6х14 Agua Mala, Плохая вода Опции

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Сценарий: Дэвид Аманн
Режиссер: Роб Бауман
Первый показ в США: 21 февраля 1999

Название 'Agua Mala' в переводе с испанского означает "плохая вода". Если то же самое будет написано в одно слово - 'aguamala' - то это будет означать "медуза".

Вся команда охарактеризовала съемки этого эпизода двумя словами - "Темно и мокро".

"Мы все вымокли" - говорит Джиллиан Андерсон - "Было такое чувство, что мы снова вернулись в Ванкувер".

Когда кто-нибудь намокал, съемки останавливались, и этого кого-то вытирали полотенцем, в частности Джиллиан и Дэвида, которым досталось больше всех. Лица им постоянно опрыскивали специальным спреем с витамином Е, чтобы кожа не пересыхала от постоянного намокания и вытирания.

Дэвид рассказывал, как он впечатлился котом, как тот умело поднимал лапу и показывал Малдеру верное направление, и как он высказал свое восхищение дрессировщику кота, а тот ответил, что просто кот специализируется на съемках рекламы кошачьей еды и постоянно выполнял этот трюк, надеясь, что дрессировщику это и надо и что его, беднягу, уберут из этого мокрого места.

Если смотреть этот эпизод без звука, с субтитрами, там есть скрытая строка.
(в квартире Малдера звонит телефон) "Привет, это Фокс Малдер, вы можете оставить мне сообщение после сигнала". Это обычное сообщение Малдера, а в субтитрах идет продолжение: "Если это ты, Скалли, позвони мне на мобильный. Я думаю, номер ты знаешь".

Перевод и материалы взяты с http://greentree.spybb.ru/viewtopic.php?id=230 и http://cleigh6.tripod.com/CTP/CTP-aguamala.html и моих архивов

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-- The episode is set in Goodland, Florida, which is a real place -- located on the outlying portion of Marco Island on Florida's Gulf coast. It has about 300 year-round residents.

-- "Agua Mala" was the second script by executive story editor David Amann (the first was "Terms of Endearment"). He was asked to come up with a story with Arthur Dales in it, and he originally pitched an idea to Frank Spotnitz about a monster loose in an abandoned cave with a gold mine inside. Amann conceded it was not a great idea, but Spotnitz liked the notion of a monster shut up in an enclosed space. Gradually they came up with the idea of the hurricane and the sea monster and a group of people shut up inside a building with it.

-- "After that," Amann said, "most of the rest of our work involved solving certain problems of logic. For instance, how do you get a sea monster onto land? There were early versions where the winds actually blew it onto the beach and it crawled up to the building and worked its way inside. But that gave way to coming into the water pipes and through the light fixtures which was subtler and ultimately more scary. Then we had to get Mulder and Scully into the building; the Shipley's disappearance sprang from that. Then we came up with the subsidiary characters and their problems. And since nobody caught in this trap was really getting along with each other, this gave us various tensions we could bring to bear and work with, and some moments of humor when we needed it."

-- Amann said that when he was writing the script he didn't really consider the problems he was causing when he typed the word "rain" in it. "I didn't fully appreciate what I'd done until I went on the set one night. They were shooting exterior stuff, and they had six or eight rain towers, and a rain bar hanging from a crane, and were showering everything in sight, with wind machines all over the place blowing water, almost horizontally. It was truly a sight to behold. Awesome."

-- "I don't think I shot anything for that episode during daylight, or with anything brighter than a flashlight or an emergency lamp in the hallway," said director Rob Bowman. "And dealing with all that water on a television production schedule? Unbelievable. Because every time somebody got wet we had to stop everything to dry them off. In particular, David and Gillian were constantly waterlogged. I have to hand it to them for working so well with us under such really terrible conditions."

-- "The 'Agua Mala' script had a couple of tricky elements to it," Bowman said. "The first was the big squid. I didn't know if it was going to look scary or not. The second was the rest of the story. I didn't know if it would be compelling enough. But, in the end, we wiggled the camera and had the creature come in and out of the light quickly to make it scarier. Then we played up the humor to let the audience know that not all of this was supposed to be hard-edged drama -- and I think it all came out very well; a hell of a lot better than I was afraid it might."

-- Finding a Florida-style condominium complex that could be bombarded inside and outside with thousands of gallons of water wasn't possible. So the exterior scenes were shot at a surprisingly upscale apartment building at Belmont Shores, near Long Beach. All of the condo interiors -- including an impressive 120-foot-long corridor -- were built inside one of the XF sound stages. "I got the script for 'Agua Mala' in the middle of Christmas vacation, and realized we had to build everything from scratch -- a huge project -- so I'd better get the crew back early," said production designer Corey Kaplan.

-- Construction coordinator Duke Tomasick recalled, "You sure wouldn't want to move into that place one we'd finished filming there. All those sets were pretty trashed and waterlogged by the time we were done with them."

-- Also heavily absorbed in "Agua Mala" was special effects makeup supervisor John Vulich -- the man in charge of creating the translucent tentacles of the ravenous sea monster. "That was probably the single most difficult thing I did all season," said Vulich. "It's hard to make limbs that are both transparent and flexible, but we came up with a combination of silicon and urethane and some other kind of vinyl -- the kind they use to make fishing lures. The tricky part was getting the mechanics inside invisibly. We painted the mechanics and wrapped them in rubber, and if we lit the tentacle just the right way, it sort of worked. We also used an old trick, quick and dirty, which was to take some hollow tentacles, wrap them around the actors, pull them away, then run the film in reverse to make it look like they were getting grabbed."

-- Doing her best to keep pneumonia at bay, costume designer Christina Peters brought to each set six dry copies (instead of the usual two or three) of every wardrobe item scheduled to be worn by a wet actor.

-- In the spare time she had, Peters talked with the then 77-year-old Darren McGavin, "the sweetest man in the world." Peters said, "I'm a big fan of his, and was pleased to meet him, but since to save his energies he didn't like to come in for fittings, I had all kinds of pajamas and bathrobes for him to try on his first morning on the set. Well, we did all that, but about a half hour before his first shot he was sitting in his trailer with a shy little smile on his face. He said to me, 'You know what I'd really like? A seersucker bathrobe.' Thank God we were on the lot that day. We raced back to Main Wardrobe, dug through their vault of bathrobes, and came up with a seersucker bathrobe that fit him. And Darren was happy. So far as I was concerned, the day was saved."

-- McGavin, whose Kolchak the Night Stalker character was one of Chris Carter's influences in creating the X-Files, reprised his role as retired FBI Agent Arthur Dales, a role he created in Season 5's "Travelers." McGavin returned in the same role later in Season 6, in the David Duchovny written and directed episode, "The Unnatural." But after two days of filming, McGavin suffered a stroke serious enough to prevent him from completing work on that episode. So "Agua Mala" was his last appearance as Arthur Dales. McGavin passed away earlier this year, on February 25. He was 83 years old.

-- In the first act, we get a vermin-eye-view of much of Mulder's apartment, including his kitchen (where he has a TV, which means he must spend some time in there occasionally). We also see the guitar player sculpture on his desk for the first time. We also see a huge answering machine that looks like it would be a good mate to Scully's old white 20 pound cordless phone.

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Любимые кадры

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Анонсы серии: http://www.youtube.com/watch?v=rX-tW_3Uhwo

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Артур Дейлс: "If Agent Scully had not been there with you I shudder to think what would have happened to you. I'd say you owe her your life. It takes a big man to admit this, but ... if I had had someone as savvy as her by my side all those years ago in the X-Files I might not have retired."

Мурк

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