and climate, as compared with Vancouver's rain, fog and temperate forests. Early in the sixth season, the producers took advantage of the new location, setting the show in new parts of the country. For example, Vince Gilligan's "Drive", about a man subject to an unexplained illness, was a frenetic action episode, unusual for The X-Files largely because it was set in Nevada's stark desert roads. The "Dreamland" two-part episode was also set in Nevada, this time in Area 51. The episode was largely filmed at "Club Ed", a movie ranch located on the outskirts of Lancaster, California. Although the sixth through ninth seasons were filmed in Los Angeles, the series' second movie, The X-Files: I Want to Believe (2008), was filmed in Vancouver, According to Spotnitz, the film script was written for the city and surrounding areas. The 2016 revival was also shot there. Music The music was composed by Mark Snow, who got involved with The X-Files through his friendship with executive producer Goodwin. Initially Carter had no candidates. A little over a dozen people were considered, but Goodwin continued to press for Snow, who auditioned around three times with no sign from the production staff as to whether they wanted him. One day, however, Snow's agent called him, talking about the "pilot episode" and hinting that he had got the job. The theme, "The X-Files", used more instrumental sections than most dramas. The theme song's famous whistle effect was inspired by the track "How Soon Is Now?" from the US edition of The Smiths' 1985 album Meat Is Murder. After attempting to craft the theme with different sound effects, Snow used a Proteus 2 rackmount sound module with a preset sound called "Whistling Joe". After hearing this sound, Carter was "taken aback" and noted it was "going to be good". According to the "Behind the Truth" segment on the first season DVD, Snow created the echo effect on the track by accident. He felt that after several revisions, something still was not right. Carter walked out of the room and Snow put his hand and forearm on his keyboard in frustration. By doing so, he accidentally activated an echo effect setting. The resulting riff pleased Carter; Snow said, "this sound was in the keyboard. And that was it." The second episode, "Deep Throat", marked Snow's debut as solo composer for an entire episode. The production crew was determined