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.Â
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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 âTHE PRINCE OF EGYPTâ
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:Â You were the rational one of the duo. Agent Mulder was the one who believed in...
G:Â 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:Â It really got to you, didn't it?
G:Â 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:Â You must feel quite proprietorial about the role. It is yours, isn't it?
G:Â Oh yes. There is no... YES!
S:Â 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:Â It is. It's hysterical actually.Â
-
S:Â What, you were a show-off?
G:Â Yes, I have always been a show-off.
S:Â Rebellious?
G:Â Very.
-
S:Â 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:Â Oh, absolutely. Yeah, absolutely.
-
S:Â 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:Â 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:Â But it didn't bring you any kind of calm because it brought you security?
G:Â That kind of security is not real security. It's got NOTHING to do with material things.
-
S:Â And you did some waitressing [in NYC] because the parts weren't exactly flowing thick and fast.
G:Â 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:Â 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:Â There is something there - not going under with the weight of life.
G:Â 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:Â 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:Â 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:Â 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:Â 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:Â And what about your luxury [on a desert island]?
G:Â 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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âSad news: Duchovniacs .com has been deleted. It was a mistake. Somehow in our attempts to fix the hacked issue with IndieFangirl. com, the domain got deleted and all the content is gone. For good. đâ
Sad news: Duchovniacs .com has been deleted. It was a mistake. Somehow in our attempts to fix the hacked issue with IndieFangirl. com, the domain got deleted and all the content is gone. For good.
Itâs disheartening that all of our work, content, review articles and everything weâve covered is gone for good. At the same time, weâve been feeling for a while our efforts have not appreciated by all fans.
Our personal lives and even careers have come under intense scrutiny and at times even been held to celebrity level standards. This is not what we set out to do. This is not what we signed up for. We simply wanted to provide support for Davidâs work and content for his fans.
As much as we would like to rebuild and start over, we are seeing this as a blessing in disguise. We are planning to rebuilding indiefangirl.com from scratch and will be posting our DD/Duchovniacs updates/content to that site along with other fandom related content.
We will keep @duchovniacs account active for DD news but sadly the website is gone ad weâve decided itâs probably best to let it go. We still respect David very much and will continue to support him on all of his upcoming endeavors. We will cover those events when we can and post to IFG.
Thanks again for riding along with us. Â Check back here for updates. We will notify everyone when Indiefangirl is live again.
âA confession, right up front: when this album landed on my desk, my first thought was, âUh-oh. Another vanity project from an actor who maybe played some guitar back in college.â A bit of belated investigation demonstrated that my attitude was wholly unfair. Duchovny is something of a Renaissance Man, having done much more than acting (heâs authored novels, directed and so forth). Of course none of those things in and of themselves mean that Every Third Thought (his second album) is any good. Alas, it is, and even more. Enlisting the aid of many of the same personnel used on his 2015 debut Hell or Highwater, Duchovny has crafted an album (a double LP in its vinyl configuration, which is what I have on hand) thatâs successful on many levels. Thereâs a kind of heartland American (but not Americana) vibe to the songs on this record, with squalling, alterna-rock guitar at the center. And Duchovnyâs voice is effective in a rock context. The opening track, âHalf Lifeâ is as good as anything from acts like Goo Goo Dolls, Soul Asylum or even Gin Blossoms; in fact all three of those acts are handy touchstones to give the uninitiated a sens of what Every Third Thought sounds like. Duchovny and his musical associates (producer-musicians Colin Lee, Mitch Stewart and Pat McCusker, all members of Boston-based band Weather) collectively have a good knack for melody and arrangement; the songs breeze by if you let them, but they stand up to closer inspection as well. The record is of a piece with its predecessor; sequence the two records one after the other and you wonât even notice the transition. Perhaps Duchovnyâs musical career is a sideline, a temporary diversion or respite from his primary endeavors. But youâd never know it from the care and effort that has clearly gone into making this fine record.â
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
â Live Streamingâ Interactive Chatâ Private Showsâ HD Quality
Anya is LIVE right now
FREE
Free to watch ⢠No registration required ⢠HD streaming
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:Â You were the rational one of the duo. Agent Mulder was the one who believed in...
G:Â 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:Â It really got to you, didn't it?
G:Â 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:Â You must feel quite proprietorial about the role. It is yours, isn't it?
G:Â Oh yes. There is no... YES!
S:Â 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:Â It is. It's hysterical actually.Â
-
S:Â What, you were a show-off?
G:Â Yes, I have always been a show-off.
S:Â Rebellious?
G:Â Very.
-
S:Â 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:Â Oh, absolutely. Yeah, absolutely.
-
S:Â 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:Â 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:Â But it didn't bring you any kind of calm because it brought you security?
G:Â That kind of security is not real security. It's got NOTHING to do with material things.
-
S:Â And you did some waitressing [in NYC] because the parts weren't exactly flowing thick and fast.
G:Â 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:Â 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:Â There is something there - not going under with the weight of life.
G:Â 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:Â 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:Â 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:Â 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:Â 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:Â And what about your luxury [on a desert island]?
G:Â 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.
