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Marc Faber Tells Fox Business Network "I Think Paul Ryan Is on the Right Track"
Posted by: Holly LaFon (IP Logged)
Date: August 14, 2012 04:07PM
Gloom Boom & Doom Report publisher Marc Faber spoke to FOX Business Network (FBN) about the 2012 U.S. presidential election, fixing the economy, and investment opportunities in the global marketplace. Faber states that one of the main problems facing the U.S. economy is "too much government and that for political reasons it is very difficult to take entitlements away," but that Rep. Paul Ryan is "on the right track." With regards to investment opportunities abroad, Faber states that "this is the first time in my life I'm kind of interested in European shares."
Excerpts are below:
On how to fix the "sluggish" economy in the United States:
"Yes, I think there are real structural problems, and one of the problems is too much government and that for political reasons it is very difficult to take entitlements away. I think Paul Ryan is on the right track. But as Peter Schiff just said, it doesn't go far enough and fast enough. And I think that as a result of that basically the government consumes and it borrows money to do that and there is a huge difference between borrowing money and building a factory, buying machinery and employing people, and borrowing to pay out entitlements. That is the big difference economically. So I think the economy will stay very sluggish. Of course, if you throw a trillion dollars at the economy, for a while it improves. But in the next stage you have to throw in another trillion dollars just not to contract and to grow you have to throw in 1.4 trillion and so forth and so on. That's the problem."
On where Americans should look to invest:
"Well, you ask when interest rates are going to rise. I think that we have just seen the low in interest rates, and that from here onward, they will be irregular, but nevertheless an uptrend. The bond market has already broke down. The 30 year is down already almost 10% from its peak. And so I think that what Peter [Schiff] said is probably quite true. There will be a crisis at some stage. I don't think right now. But I have to say one thing. The U.S. stock market has outperformed everything else in the last 18 months. It is up there right near its highs of April. And other markets in the world are near their lows. In other words. You look at France, Portugal, Spain, Italy, Greece. They are 2009 low or lower…so for the first time in my life I'm kind of interested in European shares."
Stocks Discussed: FXE,
Re Marc Faber Tells Fox Business Network I Think Paul Ryan Is on the Right Track
Posted by: brianbook (IP Logged)
Date: August 14, 2012 04:14PM
Macroeconomics is outside Mr. Faber's "circle of competence", but everyone is entitled to their own opinion.
Stocks Discussed: FXE,
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2001-10-20 / Front Page
T-Shirt Sales To Replace Ambulance
T-Shirt Sales To Replace Ambulance
Activists in Broad Channel are selling patriotic T-shirts to raise money for the Broad Channel Volunteer Fire
Department to allow them to purchase a new ambulance to replace the one they lost under the rumble of the World Trade Center collapse.
The shirts come in all sizes and sell for $10. All of the proceeds of the sale will go to the volies. The shirts can be purchased at The Wave office on Beach 88 Street and Rockaway Beach Boulevard, and by phone at (718) 945-5694.


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While this makes for good old-fashioned, self-righteous, patriotic rhetoric, it turns out that it bears little semblance to reality. It turns out that these farmworkers give a lot back to each of us in ways too few people fathom.
For argument's sake, though, let's say that our nation decided to embrace this xenophobic mentality. We devised and implemented a plan to round up all the illegal farmworkers (and their extended families) across the nation and shipped them back home. We next built 50' high walls across the full expanse of our southern AND northern borders. We also implemented a new strategy to keep these illegals from sailing or flying into the county.
Would this make the narrow-minded among us happy?
As they used to say in the Hertz Rent-A-Car commercials, Not Exactly!
You see, we'd soon find ourselves in a heap of economic doo doo. For starters, who's going to pick the crops? Agribusiness depends on illegal farmworkers to do the kind of dirty work most Americans shun. The bosses of the big factory farms also depend on the meager wages they pay to these same farmworkers to line their corporate bank accounts.
If there's no one to pick the crops, they'll just rot in place and rotten foodstuffs don't equate to hefty profits. So, while conservatives blame these hardworking illegals for a wide host of societal problems, the farming industry would go belly up without them.
Now, I know that some will say, "Hey, unemployed native born Americans will jump at the chance to do these jobs". While THAT statement is farcical to the max, let's go ahead to accept it as true. It still spells trouble for agribusiness.
I'm fairly certain there aren't too many native born Americans who would willingly toil away for hours on end in the hot sun -- performing backbreaking work -- for give-or-take minimum wage. A lot of desperate people might give it a try, but most would decide there are better ways to be poor. Consequently, turnover would be exceedingly high.
In order to entice more desperate native born Americans to give farm work a try, corporate agribusiness would be forced to offer higher wages and, possibly, even some meager benefits. This, of course, would not be good for the bottom line. Higher expense generally equates to lower profit...
...which leads us to the other problem -- consumer prices would shoot through the roof as agribusiness passed all these new expenses onto us! You think $1.69 for a head of lettuce is high? Try $3 - $4 a head! Dissatisfied with 10 lbs. of apples for $9.22? How do you think you might react if that same 10 lb. bag cost you $15.75?
As one can easily see, the so-called illegal farmworker gives all of us a tremendous amount to keep the American economy humming. They perform the jobs we won't do. They do this hard work for little money and they risk exposure to all sorts of vile toxins (pesticides and herbicides).
In the final analysis, they put in so much more than they take out. So, for all of you narrow-minded people out there, I have two words for you: SHUT UP!!


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Cowboy Western
Home >> new mexico >> isleta >> justice of the peace >> cowboy wedding
Request More Information
New Mexico and also the entire West, has a deep heritage of tough distinctiveness as well as individual honor; along with an useful approach of "blues jeans and diamonds". We produce ceremonies that celebrate these top qualities. Whether it is on horseback or from a mountain top, these services can be created so to place your words of love and also commitment on the wings of eagles and also murmured right into the ears of angels.
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|SamL <firstname.lastname@example.com>
|Re: st: journal submissions
|Sun, 13 Nov 2005 17:41:38 -0800 (PST)
To clarify--I applaud the trend of letting authors provide final copy electronically. My gripe was only with having to submit papers for review electronically, and only because 1)I may not use their preferred software, and thus its a pain to go to all that trouble for a paper they may reject and, 2)I know they plan to electronically forward the paper to some poor soul who is going to have to pay for printing the paper just to do the favor of reviewing it. My last book, and last paper, were both edited electronically. That was great. Though, I am sure the discerning will find a typo here or there. Anything that puts more work (i.e., powers) into authors' hands is good. Anything that puts more work (i.e., chores) into reviewers' hands is bad. Take care. Sam On Sun, 13 Nov 2005, Kit Baum wrote: > Many publishers (including many European publishers: e.g. Elsevier / > North Holland, Springer / Kluwer) provide authors with a set of LaTeX > macros that will make the submission look exactly like it should if > accepted and published in that journal. Indeed, our own Stata Journal > does the same, providing a set of LaTeX macros that makes it possible > for the author to produce a camera-ready article. Some would carp > that this implies the publisher is pushing the work back on the > author, but in reality it makes it more likely that the typesetting > errors that creep in from de novo typing of an entire manuscript are > prevented. > > My review of the last submission I received as an associate editor of > the Stata Journal was delayed by two weeks by the authors' providing > a MS Word document with embedded equations that turned into gibberish > in my perfectly fine copy of MS Word. If and when accepted, the paper > will have to be retyped in LaTeX, the Stata Journal's standard. > > Clive Nicholas is correct in noting that most social science journals > accept MS Word and, possibly, LaTeX. In contrast, it is my > understanding that most mathematical journals will not accept > submissions in anything but LaTeX (or its variant amsTeX). And as > Nick Cox points out, there are excellent implementations of LaTeX for > all OSs. My coauthor uses Windows, and his MikTeX (http://miktex.org) > and WinEDT (http:winedt.com) environment creates PDFs with one click > (as does my TeXShop in Mac OS X). The fact that we both use LaTeX > makes it much easier to exchange documents, Stata LaTeX-formatted > output (thanks to Ben Jann's estout) and graphics to be included in > our research papers. > > Kit Baum, Boston College Economics > http://ideas.repec.org/e/pba1.html > > > * > * For searches and help try: > * http://www.stata.com/support/faqs/res/findit.html > * http://www.stata.com/support/statalist/faq > * http://www.ats.ucla.edu/stat/stata/ > * * For searches and help try: * http://www.stata.com/support/faqs/res/findit.html * http://www.stata.com/support/statalist/faq * http://www.ats.ucla.edu/stat/stata/
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University of Cincinnati Clermont College
|Juncta Juvant
(Latin for "Strength in Unity")
|Public (state university)
|Jeffrey C. Bauer
Academic staff
|Batavia, Ohio, U.S.
|Red & Black
|USCAA Division II — OCAC
The University of Cincinnati Clermont College, also known as UC Clermont, is a regional campus of the University of Cincinnati. UC Clermont is situated on 91.2 acres (37 ha) in Batavia, Ohio.
The college opened in 1972 and offers more than fifty associate degree and certificate programs, five bachelor's degree programs in conjunction with the main University of Cincinnati campus. UC Clermont is an open admissions institution, providing access to higher education to anyone with a high school diploma or equivalency. Clermont College's rolling admissions policy allows students to enroll any academic semester: autumn, spring or summer.[2]
UC Clermont sponsors a variety of fine arts, including the Calico Children's Theatre and the Park National Bank Art Gallery. Additionally, the UC Clermont College Krueger Auditorium is also the home of the Clermont Philharmonic Orchestra. 2010 marks the 13-year partnership between the Clermont Philharmonic Orchestra and the college. Student organizations include Collegiate Ministries, UC Clermont Association for Paralegal Students (UCCAPS), The Lantern (college newspaper) and the UC Clermont Fencing Club.
In 2010 select programs at the Clermont campus moved to a new campus, known as UC East, located off of State Route 32 at the former Batavia Transmission plant,[3] due to Clermont College's recent enrollment growth.[4] UC East is now home to many of the nursing and other health-related programs from UC Clermont.[5]
Starting in the Fall of 2011, UC East began offering a Bachelor of Technical and Applied Studies (BTAS) majoring in Applied Administration. This degree maximizes the transfer of previously earned technical credits. For many students, this will be a "two-plus-two" degree; requiring only two additional years of coursework beyond the two years already spent earning their associate degree.[6]
UC Clermont athletics teams are known as the "Cougars" and participate as a member of the United States Collegiate Athletic Association (USCAA) and the Ohio Collegiate Athletic Conference (OCAC). The college sponsors teams for baseball, men's and women's basketball, men's golf, softball, men's and women's tennis, and women's volleyball.[2] UC Clermont won the USCAA Men's Division II National Basketball Championship in 2007. The baseball team won the USCAA Small College World Series in 2013. Also UC Clermont won the USCAA Women's Division II National Basketball Championship in 2014.[7]
- ^ "UC Clermont Fast Facts". UC Clermont. Retrieved 2010-10-31.
- ^ a b "University of Cincinnati: Clermont College". The College Board. Retrieved March 18, 2011.
- ^ "UC Expanding in Clermont County—with Move into Old Ford Plant" (Press release). Clermont County, Ohio. 2010-01-26. Retrieved 2011-11-13.
- ^ "UC Clermont Records Record Enrollment". Clermont County. July 2010. Retrieved March 18, 2011.
- ^ "UC Expanding in Clermont County—with Move into Old Ford Plant". Clermont County. January 26, 2010. Retrieved March 18, 2011.
- ^ "BTAS, University of Cincinnati". University of Cincinnati Clermont College. University of Cincinnati. Retrieved 1 August 2015.
- ^ "University of Cincinnati Clermont Wins 2007 USCAA Men's D-2 Basketball Championship". March 3, 2007. Retrieved March 18, 2011.
External links[edit]
|Wikimedia Commons has media related to University of Cincinnati Clermont College.


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Chapter 2 - NightfallMature
Sweat-soaked, wheezing, Joe plodded after the dog across Corporea's financial heart. Street after deserted street. Below world-famous edifices. Under empty windows. The moon, red as an apple in the quickening eve, appeared over PeerlisTower, the most recent addition to Corporea's skyline, and all its highest glass ablaze in the last light of the setting sun. Joe stumbled against a lamp post. He hung on to it, staring. The moon's top edge...wasn't there. As if someone had taken a bite of it.
"IT ISN'T FAR NOW, CUMMON," said the dog. It loped away, through an alley.
Joe trembled. Alone in the street turning grey, among the parked cars nobody would be coming back for. And alone under the Something, big as a city, high above the world.
The streetlamp over his head clicked. It began buzzing, glowing. Along the street, other lamps also were glowing, brightening. Joe drew in a rattling breath. He chuckled. He saw the dog, waiting, for him. He started after it, as directly as his unsteady legs could carry him.
Joe plodded alongside the trotting animal from the dark alley across the next deserted street. Over one island of yellow lamplight. Over another. His legs burning, he swung left with the panting dog, along the sidewalk between cars parked nose to tail and shop fronts.
Just past a delivery van, red-white-and-green as the Italian flag, the dog stopped. Joe clopped past. Coughing, dizzy, he took hold of an expired parking meter under both his hands, leaned heavily on it. He stared at the dog. At the shop the dog was staring at.
CAPRI DELICATESSEN was painted in a red-white-and-green bow across the top half of the one big window. Across the bottom half, salamis hung and wheels of cheeses were stacked like tires. It was one of those mom and pop neighbourhood delis. With apartments above. The curtains were drawn shut across all the apartments. CLOSED in red letters showed clearly through the glass door.
The dog on his hind legs, his forepaws up on the glass door, licked his chops, flung a long stare at Joe. "Here. I like the smells here."


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Hank "Sugarfoot" Garland
Nov. 11, 1930
Spartanburg County
South Carolina, USA
Dec. 27, 2004
Orange Park
Clay County
Florida, USA
Musician. Born Walter Louis Garland and a native of Cowpens, South Carolina, he was part of the select group of Nashville session musicians known simply as the original "A-team" which included such greats as guitarists Chet Atkins and Grady Martin, pianist Floyd Cramer and drummer Buddy Harman. Discovered at age 14 by Paul Mason Howard, he was so impressed at the youngster's playing skills, he let Hank play with his band at an appearance at The Grand Old Opry and would eventually be known as one of Howards' Arkansas Cotton Pickers, the name of his band, giving him the name of "The Baby Cotton Picker". He would also play for legendary Cowboy Copas during his time with Howard. At age 19, he scored his first hit, the instrumental 'Sugarfoot Rag'. That song which would become not only his signature song but would go onto be recorded by many artists over the years. He played with jazz great Charlie Parker and pianist George Shearing. He recorded the album 'Jazz Winds From a New Direction'. In 1955, along with Billy Byrd, the two created a guitar for Gibson Guitars called the 'Byrdland'. He played on numerous recordings by Elvis Presley, Charlie Rich, Hank Williams, Brenda Lee, Don Gibson, Roy Orbison, Bobby Helms, Webb Pierce, Eddy Arnold, Bobby Darin and Patsy Cline. Patti Page even mentions him by name in her recording he played on "Just Because". Several of the recordings Hank played on were smash hits in country/western swing, rock, pop, jazz and even sentimental Christmas favorites. He also played some concerts with Elvis, among them Elvis' March 25, 1961 benefit show at Bloch Arena in Honolulu, Hawaii for the USS Arizona War Memorial fund. He survived severe injuries from a automobile accident which left him in a coma for several months in 1961. The injuries recieved included severe brain damage and loss of coordination which prevented him from returning to top form. On September 26, 1997 he was inducted into the Hollywood Rock Walk of Fame. His story, after several decades of wrangling, eventually made it to the big screen. The independant film 'Crazy' was finally released in 2007. Hank knew one day his story was finally going to be told on film, but he didn't live to see it. He suffered from many illnesses in his later years and died of a staph infection at age 74.
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Jacksonville Memory Gardens
Orange Park
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Plot: Buried next to his brother, Billy Garland, Jr.
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Ennis, TX Certified Public Accountant
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Now that digital cameras are standard equipment on phones and tablets, everyone carries one. But they bestow people with the carte blanche to barge their way through crowded museums, art galleries and ancient buildings, reducing great art and architecture to backdrops for their endless selfies and vacuous group shots. Once I was in the Louvre viewing the rose granite sarcophagus of the Pharaoh Ramesses III when the chamber was invaded by dozens of people shrieking and jostling amid a continual barrage of flashbulbs. As quickly as they arrived they moved on. Call me a Luddite, but for my next trip I think I'll make do with a notebook and a pencil.
-Norm Simons
My wife and I have just returned from a four-week holiday that included a tour of Egypt, where we had a ball. There were expert guides, no queues and, for that matter, few tourists. Sure, there was security and evidence of disruptions around Tahrir Square in Cairo, but the locals everywhere were super-friendly and just begging for foreigners to visit their country once again and spend some of our Western money. Please, please don't be put off, and still go.
-John Solvyns
In "Umbria's Slow Pleasures" (Traveller, March 8), Brian Johnston identifies the pros and cons of organised coach tours. There is the luxury of having someone else worry about accommodation and transport. But for this convenience you need to be prepared to travel with up to 40 people, and to go only where the itinerary says. Orvieto, Perugia and Assisi? Is that it for Umbria? Such a shame to miss the cobbled streets, markets and artworks of Umbria's lovely mediaeval hill towns of Spello, Spoleto, Todi, Trevi, Montefalco, Bevagna, among others. Luckily, there's travel options to suit everyone.
-Allan Roberts
I have regularly flown Cathay Pacific, Korean and Singapore Airlines from Australia to Europe, and have yet to encounter a single episode of objectionable service either on-ground or in the cabin service. But even before Qantas's recent precarious slide, the airline's on-ground and cabin service, based on my experience, has frequently been abysmal. Qantas cabin crews could aspire to the exemplary service that has become routine on the legacy Asian carriers.
-Joseph Y S Ting
I've done about 30 overseas trips in the past decade, but I don't think I've ever directly chosen an airline. Many of my trips have been tours with flights included so I have no say in the choice of carrier. On other trips I take the best price I can find, which usually turns out to be a different carrier each time (unless, of course, it's an airline with a dodgy safety record). I haven't been conned into joining frequent-flyer schemes then paying extra to accumulate points that often don't even cover the price difference. And although there are variations in service, inflight meals and comfort, these are usually not great enough to convince me to pay extra.
-Graham Meale
The winner of the best letter published each week will receive a travel-friendly Logitech case+energy iPhone battery pack, valued at $120, which doubles the power of an iPhone battery. Letters may be edited for space, legal or other reasons. Email us at firstname.lastname@example.com and include your name, address and phone number.


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Need soundproofing ideas
Outside the bedroom window of my just built home is the Lennox high efficiency air conditioner. What a racket when it turns on and off! The wall in between us is hardiplank and 5/8" sheet rock on 6" studs, insulated. Three feet above the compressor unit are two double hung, double glazed windows. Looking for a good night's sleep, thanks.
Move the unit to a different spot...just takes a longer line set and power...You will need an HVAC guy
Build a box.....or lid.....
Most units suck air in from the sides and spit it out the top. If you make a large box with louvered sides and a louvered top...you point the louvers away from the house (45 deg angle)...it should deflect a good % of the noise away from the window.
The box needs to be large enough so that the louvers do not restrict any airflow....
It also has the advantage of keeping sunlight off the unit....a little less heat to get rid of if it sits in direct sunlight for any amount of time.
You might consider updating the drywall on your exterior wall to a Quiet Rock. This drywall will reduce greatly the noise from the air conditioner unit but you still will be left with the noise that gets in from the window.
I would first update this window to a new quieter sound rated one and see if this helps. You might be re-locating the air conditioner if you can not find a window to stop the sound transfer.
Full box or roof only
If you want an idea of what it would do....take a big piece of cardboard...have your wife stand at the window....and put the cardboard above the unit....as you move it around you will get an idea of what works best.
I personally think that a line of cedar planks at a 45 deg angle will do a nice job if you want it fairly close to the unit....if you have a few feet of height above the unit to play with...then just make a roof above it.
Key design point....where ever the sound goes....if there is something for it to reflect off of....then it can bounce back. If you play pool...then think of the sound as the pool balls....what happens when the que ball hits them? Sound behaves pretty much the same way.
Cedar planks, nice & cheap! Thanks for the ideas.
The windows are likely a bigger culprit than the siding or the interior drywall. Typically what is needed is mass, so Cedar and other lightweight materials are not recommended.
If the walls needed upgrading, you should consider applying a sheet of $8 5/8" thick drywall with a field application of damping compound. Pre-damped drywall is very expensive and generally lightweight relative to what you want.
I've never seen anywhere that placing a "roof" over an ac unit is workable. Best to check the specs of your unit to get the allowable clearances around it to make sure you don't void the warranty on the unit. That'll be a cause for another bad night of sleep.
Trust me....you would be surprised at how much difference a physical barrier will make.
Everyone is saying "Change the windows"...."More Drywall".....
Guess what your doing? Your putting more mass between the person and the noise source.
Sound propagates via waves....when it hits an object, it causes that object to vibrate at the freq of the wave. If the object has suffecient mass, the sound waves can not move the object. If the object has a lower resonate freq as the wave source, it does a poor job of 'transmitting' said freq.
Typically, the stiffer and lighter and object is, the more likely it will transmit sound.
Cedar boards are a pretty low density board.....they don't transmit noise that well. If properly attached, they will reflect noise in a different direction. Yes, some noise will get through....but I'm willing to bet it will be less than the results of changing windows and adding drywall.
The cardboard test is a cheap and easy way to find out how much difference a 'roof' over the AC unit will make.
The trick would be to find a suitable enclosure that will also allow airflow. A more massive enclosure will stop / deflect sound better than a lightweight, low-density enclosure. You may find that an open design could allow some air flow while providing an initial deflection to incoming waves. Thicker treated plywood, cement board, etc might be good materials to test.
I Need HELP !!!!
I have 2 apartments, one over the other, 2x10's floor joists on the 2nd story, with no insulation between floors, both apartments have hard wood floors, it was build in the 50's, and they have stucco walls and ceiling, its maybe 1 1/2 thick, people down stairs hear the people upstairs and vice verse, i dont want to tear out the stucco in the downstairs ceiling and insulate and then use quite rock, can i use the green glue and make my own quite rock and just attach it to the stucco ceiling downstairs, will this be very affective in reducing the sounds between floors, they have high ceilings , i can built something too, like run 2x6, insulate and then use green glue drywall, what do u guys think...HELP
The problem consists of two surfaces. The floor above and the ceiling below. If you want relief, you'll want to treat both surfaces.
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When it comes to Los Angeles housing styles, apparently there is nothing that pulls the heart-strings of buyers like a Spanish-Colonial home. How else to explain the term "emotional Spanish," which sometimes pops up in real estate listings. But a newly listed Silver Lake Spanish-Colonial is ... Read More »
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Source: 20th Century Fox
THE X-FILES: I WANT TO BELIEVE is a new motion picture based on the phenomenally popular, award-winning series The X-Files. Long-anticipated, the film reunites series stars David Duchovny and Gillian Anderson under the direction of series creator Chris Carter, who co-wrote the screenplay with Frank Spotnitz.
In grand The X-Files tradition, the film's storyline is being kept under wraps, known only to top studio brass and the project's principal actors and filmmakers. This much can be revealed: The supernatural thriller is a stand-alone story in the tradition of some of the show's most acclaimed and beloved episodes, and takes the always-complicated relationship between Fox Mulder (Duchovny) and Dana Scully (Anderson) in unexpected directions. Mulder continues his unshakable quest for the truth, and Scully, the passionate, ferociously intelligent physician, remains inextricably tied to Mulder's pursuits.
Months after shooting had wrapped, Carter remained as circumspect about the story as he was during its development and production. "Mulder and Scully are drawn back into the world of the X-Files by a case," is all he'll add about the plot.
Perhaps more clues...to something....can be found in the film's title. "I Want to Believe" is a familiar phrase for fans of the series; it was the slogan on a poster that Mulder had hanging in his office at the FBI. "It's a natural title," says Chris Carter. "It's a story that involves the difficulties in mediating faith and science. It really does suggest Mulder's struggle with his faith."
Carter is much more revealing about his goals for the film. "Simply put, we want to scare the pants off of everyone in the audience," he says. While the scale and scope inherent in the medium of film allowed the filmmakers to take the story and characters where the show couldn't go, Carter says THE X-FILES: I WANT TO BELIEVE also marks a return to the series' roots, when it was the lone beacon on television for fans of thrillers, supernatural tales, and of horror stories. "The film encompasses all the best things people loved about the show. It's scary, creepy, and has a good mystery. With The X-Files, we often scared people by what they didn't show, and we use that device for the movie."
Adds writer-producer Frank Spotnitz: "I think the best part of The X-Files was that it could make you afraid of anything. They didn't tell typical horror stories or adhere to popular genre conventions. And this movie is in that tradition of showing things that you would not see in most scary movies."
Unlike the first The X-Files motion picture, released in 1998, Carter and Spotnitz's story for THE X-FILES: I WANT TO BELIEVE does not require audiences to understand the series' complex mythology that stretched across its nine seasons on the air. "The first movie was kind of an epic episode of the show, but THE X-FILES: I WANT TO BELIEVE is a real, stand-alone movie," explains Carter. "If the show hadn't existed, this is a story that still would have found its way to the big screen."
After ten long years since the first film - and six years since the close of the series - Carter and Spotnitz felt the time was right for a new The X-Files movie, not only to provide the show's legions of fans with a new case for Mulder and Scully, but to introduce a new generation to these characters already beloved by millions. "It has struck me over the last several years, talking to college-age kids, that many of them really don't know the show," says Carter. "A twenty-year-old today would have been too young when the show debuted [16 years ago]. So there's a whole new audience for The X-Files. And this film was made to satisfy them, as well as our longtime fans."
"Writing and making this film was far more than an exercise in nostalgia," adds Frank Spotnitz. "Chris and I took a long, careful and emotional look at Mulder and Scully and where they would be at this point in their lives. We would talk for hours and hours about the story and what it meant to us."
The two filmmakers decided that the story, and the critical Mulder-Scully dynamic, would take place in what they call "real time" - it's been six years since we last saw them in the series finale, and the film would reflect that progression. "They're six years older and six years wiser, and their relationship has evolved quite a bit," says Carter. "Mulder and Scully have gone through a lot [in that period], so there is much in the movie about the state of their relationship - and its future."
David Duchovny says that presenting Mulder and Scully as they are today, was a critical decision. "It was important to allow time to go on in the world of The X-Files as it's gone on in the world at large. I think one of the most interesting things we do as actors is to try and embody the same character as time goes by, working with the changes of life or consciousness that happen to us with time."
The Mulder-Scully relationship continues to be defined by a unique chemistry - a spark that defies the conventions of screen romances. "The chemistry with David is completely easy," says Anderson. "It's something we seem to be able to slip into with our eyes closed. From the second we started working together on this film, it was there."
On the set of THE X-FILES: I WANT TO BELIEVE, the electricity between the actors and between their respective characters was impressive even to those who had witnessed it up close for so many years. "The first day of shooting, when I saw David and Gillian working together, I got chills," says Chris Carter. "David and Gillian have always had that chemistry. Seeing them working together was like having the family back together."
Beloved by the large subset of fans who call themselves "Shippers" (taking their name from the fourth syllable of the world "relationship"), the Mulder-Scully love story remains a very different kind of screen romance. "It's always been a chaste kind of relationship," says Duchovny. "It's an old-fashioned romance where all the physical intimacy is achieved through looks, or by holding hands, or by kisses on the forehead.
"Mulder and Scully are meant for each other," the actor continues. "But there's always an obstacle that threatens their relationship. This movie is very much about that obstacle."
Chris Carter further explores the characters' bond: "For me, The X-Files has always been a romance - an intellectual romance of the mind that's very rare and restrained. It is intimate but not physical. That is a big part of the chemistry. And from the beginning of the show, it was David and Gillian who created our success. Without them, the show would not have worked."
Actor chemistry notwithstanding, it was somewhat easier for Carter and Spotnitz to return to the world of The X-Files than it was for stars David Duchovny and Gillian Anderson. Carter, who guided the show for over 17 years as its creator and executive producer, says simply that coming back to these characters and their universe felt "like the most natural thing in the world."
Spotnitz elaborates: "When Chris and I sat down to write the film and revisit Mulder and Scully, I was surprised to find that they came right back to me. We had a lot of thoughts about what they'd been doing and where they were in their lives. And it was really nice coming back, because I had missed Mulder and Scully. I had missed hearing their voices."
However much the filmmakers - and of course, the fans - missed the characters, various issues delayed the start of a new The X-Files movie until late last year. Carter credits David Duchovny as being a key advocate of a new film. "I'd say David was as responsible as anyone for getting this movie made. He campaigned for it. He wanted to do it. David was really the key cheerleader in sustaining our interest in doing another film."
Indeed, Duchovny had wanted to return to Fox Mulder and The X-Files since the show ended its long run in 2002. "I always felt that The X-Files as a movie franchise had real life in it," he points out. And having played Mulder for nine years, Duchovny thought he could slip back easily into the character. But when cameras started rolling last winter, Duchovny discovered that finding Mulder was more elusive than he had expected. "I thought I would fall back into Mulder very naturally, but at first playing the character felt a little odd. I didn't want to make any drastic changes in the way I played Mulder because the character is so well-known. But of course I'm older now - and so is Mulder - so some things had to change."
Similarly, Gillian Anderson found returning to Dana Scully came not without significant effort. "On the first day of shooting," she remembers, "I was pretty confident about returning to the role. I am usually terrified when I start a project, but that wasn't the case with this one." But the challenges of slipping back into a character Anderson thought she had left behind years before quickly became apparent. "I had a really difficult first couple of days [of shooting the film]. I was having a really hard time finding Scully's voice, and I think part of that is because since the show ended, I've been doing everything in my power to take on roles that were very different from Scully. The work I've been doing [since the show ended] has involved creating new characters from scratch.
"For this film," Anderson continues, "playing Scully was less about always referring to the script and more about going back to the history and memory of the character. So getting back into character was much more work than I had anticipated."
While the Mulder-Scully dynamic was the nexus of much of The X-Files' run, the franchise has long been recognized for bringing in top-flight actors who have made invaluable contributions to its legacy. THE X-FILES: I WANT TO BELIEVE is no exception to this tradition. Amanda Peet, who recently starred in the series "Studio 60 on the Sunset Strip," joins The X-Files universe as ASAC Dakota Whitney. Like everything else connected to the film, details about Whitney have been shrouded in secrecy. "Whitney enlists Mulder's help with a case," Peet does reveal. "She is an FBI agent who may - or may not - begin to feel a connection with Mulder."
Peet says joining The X-Files team had, not surprisingly, its unusual moments. "It felt a bit odd to be a guest in this phenomenon. But it was enjoyable, too, becoming a part of this world that is so well-established. And to watch David and Gillian portray this iconic couple [Mulder and Scully] was extraordinary.
The shoot's physical rigors were perhaps her greatest challenge. "I should have suspected...something...when, before production began, Chris Carter asked me if I was fit - could I run in the snow? Now, I had given birth eight months earlier, and I hadn't exactly been running any marathons. But of course I told Chris, 'Yeah, I'm in shape! And the first four days of filming had me running, running and running - and hoping I would look cool." (Adds Duchovny: "It's impossible to look cool running in snow.")
Joining Peet's Dakota Whitney as an FBI agent new to The X-Files is famed rapper (and host of MTV's "Pimp My Ride")Alvin "Xzibit" Joiner, who portrays Agent Mosley Drummy. In a strange, very X-Files-like coincidence, Carter had listened to a song performed by Xzibit that referenced The X-Files. "It was weird that Chris had heard that song," admits the rapper/actor. "But he's that kind of guy, you know; he's into what he's into." (Carter's intellectual and cultural pursuits extend beyond rap music - he recently had a fellowship studying string theory.)
Xzibit, a longtime fan of the series, says that "being part of the lineage of this great phenomenon is incredible." As part of this lineage, Xzibit is well-aware that most details about Agent Drummy must remain classified until the film's release. He'll admit that Drummy is a "by-the-book kind of agent who is very intense. He doesn't take no for an answer, and he has no time for Mulder's strange ideas. Because if Agent Drummy can't see it, feel it, touch it, or kill it, then he doesn't believe it."
A very different kind of character is essayed by noted actor Billy Connolly, whose Father Joseph Crissman is a dark, complex character with a haunted past. "It will be a character to which audiences will react strongly, which is one reason I was drawn to it," says Connolly. "When Chris Carter told me about Father Joe, I knew I must do the part - and thus horrify my family and friends.
"But the scariest thing for me was learning that Chris had me in mind when he wrote the character!" (Carter is a longtime admirer of Connolly's work, especially of his performance in the film Her Majesty, Mrs. Brown.)
Filming an X-Files story can be an inherently strange experience - and fodder for Connolly's brand of off-kilter humor. "When you're doing an X-Files movie, you're not going to be singing 'Kum Ba Yah' around a campfire," he notes. "You know that it's just going to be a weird experience." Case in point: "While filming in [the snowy Canadian ski resort] Whistler, we were creeping around for days, looking for weird stuff in the middle of the night." Weird stuff, indeed - much of it in the form of a threat the likes of which, Connolly promises, "you've never before experienced in a film."
Obviously, it's nearly impossible to discuss THE X-FILES: I WANT TO BELIEVE without mentioning the secrecy surrounding its story, production and several of its characters. And the filmmakers wouldn't have it any other way. "To me," says Carter, "this movie is like a Christmas present. I want it opened on Christmas morning and not before. I don't want people shaking the box or sneaking a peek under the wrapping.
"I believe that audiences will appreciate and enjoy the moviegoing experience more, if they don't know the story in advance. So we did everything we could to preserve the surprise."
To that end, only the director and producers had a copy of the full script. The actors were invited to read the script, only to see it whisked away as soon as they had finished. Select department heads read the script in an enclosed room under video surveillance, after which the script was returned to a locked vault. All who read it were asked to sign a confidentiality agreement. More than ninety percent of the shooting crew had little information about the story - an obstacle that failed to prevent them from preparing for the day's work.
In fact, everyone rose to this new professional challenge. "It truly was entertainment," states production designer Mark Freeborn. "I've never done a film before without having a script close at hand. If you were one of the anointed, you had one with your name watermarked on it. But even then, I could only refer to it in a secure room with three video monitors trained on me.
"There was a running joke amongst a few of us, when we had a question about something, which went along the lines of, 'Well, let me check my script. Oh, wait a minute, I don't have one!'"
Cast members received sides (the day's script pages reduced in size) on the days they were shooting, each individually watermarked with the actor's name. At the end of each shooting day, the sides were collected and then shredded. Actors and their character names were given aliases on call sheets and shooting schedules. Dubious information and questionable images were leaked to the internet, making it difficult for even the most astute fan to discern fact from fiction.
To Find Out More About "The X-Files: I Want To Believe" Please Read:
The X-Files: I Want To Believe - Coming Home
Cast Information:
Actress Profile - Gillian Anderson
In Our Never Ending Search To Uncover The Truth We Discovered This:
Would You Believe That Pamela Anderson Was Almost Cast As Dana Scully?
Also In Theaters This Week:
The Dark Knight (2008)(Warner Bros)
Space Chimps (2008)(20th Century Fox)
Journey To The Center Of The Earth (2008)(Warner Bros)
If You Like The X-Files, May We Suggest:
Quatermass and the Pit (1967)
Friday, July 25, 2008
The X-Files: I Want To Believe (2008)(20th Century Fox)
Posted by Ken Hulsey at 5:58 AM
Labels: 20th Century Fox, David Duchovny, Gillian Anderson, Movie, Sci Fi, The X-Files, The X-Files I Want To Believe, USA
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