6х08 HTGSC, How the Ghosts Stole Christmas - Как призраки украли Рождество Опции

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Сценарий: Крис Картер
Режиссер: Крис Картер
Первый показ в США: 13 декабря 1998

В 6-м сезоне команда Криса потратила изрядно денег ФОКС, и они обещали, что обязательно снимут эпизод, в который не нужно будет особо вкладываться - "съемки в одной комнате".

Серия выросла из идеи Фрэнка и Криса о доме, в котором обитают призраки, и с фактически самой важной сценой в серии, к которой все сводилось, это в которой окровавленные Дэвид и Джиллиан ползают по полу.

В серии Скалли спрашивала у Малдера "тебе страшно?" и сама отвечала "мне да", на что Малдер говорил "мне тоже". В оригинальном сценарии Скалли спрашивала у Маледра "Ты боишься быть один"?

В этом эпизоде Малдер как-никак, но отмечает Рождестно, долгое время велись дебаты о том, является ли Малдер евреем в сериале, Дэвид часто говорил, что будет изображать Малдера евреем, пока ему не скажут этого не делать.

Джиллиан говорила, что ей очень нравилось сниматься в этом эпизоде, было весело, однако фальшивая кровь быстро преврашалась в липкую противную массу.

Материалы взяты с http://greentree.spybb.ru/viewtopic.php?id=296 и http://cleigh6.tripod.com/CTP/CTP-htgsc.html

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-- At one time I ran across an essay about the sexual undertones of The X-Files, primarily about the "metaphorical" sex found throughout the series, and I thought this part about "How The Ghosts Stole Christmas" was interesting: The ghosts separate Scully and Mulder as soon as they enter the house. The partners cannot get back to one another because all the doorways they encounter are brick walls; ladders to the second level of the rooms they occupy appear and disappear at will. The rooms are a literal rendering of the Freudian state of affairs between them: Mulder and Scully must have barriers keeping them apart to live in their world ("walls" constructed in the mind to hold one another at a distance), but they trust only each other, and so are constantly in a dance of giving to the other person but then withdrawing in fear of what may result (ladders offered that, once scaled or descended, are taken away). While in these Freudian rooms, both agents have personal encounters with Maurice and Lyda. Scully is panicked in her encounters, but Mulder converses with the ghosts and is subjected to their psychoanalysis of him. Lyda, like Joanne in "Dreamland," assumes Mulder and Scully are lovers. Mulder, also like in "Dreamland," asserts, "We're not lovers." If Chris Carter intended all that in the subtext, then it gives me a whole new respect for him.

-- Ed Asner's character's mention of the ACLU (American Civil Liberties Union) may have been a sly reference to Asner's own well-known crusades for liberal causes.

-- "R. Grimes," the author listed on the book version of "How the Ghosts Stole Christmas" was named after X-Files assistant property master Marty Grimes.

-- It was speculated that the name "J. Cameron & Son -- Kilmarnock" was a reference to director James Cameron and his movie Titanic. I haven't been able to find any indication that was true. But there was a company in Scotland (which is where Kilmarnock is located) called J. Cameron & Sons which made the dials that were used by clockmakers, and often the dialmaker's name appeared on the clockface.

-- In the episode as aired, Mulder was watching a version of the holiday classic A Christmas Carol. However, in the original script, it is noted that Mulder is watching Silent Night, Deadly Night, a horror movie, and a scene with a knife-wielding Santa. The script also noted that "atop the TV is one lone Christmas present, slender and circular, ten inches long. No other signs of Christmas or the season are in evidence."

-- In spite of Carter's script direction, Mulder had a Christmas stocking hanging above his aquarium. I have to admit I saw the episode several times before I noticed this.

-- I'm one of those who were glad we didn't find out what gifts Mulder and Scully gave to each other. I think it was so much nicer to fade out on that private moment between them and leave the gifts chosen to our imaginations.

-- There was an ongoing debate about whether the character of Fox Mulder is Jewish or not. (Duchovny often said he would play Mulder as Jewish until he was told differently.) But in "HTGSC," Mulder hung up a stocking, watched Christmas movies, and gave Christmas gifts, and Scully expected him to find someone to be with, to celebrate Christmas with. However, the ghost Lyda said to Mulder, "It isn't like you're going to be eating any Christmas ham, is it?" which is said in the context of Mulder having a lonely life, not having others to celebrate with, and that Scully was going to shoot him, but could be taken as implying that he was Jewish. The debate continues.

-- The song played at the end of the episode was "Have Yourself a Merry Little Christmas" by Bing Crosby.

-- Edward Asner began his television acting career in the late 1950s, appearing as a guest on just about every television show imaginable during the 1960s. In 1970, he was cast as the tough but lovable boss Lou Grant on The Mary Tyler Moore Show. In that show's final episode in 1977, all the show's characters (except the incompetent Ted Baxter) were fired from their jobs at the television station where they worked; and Asner moved the character from a half-hour sitcom to an hour-long drama, Lou Grant. In the show, the character of Lou Grant moved to Los Angeles to become city editor of the L.A. Tribune newspaper.

-- Asner received three Emmy Awards for his portrayal of Lou Grant on The Mary Tyler Moore Show and two more for his work on Lou Grant, thus making him the only actor to receive Emmy Awards for playing the same character in a comedy and a drama. Asner has been nominated for Emmy Awards 15 times and has won seven, more than any other male performer. (The other two Emmys were for his work in acclaimed miniseries -- Rich Man, Poor Man and Roots.)

-- At the age of 77, Asner continues to work steadily in front of and behind the cameras. In addition to a lot of voice work, he has had a recurring role on NBC's Studio 60 on the Sunset Strip, playing Wilson White.

-- Asner's co-star in "HTGSC," Lily Tomlin, is no slouch in the Awards department herself. She's been nominated for Emmy Awards a total of 11 times (for acting, writing, and producing) and has won four -- three for writing and one for producing. She's also won a Grammy (in 1971 for her comedy album "This is a Recording"), two Tony Awards (a special one in 1977 and one for Best Actress in 1986 for her one-woman show), and four American Comedy Awards. And she received an Academy Award nomination in 1976 for her supporting role in Robert Altman's Nashville. She won the Kennedy Center's prestigious Mark Twain Prize for Humor in 2003.

-- Lily Tomlin's zany characters, most notably Ernestine the Telephone Operator and little girl Edith Ann, propelled her to stardom as a cast member of Rowan and Martin's Laugh-In in 1969. From television she moved on to film, with roles in Nashville, Nine to Five, All of Me, Big Business, The Beverly Hillbillies, I Heart Huckabees, and most recently A Prairie Home Companion. She was also a big success on Broadway with her one-woman shows playing to packed theaters. She played the recurring role of Deborah Fiderer on The West Wing from 2002 through the show's final episode in 2006.

-- Tomlin studied acting under Jose Chung himself -- Charles Nelson Reilly -- who introduced her to the works of monologist Ruth Draper, a major inspiration for Tomlin's work.

-- For her work on "HTGSC," production designer Corey Kaplan won an award of excellence from the Society of Motion Picture and Television Art Directors.