My Encyclopedia of My X-Files Fic Lists, Analyses, Fan Vids, and Fan Fiction Resources
So, I pushed all my little anthills into one dust pile because I got sick and tired of having to manually search through my colonies to find that ONE drone.
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David Duchovny and Gillian Anderson:
the Music of Their Lives
Found an overlapping topic and decided to share it here.
First interview is GA's, second interview is DD's.
-Gillian Anderson-
January 12, 2003:
S: We are going to cast you away and you have only these eight pieces of music for company. Tell me which is the first one.
G: So hard to choose. I am such a big music person. It was really hard. And there is a little bit of irony in every choice despite the fact that they've had a huge impact on my life. The first one I have chosen is the Rolling Stones' "You Can't Always Get What You Want" which not only was something that I listened to quite a lot in the trailer going through hair and makeup in the wee hours of the morning, and we would blast it in there as we were getting ready while we were shooting the series, but also the irony of the fact that, at times, when there were other things that I wanted, whether it was about my career or in things in my personal life that I thought that I had to have or I wanted, that at the end of the day you can't always get what you want.
S: Tell me about record number two.
G: Number two actually is a Joan Armatrading song that was very alive in my life as a child and this has always been one of my very favorite songs of hers. It is "Save Me".
S: I want to talk about the rumbling inside but let us pause for some music. Number three, what is it?
G: It's actually a band that just over the past few years, five-six years, has become probably my favorite band. There is an energy to their music which has its roots inside my rumblings and that is Radiohead.
S: Radiohead and "Exit Music for a Film." Let us talk about the rumblings then, Gillian. What form did they take first of all?
G: I had moved from my experience of a large, vibrant, vital, passionate city to a small, in my perception, boring Republican town and I started to realize that the way I felt, expressed myself most of the time, was through dressing a certain way, listening to a certain kind of music, and expressing my contempt at the time for what felt like a very rigid straightlaced American right wing small town.
S: So you went punk essentially?
G: I did.
S: Record number four.
G: This is a song that has always been profoundly moving for me. It's Nina Simone's "Strange Fruit."
S: It is an extraordinary piece, isn't it?
G: So extraordinary. First of all, her voice is just... it's such a remarkable and moving instrument that she has. Anyway.
G: Number five is a Schubert piece that I have loved for many years that just moves me to tears and that's a good enough reason to have it on a desert island where I need to be crying alone. It's "Death and the Maiden".
S: You made "The House of Mirth", film of the Edith Wharton novel... you played the doomed heroine, Lily Bart. Again you were chosen, apparently, because it's creator, Terence Davies, wanted you. He had spotted you and he wanted you.
G: Well, what was so bizarre about that was that he had never seen any of my work. And he wanted to meet me based on a photograph of a character that I had played who was a middle-aged biker alcoholic. And that was a still from the film.
S: Amazing because he wanted you to play this beautiful society Edwardian lady. But he was right. You did look wonderful in those Edwardian clothes. Did you feel right? You looked right.
G: I have always connected with that time on an emotional and psychological level.
S: Record number six.
G: The title of it is "Love is Everything" because I believe that. Love is everything. At the end of the day, if we are talking about the difference between being sucked under and being able to rise above, this concept suddenly comes into play very very strongly.
S: Record number seven.
G: I've had this album for a couple of years but this particular song is very poignant in my life right now and very romantic and melancholic. It's Roberta Flack's "Hey, That's No Way To Say Goodbye."
S: There is a lot of talk of romance in the soul going on here. Does that indicate there's something going on? Someone around at the moment?
G: Umm, yes.
S: Or have they just said goodbye.
G: Next topic?
S: I see. Okay.
G: But thank you for being so intuitive.
G: The last record is one of my favorite artists of all time, Jeff Buckley. This is originally a Leonard Cohen song. It is "Hallelujah".
S: Now, Gillian, if you could only take one of those 8 records to your desert island, which one would you take?
G: Jeff Buckley's "Hallelujah". Definitely, I think.
-David Duchovny-
February 19, 2016:
The first song I remember hearing
The Friends of Distinction – ‘Grazing In The Grass’
“I bought 45s when I was a kid because they were cheaper, at 99 cents, where an album cost three dollars and 69 cents, which was too much for my budget. The first single I bought was called ‘Grazing In The Grass’. It’s kind of an R&B/soul number. ‘Grazing in the grass is a gas, baby, can you dig it?’”
The song I wish I’d written
Oasis – Wonderwall
“I have this as an alarm on my phone so I hear it very often. A perfect pop song is a thing of beauty and
I’d say this is a perfect pop song. But there are so many songs I wish I’d written. Another one that comes into my head is ‘One’ by U2. I also wish I’d written ‘Dear Prudence’ by The Beatles, from ‘The White Album’, and ‘Thank You’ by Sly & The Family Stone.”
The song I wish I’d written
Oasis – Wonderwall
“I have this as an alarm on my phone so I hear it very often. A perfect pop song is a thing of beauty and
I’d say this is a perfect pop song. But there are so many songs I wish I’d written. Another one that comes into my head is ‘One’ by U2. I also wish I’d written ‘Dear Prudence’ by The Beatles, from ‘The White Album’, and ‘Thank You’ by Sly & The Family Stone.”
The song I play to get ready for a gig
Various
“Backstage when I’m with the band we’ll start singing some songs, but they’re always different. We’ll also stand in a huddle, put our arms around each other and say something vaguely inspirational, like ‘Rock’n’roll!’ Something clichéd and ridiculous like that. Or maybe, ‘Let’s go melt some faces!’”
The song I can no longer listen to
King Harvest – ‘Dancing In The Moonlight’
“I think if you can’t bear to listen to a song any more, it passes. All things pass. But there are certain songs I used to play for my kids that brutally remind me of the passage of time. This was on a mixtape I used to play in the car to get them to sleep. I hear it now and think: ‘Oh my God, my kids aren’t three any more.’ It feels rough.”
The song that makes me dance
Sly & the Family Stone – ‘Thank You’
“I’m never able to stop myself from dancing. There’s no song that makes me unable to dance.”
The band that made me want to make music
The Beatles
“They were my favourite band for forever. But when I started to play guitar and think about songs together, it was Bob Dylan and The Band. More straight-ahead, rootsy rock’n’roll.”
The song I want played at my funeral
David Duchovny – ‘Stars’
“I’d send ’em off with one of my songs. I don’t care what they say afterwards. ‘How egotistical!’ Well,
I’m dead, I don’t care. ‘Stars’ has a cosmic feel to it; the lyrics are kind of eternal and centre on the fact that you see light from some stars that are dead because it takes so long to travel to us. It would be good for the funeral because it’s a meditation on death. Some things appear to be alive but are actually dead.”
July 1998:
Born in New York to a Scottish mother and Polish-Russian father, he talks oddly about his American identity. “The sense of foreignness came from my mother. It was important for her that I remembered that I was half-Scottish. It didn’t mean reading me bedtime stories about Bonnie Prince Charlie, but there was a difference in outlook. I was a foreigner to my own mother. She didn’t understand me.” It is a surprisingly powerful remark to throw away like that.
September 4, 2024:
"It reminded me of my mom. Her entire life, y'know, until she died-- and she had dementia for probably eight years before she died, mercifully-- would ask me, 'Are you ever going to finish your dissertation?' No, not 'Are you ever'-- she'd ask me, 'When are you going to finish your dissertation?' And this is, y'know, I dropped out of graduate school when I was 26, 27, so this is... y'know, thirty-five years of this question.
"And, y'know, I would try to be rational with her-- especially back in the days when she could be rational-- and just say, 'Hey, I'm doing other things...' It's a big undertaking to say, okay, you're going to write that dissertation. It's like writing a book, but it's like writing a technical manual. It's like writing... you can't just jump in-- it's not like fiction, you can't just make it up. Y'know, you have to research, you have to, y'know, be aware of all the other writings on what you're writing about. I was going to be writing On Magic and Technology in Contemporary American Fiction and Prose and I'd have to know all the current writings.... I mean, it would take me a year just to be up-to-date on those authors, to reread the books-- you're getting the idea, it's a big undertaking.
"And I... guess there was always a part of me when she'd ask me that, was like, 'Why don't you, why aren't you accepting who I am?' For a good part of these interrogations, I was a very successful... I'd become a very successful person: a very successful actor, and then I was writing books, and then I was making music or whatever. But.... She, uh, it was like: from your mom, when she says.... To me, 'When are you doing to finish your dissertation,' it was like, 'I don't believe in the other stuff you're doing. I believe in that.'
"And there was something in me that, that, would push back. And one of the last times I saw her with my kids, she was, uh, at a place in Jersey; and she was full-on into the last bit of dementia. And, um, I don't know.... It was a Sunday, and we were sitting there, listening to music where she was living. And she asked me again, 'When are you going to finish your dissertation?' It was in front of the kids. And I said, 'Y'know, Mom, I don't think I will. It's not something I can just do. I'm doing other things." And she looked horrified, and fell asleep immediately. And on the way home, my kids were like, 'Why don't you just lie to her? Why don't you just tell her you did it, you finished your dissertation. And I was like... it seemed very rational to me. [...] And I never did get the chance-- she died a couple months later, but we never, it never came up again. And I never did make that 'beautiful lie' to her-- or would it be?
"And, again, it was me being 'the son', almost a little boy, and my mom checking in on my homework-- 'Have you finished your homework? Have you finished your dissertation?' And me pushing back and saying, 'Not important, I don't care, I'm never going to use that, it's not important in my life. Look at me, look at who I am! See me, see me.' It was a very complicated kind of a thing. [...]
"And my mom was a great teacher; and a champion of the kids who had trouble. A champion of the kids who didn't fit right away. Bless her, y'know? And my sister's also a wonderful teacher."
July 1998:
Born in New York to a Scottish mother and Polish-Russian father, he talks oddly about his American identity. “The sense of foreignness came from my mother. It was important for her that I remembered that I was half-Scottish. It didn’t mean reading me bedtime stories about Bonnie Prince Charlie, but there was a difference in outlook. I was a foreigner to my own mother. She didn’t understand me.” It is a surprisingly powerful remark to throw away like that.
September 4, 2024:
"It reminded me of my mom. Her entire life, y'know, until she died-- and she had dementia for probably eight years before she died, mercifully-- would ask me, 'Are you ever going to finish your dissertation?' No, not 'Are you ever'-- she'd ask me, 'When are you going to finish your dissertation?' And this is, y'know, I dropped out of graduate school when I was 26, 27, so this is... y'know, thirty-five years of this question.
"And, y'know, I would try to be rational with her-- especially back in the days when she could be rational-- and just say, 'Hey, I'm doing other things...' It's a big undertaking to say, okay, you're going to write that dissertation. It's like writing a book, but it's like writing a technical manual. It's like writing... you can't just jump in-- it's not like fiction, you can't just make it up. Y'know, you have to research, you have to, y'know, be aware of all the other writings on what you're writing about. I was going to be writing On Magic and Technology in Contemporary American Fiction and Prose and I'd have to know all the current writings.... I mean, it would take me a year just to be up-to-date on those authors, to reread the books-- you're getting the idea, it's a big undertaking.
"And I... guess there was always a part of me when she'd ask me that, was like, 'Why don't you, why aren't you accepting who I am?' For a good part of these interrogations, I was a very successful... I'd become a very successful person: a very successful actor, and then I was writing books, and then I was making music or whatever. But.... She, uh, it was like: from your mom, when she says.... To me, 'When are you doing to finish your dissertation,' it was like, 'I don't believe in the other stuff you're doing. I believe in that.'
"And there was something in me that, that, would push back. And one of the last times I saw her with my kids, she was, uh, at a place in Jersey; and she was full-on into the last bit of dementia. And, um, I don't know.... It was a Sunday, and we were sitting there, listening to music where she was living. And she asked me again, 'When are you going to finish your dissertation?' It was in front of the kids. And I said, 'Y'know, Mom, I don't think I will. It's not something I can just do. I'm doing other things." And she looked horrified, and fell asleep immediately. And on the way home, my kids were like, 'Why don't you just lie to her? Why don't you just tell her you did it, you finished your dissertation. And I was like... it seemed very rational to me. [...] And I never did get the chance-- she died a couple months later, but we never, it never came up again. And I never did make that 'beautiful lie' to her-- or would it be?
"And, again, it was me being 'the son', almost a little boy, and my mom checking in on my homework-- 'Have you finished your homework? Have you finished your dissertation?' And me pushing back and saying, 'Not important, I don't care, I'm never going to use that, it's not important in my life. Look at me, look at who I am! See me, see me.' It was a very complicated kind of a thing. [...]
"And my mom was a great teacher; and a champion of the kids who had trouble. A champion of the kids who didn't fit right away. Bless her, y'know? And my sister's also a wonderful teacher."
February 20, 1991:
Ms. Anderson, who was giving her first interview, was pale and looked a bit queasy. When she spoke it was with a vaguely British accent, which comes partly from having lived in London until she was 10 -- her father attended the London Film School, then stayed on -- and partly, she said, from being around Ms. Blethyn. She spoke about herself haltingly, with much of the deadpan quality that her character has in the play.
"When Lynne had my resume in her hand and said, 'Is this all you've done?' I didn't know what she meant," Ms. Anderson said. "I thought I had done a lot. But once I was hired, a big fear of mine was letting Lynne down. She was taking a big risk, and I didn't want her to find out she'd made a mistake." [...]
It's a funny story, but staying employed is every actor's concern. Ms. Anderson says: "There is a slight fear this will be my first and last job for a while, but that's in every actor's mind as long as they live. I tend to have a great deal of faith that wherever my life goes, it's the best thing for me." [...]
Ms. Anderson is quick to compliment her. "It's so wonderful to watch you and Lynne work together," she said to Ms. Blethyn. "The silent understandings they have about the character, and the way they can verbalize what's missing, what they need. The thought-instinct process is so precise." She sighs. "That's one thing that only experience gives you. For me it takes quite a lot longer to come up with what's happening."
"As long as you come up with it, dear," Ms. Blethyn said without missing a beat. And they both laughed.
FOR REFERENCE
(Credit to: gilliananderson.ws)
It couldn't have happened any better for Gillian Anderson if Schwab's Drug Store were still in business. A 1990 graduate of the Goodman School of Drama in Chicago, the young actress moved to New York six months ago, found an apartment in Greenwich Village and, when she wasn't auditioning, worked as a waitress at Dojo, a Japanese health food restaurant on St. Mark's Place. She made barely enough money to cover her rent, and the only theater she saw was a performance of "Lettice and Lovage" with Maggie Smith, where she says she practically got a nosebleed in the back of the balcony.
When Mary Louise Parker dropped out of "Absent Friends" because of illness, Ms. Anderson's agent sent her to audition for the part of Evelyn, a sullen young mother in Alan Ayckbourn's black comedy about a group of friends who console an acquaintance on the death of his fiancee. (The play runs through March 17 at the Manhattan Theater Club.) Ms. Anderson's first reading warranted a callback "to make sure it wasn't a fluke," said the director, Lynne Meadow, and when the second reading went well, the actress was hired on the spot. It was her first job in the theater, and the rest of the cast had started rehearsals a week earlier....
Now, in this dreariest of theater seasons, Ms. Anderson is one of two actresses, both in the same play and both new to New York, whose performances are causing some excitement....
Ms. Meadow said: "I didn't realize we would find someone quite this green. But it is one of those great stories, where someone is cast purely on ability. Gillian's background is improvisational and she took those instincts and put them into the highly technical style Alan Ayckbourn writes in, which is not free-flowing at all. It has to be played the way it's written, so our work was extremely specific, concrete."
January 12, 2003:
S: Then you pursued it to New York. Pounding pavements in New York.
G: At the end of the school year, we went to New York and did monologues. I had written a monologue, I think, about my father - something about a park bench, I don't remember. There was an agent from a very good agency there who basically sat me down and said, "Look, if you will move out here we will represent you." And so I packed all my stuff up and I drove out in my Volkswagen Rabbit one night starting at 11 o'clock and I found my way alone across the country to New York."
S: How far is it? Hundreds of miles.
G: Yeah.
S: And did you have anywhere to live when you got there?
G: No.
S: And you did some waitressing because the parts weren't exactly flowing thick and fast.
G: Not at all, they weren't. In retrospect that's not incredibly true because of the fact that within a year I got work.
*-*-*-*-*
S: You've also had a lot of luck too, Gillian. I'm thinking of your landing the part of "The X-Files" - huge stroke of luck because your casting was entirely an act of faith on the part of its creator, Chris Carter, wasn't it?
G: That is correct. At the time, he was going against form and really stuck his neck out for me based on his determination to have the character portrayed in the way that he saw her and not in the way that Hollywood wanted her to be.
*-*-*-*-*
S: You made "The House of Mirth", film of the Edith Wharton novel... you played the doomed heroine, Lily Bart. Again you were chosen, apparently, because it's creator, Terence Davies, wanted you. He had spotted you and he wanted you.
G: Well, what was so bizarre about that was that he had never seen any of my work. And he wanted to meet me based on a photograph of a character that I had played who was a middle-aged biker alcoholic. And that was a still from the film.
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the thing that's dumb about the whole "can you be a fan of a video game if you're watching gameplay on youtube rather than playing the game yourself" discourse, is that people keep comparing that to "reading the wikipedia summary", when to me it's more comparable to "listening to an audiobook" because listening to a story being read is a fundamentally different experience from reading the book yourself, But i think it would be strange if people argued that listening to an audiobook means you're not experiencing the story at all. just because it's not the way you're generally suppose to engage with books as medium.
January 6, 1994:
Although she's never been to Washington, she says she would be thrilled by an invitation to visit the Hoover Building.
"I would love a tour of the bureau headquarters," she says. "That's my New Year's resolution, to tour the FBI building."
November 1994:
GA: "We visited the FBI at the beginning of this year, and they were very supportive. They let us know very clearly there were no such things as X-Files. They were pretty determined that we note that. We have a lot of fans in the FBI. We've never been warned".
LK: "Are you a sex symbol among FBI agents? Did you find your picture on a lot of fridges when you went to the FBI headquarters?"
GA: "No, I didn't see a single fridge."
Early 1995:
"I really love the role. It occurred to me the other day that if I wanted to take a break from this business I'd be interested in becoming involved with the FBI. When I was a kid I wanted to be an archaeologist or a marine biologist. I loved investigating," she says.
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22 YEARS AGO ON DECEMBER 18, 1998 - DREAMWORKS ANIMATION RELEASED “THE PRINCE OF EGYPT”
Because DreamWorks was concerned about theological accuracy, they decided to call in Biblical scholars, Christian, Jewish, and Muslim theologians, and Arab American leaders to help the film be more accurate and faithful to the original story. After previewing the developing film, all these leaders noted that the studio executives listened and responded to their ideas, and praised the studio for reaching out for comment from outside sources.
The animation team for The Prince of Egypt included 350 artists from 34 different nations. Careful consideration was given to depicting the ethnicities of the ancient Egyptians, Hebrews, and Nubians properly.
Both character design and art direction worked to set a definite distinction between the symmetrical, more angular look of the Egyptians versus the more organic, natural look of the Hebrews and their related environments. The backgrounds department, headed by supervisors Paul Lasaine and Ron Lukas, oversaw a team of artists who were responsible for painting the sets/backdrops from the layouts. Within the film, approximately 934 hand-painted backgrounds were created.
January 6, 1994:
Although she's never been to Washington, she says she would be thrilled by an invitation to visit the Hoover Building.
"I would love a tour of the bureau headquarters," she says. "That's my New Year's resolution, to tour the FBI building."
November 1994:
GA: "We visited the FBI at the beginning of this year, and they were very supportive. They let us know very clearly there were no such things as X-Files. They were pretty determined that we note that. We have a lot of fans in the FBI. We've never been warned".
LK: "Are you a sex symbol among FBI agents? Did you find your picture on a lot of fridges when you went to the FBI headquarters?"
GA: "No, I didn't see a single fridge."
Early 1995:
"I really love the role. It occurred to me the other day that if I wanted to take a break from this business I'd be interested in becoming involved with the FBI. When I was a kid I wanted to be an archaeologist or a marine biologist. I loved investigating," she says.
2003 Desert Island Discs: this is the Gillian Anderson interview (followed closely by The Observer's "not altogether cool.")
-
She's had good reviews [in "What The Night Is For"], the play less so. But then, as she says, "I have had a tendency all my life to climb the highest mountain first." She is Gillian Anderson.
-
S: You were the rational one of the duo. Agent Mulder was the one who believed in...
G: Yes, but what is interesting too is that it can't help but infuse your life with an aspect of its paranoia and negativity even though it's just...
S: It really got to you, didn't it?
G: I think it would get to everybody! I mean we're working in Vancouver, where there is very little sun for much of the year, and we are working in ridiculous weather for ridiculous hours and we are dealing with half dead evil demons all the time. How can sixteen hours of your day... I mean, how can that not affect you?
-
S: You must feel quite proprietorial about the role. It is yours, isn't it?
G: Oh yes. There is no... YES!
S: But the irony is, of course, you never wanted to be in television. Film and theatre was what you wanted to do. That is a huge irony.
G: It is. It's hysterical actually.
-
S: What, you were a show-off?
G: Yes, I have always been a show-off.
S: Rebellious?
G: Very.
-
S: So you are saying that this was something more than normal teenage rebellion. It is something that ran a bit deeper than that. There was a self-destruct button in there.
G: Oh, absolutely. Yeah, absolutely.
-
S: And did your success, I mean once you hit the X-Files, as we say you were 24 years old and we've been talking about you between the ages of thirteen and twenty four...
G: The answer is no. I know what the question is going to be and the answer is no. Success has nothing to do with happiness. Success has nothing to do with ridding oneself of one's demons.
S: But it didn't bring you any kind of calm because it brought you security?
G: That kind of security is not real security. It's got NOTHING to do with material things.
-
S: And you did some waitressing [in NYC] because the parts weren't exactly flowing thick and fast.
G: Not at all, they weren't. In retrospect that's not incredibly true because of the fact that within a year I got work.
-
G: Well I have no doubt that, as artists, we choose subject matters to dive into - whether it's as a painter or as an actor - that have some resonance in our lives. It is not lost on me that a lot of the projects that I have chosen to be involved with are about women who struggle in some way with themselves and their minds.
S: There is something there - not going under with the weight of life.
G: Yes. Exactly. And hopefully, at the end of the day - not in Lily Bart's case - but rising above and pressing on. I have such a huge amount of respect and appreciation for people who are survivors, who succeed. Who, against all odds, press on through.
-
S: You made "The House of Mirth", film of the Edith Wharton novel... you played the doomed heroine, Lily Bart. Again you were chosen, apparently, because it's creator, Terence Davies, wanted you. He had spotted you and he wanted you.
G: Well, what was so bizarre about that was that he had never seen any of my work. And he wanted to meet me based on a photograph of a character that I had played who was a middle-aged biker alcoholic. And that was a still from the film.
-
S: So you are a woman who has learned to be self-sufficient. You have learned to deal with yourself and the vicissitudes of life so far anyway. So, you are going to survive in this desert island, aren't you?
G: Oh, absolutely. I'm actually very very good in these kinds of situations. I know how to build fires and shelters and take care of myself in that way.
-
S: And what about your luxury [on a desert island]?
G: Some kind of recording, a vocal recording of both my daughter and my love reading self-written stories and poetry to me that I could listen to whenever I wanted.
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