Production
"It's a very different show because it's the first one without Scully. She's been away for quite some time. It's a situation where Mulder is in a dark place, doesn't know which way to turn, and is really very much on his own. The whole vampire thing happened because he went to a dark place that he normally wouldn't have gone to."
David Nutter on "3"Howard Gordon was originally supposed to write the seventh episode of the season, but when he became unavailable Glen Morgan and James Wong, who were working on writing the eighth episode of the season, agreed to rewrite a freelance script provided by Chris Ruppenthal. The writers had to do significant edits, but retained the main plot surrounding three vampires.
Club Tepes, named after Prince Vlad Tepes—better known as Vlad the Impaler, who was the inspiration for Dracula—was shot inside a closed-down and redecorated nightclub, with extras recruited from other Vancouver clubs. The location for Kristen's house was the mansion of hockey player Pavel Bure, then the leading name of the Vancouver Canucks. The producers had an agreement for the late filming from all but one of Bure's neighbors, who was absent during the petitioning. Said neighbor later tried to sue Fox, only agreeing to let production continue after receiving an indenization.
Perrey Reeves, who played Kristen, was David Duchovny's real-life girlfriend at the time. Speaking of Mulder's possible sexual encounter with Kristen, series creator Chris Carter said, "I thought, 'This guy's a monk. Let's let him be a human. Especially in absence, it seemed like a perfect opportunity to do it." Duchovny had previously acted alongside another real-life girlfriend, Maggie Wheeler, in the first season episode "Born Again". Gillian Anderson is absent from the episode as she was on leave to give birth to her daughter Piper at the time. This episode was the first in which Scully did not appear.
Read more about this topic: 3 (The X-Files)
Famous quotes containing the word production:
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)
“Perestroika basically is creating material incentives for the individual. Some of the comrades deny that, but I can’t see it any other way. In that sense human nature kinda goes backwards. It’s a step backwards. You have to realize the people weren’t quite ready for a socialist production system.”
—Gus Hall (b. 1910)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)