Production
Executive producer Frank Spotnitz was inspired to write the episode after watching the 1972 American thriller film Deliverance. Spotnitz recounted, "the idea of being stranded in a hostile environment is very interesting to me and so is the idea of something moving the brush that you can't see." Series writer Vince Gilligan contributed to the "team builder" exercise bit. The ending was left intentionally ambiguous. Spotnitz explained, "it's scarier if you think could still be out there."
Initially, scenes were filmed at the Seymour Demonstration Forest in North Vancouver. Although the typical shooting time for an episode of The X-Files is eight days, "Detour" took nineteen days to film. Second unit director Brett Dowler later recounted that it "rained every day". This put a strain on the cast and crew because almost every main shot needed was intended to be outdoors in the daylight. Because of the massive delays, changes were made: the actors' schedules were rearranged and Kim Manners was brought in to assist Dowler in finishing the second unit of the episode. Filming later moved to a soundstage to avoid the incessant rain. Spotnitz later noted that "I though I'd come up with a very simple concept. Literally, one that was easy for the props people and all the other departments."
Initially, it was decided that the antagonists of the episode would be dressed in elaborate "bark suits" so that they would blend into their surroundings. Special effects supervisors Toby Lindala created several elaborate suits made from faux bark. In the end, however, difficulties were so great that the show switched to digital effects. Visual effects supervisor Laurie Kallsen-George was tasked with creating the glowing red eyes. Kallsen-George digitized and blended various "eyeball images"—including shots of her family's dog.
Read more about this topic: Detour (The X-Files)
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