Groucho: Can I just ask for the-I know you can’t say too much-but for the pitch version of the movie? Or a tantalizing version of what this movie is about?įrank Spotnitz: Well you know, we’re keeping it secret, as everybody knows, because we think it’s like a Christmas present and everybody wants to sort of tear the wrapping and get a peek, but it’s more fun to go and be surprised, y’know, and so we’re not taking about what happens in the movie… As for the press conference, it was a surreal jousting match between the press and two men determined to say almost nothing about the film they were there to promote-alternately stonewalling, equivocating, and deflecting with humor. Together, the two men co-wrote the big-screen adventure The X-Files: Fight the Future and its new sequel The X-Files: I Want to Believe, the latter being Carter's feature-film directing debut.

An Emmy-nominated writer-producer, Spotnitz also headed up the 'reimagined' The Night Stalker for ABC, created and executive produced X-Files spin-off The Lone Gunmen, executive produced Harsh Realm and Michael Mann's Robbery Homicide Division, and co-executive produced Millennium. Spotnitz joined The X-Files in 1994 and stayed on until 2002, when the show ended. Carter's Ten Thirteen Productions also developed Harsh Realm, The Lone Gunmen, and Millennium, the latter a sole creation of Carter. Carter was creator and executive producer of The X-Files, as well as a frequent writer and director for the series' nine hit seasons.

At 3:30pm, he and co-writer/co-producer Frank Spotnitz were in San Francisco, facing the press together at WonderCon. At 6am in the morning, director Chris Carter was in British Columbia shooting a scene for The X-Files: I Want to Believe.

The X-Files by Frank Spotnitz