. Archived from the original on September 24, 2015. Retrieved October 14, 2014.
Jump up ^ Prizer, Edward. "Spaceship to Tomorrow". intercot.com. Archived from the original on June 28, 2004. Retrieved October 14, 2014.
Jump up ^ "Jeremy Irons". IMDb. Archived from the original on April 7, 2007. Retrieved April 11, 2007.
Jump up ^ "Voice". The Incomparable Jeremy Irons. Archived from the original on March 5, 2000. Retrieved April 11, 2007.
Jump up ^ "Production Show Music". Pacific Coast Presentations. Archived from the original on December 20, 2003. Retrieved August 13, 2006.
Jump up ^ "Lighting News January 2006". sylvania.com. Sylvania. Archived from the original on February 15, 2006. Retrieved October 14, 2014.
Further reading[edit]
Mongello, Louis A. (July 2004). The Walt Disney World Trivia Book. The Intrepid Traveler. p. 125. ISBN 978-1-887140-49-2. The concept of the geodesic sphere came from Buckminster Fuller, who also coined the term "spaceship earth" in his 1964 book, An Operating Manual for Spaceship Earth.
External links[edit]
Wikimedia Commons has media related to Spaceship Earth, Epcot.
Walt Disney World Resort - Spaceship Earth
Intercot's Spaceship Earth page
AT&T Archive video of the opening of Spaceship Earth
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[show]
v
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Bibliography
Novels
The Martian Chronicles (1950)
Fahrenheit 451 (1953)
Dandelion Wine (1957)
Something Wicked This Way Comes (1962)
The Halloween Tree (1972)
Death Is a Lonely Business (1985)
A Graveyard for Lunatics (1990)
Green Shadows, White Whale (1992)
From the Dust Returned (2001)
Let's All Kill Constance (2002)
Farewell Summer (2006)
Short stories
"The Scythe" (1943)
"The Lake" (1944)
"Frost and Fire" (1946)
"The Million Year Picnic" (1946)
"The Small Assassin" (1946)
"I See You Never" (1947)
"Fever Dream" (1948)
"The Fruit at the Bottom of the Bowl" (1948)
"The Long Years" (1948)
"Mars Is Heaven!" (1948)
"Dark They Were, and Golden-Eyed" (1949)
"The Exiles" (1949)
"Marionettes, Inc." (1949)
"The Long Rain" (1950)
"The Rocket" (1950)
"There Will Come Soft Rains" (1950)
"The Veldt" (1950)
"Ylla" (1950)
"Embroidery" (1951)
"The Fog Horn" (1951)
"Here There Be Tygers" (1951)
"The Pedestrian" (1951)
"The April Witch" (1952)
"A Sound of Thunder" (1952)
"The Wilderness" (1952)
"The Flying Machine" (1953)
"The Golden Kite, the Silver Wind" (1953)
"The Meadow" (1953)
"The Murderer" (1953)
"Sun and Shadow" (1953)
"All Summer in a Day" (1954)
"The Dragon" (1955)
"The Aqueduct" (1979)
"Banshee" (1984)
"The Toynbee Convector" (1984)
"Is That You, Herb?" (2003)
Collections
Dark Carnival (1947)
The Illustrated Man (1951)
The Golden Apples of the Sun (1953)
The October Country (1955)
A Medicine for Melancholy (1959)
The Day It Rained Forever (1959)
The Small Assassin (1962)
R Is for Rocket (1962)
The Machineries of Joy (1964)
The Autumn People (1965)
The Vintage Bradbury (1965)
Tomorrow Midnight (1966)
S Is for Space (1966)
Twice 22 (1966)
I Sing the Body Electric (1969)
Ray Bradbury (1975)
Long After Midnight (1976)
The Fog Horn & Other Stories (1979)
The Last Circus and the Electrocution (1980)
The Stories of Ray Bradbury (1980)
The Fog Horn and Other Stories (1980)
Dinosaur Tales (1983)
A Memory of Murder (1984)
The Toynbee Convector (1988)
Classic Stories 1 (1990)
Classic Stories 2 (1990)
The Parrot Who Met Papa (1991)
Selected from Dark They Were, and Golden-Eyed (1991)
Quicker Than the Eye (1996)
Driving Blind (1997)
Ray Bradbury Collected Short Stories (2001)
One More for the Road (2002)
Bradbury Stories: 100 of His Most Celebrated Tales (2003)
The Cat's Pajamas: Stories (2004)
A Sound of Thunder and Other Stories (2005)
The Dragon Who Ate His Tail (2007)
Summer Morning, Summer Night (2007)
A Pleasure to Burn (2010)
The Collected Stories of Ray Bradbury (2011, 2014)
Plays
The Meadow (1947)
The Flying Machine: A One-Act Play for Three Men (1953)
The Wonderful Ice Cream Suit and Other Plays (1972)
Pillar of Fire and Other Plays (1975)
The Martian Chronicles (1986)
The Wonderful Ice Cream Suit (1986)
Fahrenheit 451 (1986)
Dandelion Wine (1988)
The Veldt (1988)
Adaptations
It Came from Outer Space (1953)
Moby Dick (1956 screenplay)
"I Sing the Body Electric" (1962)
The Picasso Summer (1969)
The Illustrated Man (1969)
The Martian Chronicles (1980 miniseries)
The Electric Grandmother (1982)
Something Wicked This Way Comes (1983)
Bradbury 13 (radio series, 1983-84)
The Ray Bradbury Theater (TV series, 1985-86, 1988-92)
The Halloween Tree (1993)
Dandelion Wine (1997)
The Wonderful Ice Cream Suit (1998)
A Sound of Thunder (2005)
Ray Bradbury's Chrysalis (2008)
The Whispers (2015)
Miscellaneous
Futuria Fantasia (1939-1940)
The Mummies of Guanajuato (1978)
Zen in the Art of Writing (1990)
It Came from Outer Space (2003 book)
Related
Spaceship Earth
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The X-Files (film)
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The X-Files
Theatrical release poster
Directed by
Rob Bowman
Produced by
Chris Carter
Daniel Sackheim
Screenplay by
Chris Carter
Story by
Chris Carter
Frank Spotnitz
Based on
The X-Files
by Chris Carter
Starring
David Duchovny
Gillian Anderson
Martin Landau
Blythe Danner
Armin Mueller-Stahl
Music by
Mark Snow
Cinematography
Ward Russell
Edited by
Stephen Mark
Production
company
Ten Thirteen Productions
Distributed by
20th Century Fox
Release date
June 19, 1998 (1998-06-19)
Running time
121 minutes[1]
Country
United States
Language
English
Budget
$66 million
Box office
$189.2 million[2]
The X-Files (also known as The X-Files: Fight the Future) is a 1998 American science fiction thriller film directed by Rob Bowman. Chris Carter wrote the screenplay. The story is by Carter and Frank Spotnitz. It is the first feature film based on Carter's television series The X-Files, which revolves around fictional unsolved cases called the X-Files and the characters solving them. Five main characters from the television series appear in the film: David Duchovny, Gillian Anderson, Mitch Pileggi, John Neville, and William B. Davis reprise their respective roles as FBI agents Fox Mulder and Dana Scully, FBI Assistant Director Walter Skinner, Well-Manicured Man, and the Cigarette-Smoking Man. The film was promoted with the tagline Fight the Future.
The film takes place between seasons five (episode "The End") and six (episode "The Beginning") of the television series, and is based upon the series' extraterrestrial mythology. The story follows agents Mulder and Scully, removed from their usual jobs on the X-Files, and investigating the bombing of a building and the destruction of criminal evidence. They uncover what appears to be a government conspiracy attempting to hide the truth about an alien colonization of Earth.
Carter decided to make a feature film to explore the show's mythology on a wider scale, as well as appealing to non-fans. He wrote the story with Frank Spotnitz at the end of 1996 and, with a budget from 20th Century Fox, filming began in 1997, following the end of the show's fourth season. Carter assembled cast and crew from the show, as well as some other, well-known actors such as Blythe Danner and Martin Landau, to begin production on what they termed "Project Blackwood". The film was produced by Carter and Daniel Sackheim. Mark Snow continued his role as X-Files composer to create the film's score.
The film premiered on June 19, 1998, in the United States, and received mixed to positive reviews from critics. Although some enjoyed the style and effects of the film, others found the plot confusing and viewed it as little more than an extended episode of the series. A sequel, entitled I Want to Believe, was released ten years later.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Conception and pre-production
3.2 Writing and casting
3.3 Set design
3.4 Filming
3.5 Music
4 Release
4.1 Theatrical run
4.2 Home media
5 Reception
5.1 Box office
5.2 Critical response
6 Sequel
7 See also
8 References
9 External links
Plot[edit]
The film opens in 35,000 B.C., in what will become North Texas. Two cavemen hunters encounter a large extraterrestrial life form in a cave, which kills one and infects the other with a black oil-like substance. In 1998, in the same area, a boy falls into a hole and is also infected by a black substance which seeps from the ground. Firefighters who enter the hole to rescue him do not come out. A team of men wearing hazmat suits arrive and extract the boy's body.
Meanwhile, FBI Special Agents Fox Mulder and Dana Scully, while investigating a bomb threat against a federal building in Dallas, discover the bomb in a building across the street. As the building is evacuated, Special Agent in Charge Darius Michaud remains, ostensibly to disarm the bomb. However, he simply waits for the bomb to detonate.
Mulder and Scully are later chastised because, in addition to Michaud, four other people were in the building during the bombing. That evening Mulder is accosted by a paranoid doctor, Alvin Kurtzweil, who explains that the "victims" were already dead, and that the bombing was staged to cover up how they died. At the hospital morgue, Scully is able to examine one of the victims, finding evidence of an alien virus.
Meanwhile, the Cigarette Smoking Man goes to Texas, where Dr. Ben Bronschweig shows him one of the lost firefighters, who has an alien organism residing inside his body. He orders Bronschweig to administer a vaccine to it, but to burn the body if it fails. Later, the alien organism unexpectedly gestates and kills Bronschweig.
Mulder and Scully travel to the crime scene in Texas, encountering the boys whose friend fell into the hole. Following their direction, they discover a large cornfield surrounding two glowing domes. Inside the domes, grates in the floor open and swarms of bees fly out. The agents flee, chased by black helicopters, but manage to escape.
After returning to Washington, D.C., Scully attends a performance hearing, after which she is transferred. Mulder is devastated to lose his partner. The two are about to share a kiss when Scully is stung by a bee which had lodged itself under her shirt collar, and she quickly loses consciousness. Mulder calls paramedics, but the driver of the ambulance shoots Mulder and whisks Scully away.
Mulder, not severely injured, slips out of hospital with the help of The Lone Gunmen and FBI Assistant Director Walter Skinner. He then meets a former adversary, the Well-Manicured Man, who gives him Scully's location, along with a vaccine against the virus that has infected her. As Mulder leaves, the Well-Manicured Man kills himself in a car bomb, before his betrayal of The Syndicate is discovered.
Mulder finds Scully underground in Antarctica, in a large facility containing many humans in ice-like enclosures. He breaks Scully's confinement and uses the vaccine to revive her, but this disrupts the facility and cocooned aliens begin trying to escape. Just after the agents escape to the surface, a huge alien vessel emerges from beneath the ice and travels into the sky. Mulder watches it disappear into the distance as Scully regains consciousness.
Some time later, Scully attends a hearing, where her testimony is disregarded and the evidence covered up. She hands over the only remaining proof of their ordeal, the bee that stung her, noting that the FBI is not currently capable of investigating this evidence. Outside, Mulder reads an article that has covered up the domes and crop field in Texas; Scully informs Mulder that she is willing to continue working with him.
At another crop outpost in Tunisia, the Cigarette Smoking Man warns Strughold that Mulder remains a threat, as he explains what Mulder has found out about the virus. He then hands him a telegram revealing that the X-files unit has been re-opened.
Cast[edit]
Lead actor David Duchovny who portrayed FBI agent Fox Mulder.
David Duchovny as Special Agent Fox Mulder
Gillian Anderson as Special Agent Dana Scully
Martin Landau as Alvin Kurtzweil
Blythe Danner as Jana Cassidy
Armin Mueller-Stahl as Conrad Strughold
Mitch Pileggi as Assistant Director Walter Skinner
William B. Davis as Cigarette-Smoking Man
John Neville as Well-Manicured Man
Dean Haglund as Richard "Ringo" Langly
Bruce Harwood as John Fitzgerald Byers
Tom Braidwood as Melvin Frohike
Jeffrey DeMunn as Ben Bronschweig
Jason Beghe as FBI Man at Bomb Site
Michael Shamus Wiles as Black-Haired Man
Terry O'Quinn as Special Agent in Charge Darius Michaud
Lucas Black as Stevie
Gary Grubbs as Fire Captain Cooles
Nick Lashaway as Young Fox Mulder
Production[edit]
Conception and pre-production[edit]
"We wanted it to be true to the TV show, for one thing. We didn't want The X-Files to become something else in the movie, just because we had a bigger budget to work with. Yet, we were also mindful that it had to be a culmination of something for the people who had been watching the show for five years, as well as an introduction of these characters and this story to people who hadn't."
— Frank Spotnitz talking about the development of The X-Files film.[3]
After five successful seasons, Chris Carter wanted to tell the story of the series on a wider scale, which ultimately meant creating a feature film. He later explained that the main problem was to create a story for which the viewer would not need to be familiar with the show's setting and the various story arcs.[4]
Carter and Frank Spotnitz wrote major parts of the script in Hawaii over Christmas 1996. They used the same method that they had used when writing episodes and sketching out scenes for the series on 3x5 index cards. By the time the Christmas break had ended, the whole narrative for the film had been written. Upon his return from Hawaii, Carter looked for spare time to write the script. He returned to Hawaii and in ten days wrote about half of the 124-page screenplay for the film.[5]
Carter gave 90 pages of the screenplay to Fox who received it well. While not officially greenlighted, he got a budget from Fox and began to make plans as to when and where it would be filmed. Carter then enlisted Daniel Sackheim as a producer on the film. Sackheim had previously produced the pilot episode of The X-Files and directed several episodes in the first two seasons. The X-Files marked his first contribution as producer to a feature film. Carter's choice for director was Rob Bowman, who had been the series' executive producer and a director before the production base was moved from Vancouver to Los Angeles.[6]
During production, the filmmakers went to great lengths to preserve secrecy, including printing the script on red paper to prevent photocopying, and leaking disinformation to the media and giving the film the codename "Project Blackwood". The code was cracked by fans who speculated on the meaning behind it. According to Spotnitz, "Blackwood" held no particular significance.[7]
At the beginning of the pre-production phase, Carter and Bowman were busy with the television series, leaving Sackheim to work alone. Sackheim hired executive producer Lata Ryan, who had previously collaborated with Steven Spielberg for his 1993 film, Jurassic Park. Once hired, Ryan was allowed to read the script in front of the Ten Thirteen Productions staff members—but not to take it away. At this time, most of the staff members had not read the script for themselves. After Ryan accepted the offer of becoming executive producer, Chris Nowak was hired as production designer, Ward Russell as director of photography and Bill Liams as construction coordinator. According to Ryan, they had secured all key personnel six weeks before principal filming began.[8]
Writing and casting[edit]
Martin Landau was one of the film's well-known stars
Both Carter and Spotnitz wanted to make the film "bigger" than the series, so they decided to start and end the film at an "extreme place" and explain aspects of the story arc that the show had not. While gathering research materials, they learned that the Earth was once covered with ice and decided to open the film in Texas in 35,000 BC with human "Primitives" as the first characters to appear.[9]
The film included known actors from the show such as David Duchovny as Fox Mulder, Gillian Anderson as Dana Scully, Mitch Pileggi as Walter Skinner and William B. Davis as the Cigarette Smoking Man, as well as new actors and characters to the franchise. These included Martin Landau and Blythe Danner. The signing of these actors broke with what had become tradition for The X-Files. Carter had purposely cast virtually unknown actors for the television series, to make it more believable; "As soon as you put in an actor whose face is very recognizable, you've got a situation that works against the reality of the show."[10] He saw creating the film as a chance to break this rule. He offered Glenne Headly the small role of a bartender. A fan of the show, she accepted enthusiastically.[10]
Set design[edit]
Chris Nowak was hired as production designer for the film by Daniel Sackheim. Nowak was a former architect who had worked as a professional theater set designer for eight years, before moving towards the film business as an art director. Nowak had previously worked with Sackheim on a television production, which led to Sackheim contacting him to do an interview for the selection of a production designer. According to Sackheim, Nowak was hired because he was the only one able to create a "focused vision" for the film.[11]
Nowak wanted to start the design process after talking through the story with the filmmakers so that he could formulate "a sense of the atmosphere" which they wanted to create for the film. He wanted to create a "dark, scary and oppressive environment" for the characters, especially Mulder. While familiar with the television series, Nowak decided not to review any episodes as preparation for his role in the production. Explaining this decision, he said, "I wanted the movie to be as fresh and new as possible in its design. Of course, there were some elements from the show that had to be retained."[11]
The design department found all their locations and designed sets in eight weeks, guided by input from the filmmakers. Nowak started by creating artwork for all the major sets and locations, working with the two concept artists Tim Flattery and Jim Martin. Nowak created drafts and sent them to Flattery and Martin who continued to develop them until they were complete. The complete artwork was then presented to Chris Carter, Rob Bowman, Lata Ryan and Sackheim for approval. While considering the time schedule, they made no notable changes to the artwork.[11]
Once the set concepts were approved by Carter, Bowman, Sackheim and Ryan, they were sent to the blueprint stage so that construction of the sets could begin under the supervision of construction coordinator Bill Liams. All the major sets were constructed "simultaneously" because of the schedule. However, this proved to be a challenge for the production team, because it meant they had to pay the rent on all the stages at the same time. The set construction started seven weeks before filming.[11]
Filming[edit]
Not only could I not have directed the movie as well as Rob Bowman [...] I didn't have the time to even attempt to direct the movie as well as Rob Bowman. Rob is a very collaborative person; and I thought that working with him collaboratively was a much wiser way to approach this than to try to do it myself.
— Carter talking about choosing a director for the film.[12]
Carter and Bowman wanted to film in as many different locations as possible to give the film a "grander" feel than had usually been achievable for the television episodes.[4][9] The tighter schedule, with only eight weeks of pre-production and 45 days of principal photography, still caused the production to have less location shooting than planned. Los Angeles ended up standing in for Dallas and London (though a shot was done in London with a double), and the ice scenes, initially envisaged for an ice field in Alaska, were moved to Whistler, British Columbia, nearby the show's regular locations in Vancouver.[13] Principal photography for the film started on June 16, 1997.[12]
The X-Files was filmed in the hiatus between the show's fourth and fifth seasons and re-shoots were conducted during the filming of the show's fifth season. Due to the demands of the film shoot on the actors' schedules, some episodes of the fifth season did not revolve around both Mulder and Scully but just one of the two lead stars.[14]
Music[edit]
Main articles: The X-Files: Original Motion Picture Score and The X-Files: The Album
Two soundtracks, The X-Files: Original Motion Picture Score[15] and The X-Files: The Album were both released to home markets in 1998. The X-Files: The Album included a take on the original theme song by the American duo The Dust Brothers, and included a hidden track on which Chris Carter details a summary of The X-Files mythology.[16] Mark Snow, who had worked on the television series as a composer, was hired to score the film. Chris Carter wanted a "very minimal approach" to the music. He did not want much "melody" and wanted to replace it with plain "ambient atmosphere" and "sound design". Snow mixed electronic music with an 85-member orchestra to give the film a "great sense of scope and grandeur."[4]
When creating the music for the film, Snow had a couple of months to write and produce the music, composing the television series simultaneously. The film marked the first time in the history of the franchise that music was composed and recorded with the help of an orchestra, although, according to Snow, there was no significant change in the recording and writing process during the production of the film. The most substantial difference was that Snow used MIDI files to save his musical scores and pieces, which would afterward be sent to a copyist who would take it through one of their programs and eventually give it to the orchestrators.[17]
Release[edit]
Theatrical run[edit]
The film premiered theatrically in the United States (as well as Canada) on June 19, 1998, distributed by 20th Century Fox. It closed after 14 weeks, with its widest release having been 2,650 theaters.[2]
Home media[edit]
The same year as the international theatrical release, the film was released on VHS in an Extended Cut edition.[18][19] The film made its first appearance on DVD on January 24, 2000 in Region 2 and in early 2001 in Region 1.[20][21] In 2008, producer Frank Spotnitz announced plans to release a new special edition DVD and Blu-ray edition of the movie. "We are working on packing the [re-issued] DVD and Blu-ray releases with as many extras as they will fit, including video and audio commentaries, behind-the-scenes footage, bloopers, trailers, a new documentary, and several other cool surprises."[22] The Blu-ray version was released on December 2, 2008.[23] In addition, a novelization of the film was written by Elizabeth Hand and released on June 19, 1998.[24]
Reception[edit]
Box office[edit]
The film grossed $83,898,313 in the U.S. and $105,278,110 abroad, giving a total worldwide gross of $189,176,423.[2] In its opening weekend, showing at 2,629 theaters, it earned $30,138,758 which was 35.9% of its total gross.[2] According to Box Office Mojo, it ranked at No. 23 for all films released in the U.S. in 1998 and No. 10 for PG-13 rated films released that year.
Critical response[edit]
The film received generally positive reviews. The review aggregator website Rotten Tomatoes reported that 64% of 69 listed film critics gave the film a positive review, with an average rating of 6.1 out of 10.[25]
"The X-Files" movie does answer one question raised in the show for an hour a week, five years running: Is the government conspiring to keep the truth about extraterrestrials from the public? You bet. That's certainly been the implication from the start, and since paranoia fuels the show, it's no great leap on the big screen.
“
”
—Tim Goodman, writing for The San Francisco Examiner[26]
Roger Ebert gave a positive review of the film with three out of four stars, saying, "As pure movie, The X-Files more or less works. As a story, it needs a sequel, a prequel, and Cliff Notes."[27] Joyce Millman of Salon was more equivocal, writing, "... You really can't treat The X-Files as a movie because it isn't one. It's a two-hour episode of the show," and said it was far from the "most satisfying" of X-Files releases.[28] San Francisco Chronicle reviewer Bob Graham was positive towards the film, calling "David Duchovny and Gillian Anderson [...] enormously sympathetic heroes."[19] Michael O'Sullivan, a reviewer from The Washington Post called the film, "stylish, scary, sardonically funny and at times just plain gross."[29]
Los Angeles Times reviewer Kenneth Turan felt that it was difficult to make sense of the film, saying that it relied too heavily on the series' mythology.[30] Lisa Alspector wrote that "Only two scenes in this spin-off are worth the time of followers of the TV series."[31] Variety reviewer Todd McCarthy remarked, "As it is, the pic serves up set-pieces and a measure of scope that are beyond TV size but remain rather underwhelming by feature standards."[32] Janet Maslin of The New York Times responded negatively towards the film, complaining that it was uneventful and scorning the "hush-hush atmosphere" surrounding the production.[33]
Sequel[edit]
Main articles: The X-Files franchise and The X-Files: I Want to Believe
The X-Files has spawned one sequel, a 2008 film entitled The X-Files: I Want to Believe released six years after the series ended. The film performed modestly at the box office[34] and received a less positive response than the first film.[35] In an interview with Entertainment Weekly, Chris Carter announced that if I Want to Believe proved successful, he would propose that a third movie go back to the television series' mythology and focus on the alien invasion foretold within the series, due to occur in December 2012.[36] No third movie appeared; instead, the TV series was revived in 2016.
See also[edit]
Speculative fiction/Science fiction portal
1990s portal
Film portal
Extraterrestrial hypothesis
1998 in film
References[edit]
Jump up ^ "THE X-FILES (15)". British Board of Film Classification. July 7, 1998. Retrieved November 29, 2015.
^ Jump up to: a b c d "The X-Files (1998)", Box Office Mojo, IMDb.com, Inc, retrieved April 3, 2010
Jump up ^ Duncan 1998, p. 4.
^ Jump up to: a b c Carter, Chris, Spotnitz, Frank, Bowman, Rob, Duchovny, David, Anderson, Gillian, Pileggi, Mitch, Sackheim, Daniel, Paris, David, Lombardi, Paul, Epstein, John, McLaglen, Josh, Beck, Mat, Wash, John and Snow, Mark (1998). The Making of The X-Files Movie (DVD). Fox Home Entertainment.
Jump up ^ Duncan 1998, pp. 4-5.
Jump up ^ Duncan 1998, pp. 5-6.
Jump up ^ Duncan 1998, pp. 10-11.
Jump up ^ Duncan 1998, p 11.
^ Jump up to: a b Carter, Chris and Bowman, Rob (1998). Audio commentary for The X-Files (DVD). Fox Home Entertainment.
^ Jump up to: a b Duncan 1998, p. 18.
^ Jump up to: a b c d Duncan 1998, p. 7.
^ Jump up to: a b Duncan 1998, p. 6.
Jump up ^ Green, Chris (Spring 2010). "Case Study: Fred Baron" (PDF). Produced by. Producers Guild of America: 15.
Jump up ^ Carter, Chris, Gilligan, Vince, Shiban, John, Haglund, Dean, Manners, Kim, Bowman, Rob, Spotnitz, Frank, Cartwright, Veronica, Rabwin, Paul, Rogers, Mimi and Goodwin, R.W. "Bob" (1998). The Truth Behind Season 5 (DVD). Fox Home Entertainment.
Jump up ^ Love, Brett, "X-Files (Score)", Allmusic, Rovi Corporation, retrieved September 29, 2009
Jump up ^ Erlewine, Stephen Thomas, "X-Files (Original Soundtrack)", Allmusic, Rovi Corporation, retrieved September 29, 2009
Jump up ^ Goldwasser, Dan (May 27, 2008), "The S Files", Soundtrack.net, SoundtrackNet, LLC, retrieved September 29, 2009
Jump up ^ "The X-Files: Fight the Future Blu-ray review at High Def Digest".
^ Jump up to: a b Graham, Bob (October 16, 1998), "Conspiracy Marks the Spot The X-Files proves an intriguing thrill", San Francisco Chronicle, Hearst Communications, Inc, retrieved September 29, 2009
Jump up ^ "DV-Delicious", SFX, Future plc, January 2000
Jump up ^ Stark, Jeff (January 16, 2001). "The X-Files: Fight the Future". Salon. Salon Media Group. Retrieved September 29, 2009.
Jump up ^ "Producer: Fox Plotting to Bring X-Files Movies to Blu-ray". Blu-ray.com. July 7, 2008. Retrieved September 29, 2009.
Jump up ^ "The X-Files: Fight The Future - Blu-ray". Barnes & Noble. Retrieved 2014-03-03.
Jump up ^ The X-Files: Fight The Future. HarperEntertainment. ISBN 0061050679.
Jump up ^ "The X-Files: Fight the Future (1998)", Rotten Tomatoes, Flixster, Inc, archived from the original on September 2, 2009, retrieved September 29, 2009
Jump up ^ "X' hits the spot". The San Francisco Examiner. Retrieved February 15, 2014.
Jump up ^ Ebert, Roger (June 19, 1998), "The X-Files", Chicago Sun Times, Sun-Times Media Group, retrieved September 29, 2009
Jump up ^ Millmann, Joyce (1998), "I want to believe", Salon, Salon Media Group, archived from the original on May 7, 2010, retrieved September 29, 2009
Jump up ^ O'Sullivan, Michael (June 19, 1998), "'X'-tra, 'X'-tra! See All About It!", The Washington Post, The Washington Post Company, retrieved September 29, 2009
Jump up ^ Turan, Kenneth (June 19, 1998), "The X-Files", Los Angeles Times, Tribune Company, retrieved September 29, 2009 [dead link]
Jump up ^ Alspector, Lisa (1998), "The X-Files", Chicago Reader, Creative Loafing, Inc, retrieved September 29, 2009
Jump up ^ McCarthy, Todd (June 19, 1998), "The X-Files", Variety, Reed Business Information, retrieved September 29, 2009
Jump up ^ "The X-Files: Fight the Future (1998)", Rotten Tomatoes, Flixster, Inc, retrieved April 6, 2010 [permanent dead link]
Jump up ^ "The X-Files: I Want to Believe". The Numbers. Retrieved September 5, 2009.
Jump up ^ "The X-Files: I Want to Believe (2008)", Rotten Tomatoes, Flixster, Inc, retrieved September 29, 2009
Jump up ^ Clark Collis (April 18, 2008), "'X-Files' creator Chris Carter wants to believe in a third film featuring Mulder and Scully", Entertainment Weekly, Time Inc, retrieved July 27, 2009
Duncan, Jody (1998). The Making of The X-Files Movie. New York, US: HarperPrism. ISBN 0-06-107316-4.
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