It didn’t have to be your sole creative identity or place, so that opened me up to even looking at scripts for television. You could have a life and do other things you wanted to do in your career or your family. What happened with the advent of cable, which I hadn’t foreseen when I was leaving The X-Files and said, “I’ll never do another television show,” was that you could do 12. When you were first approached to do Californication, what was it about the show and the character that compelled you?Īfter The X-Files, I didn’t want to do another television show because the schedule is so demanding and all-consuming. I think I was more present for the ending of this one. And now, being older, I just try to appreciate things in the moment and be grateful in the moment. So there wasn’t as much gratitude as I might have had, and looking back I wish I’d had that. By the time we were finishing, I was really ready and eager to move and show that I could do other things, that I wasn’t just going to do this thing. There were all these things that had happened because of the show. I went from being somebody who nobody knew to somebody known worldwide. With The X-Files, it was the first time that anything like that had happened to me. How does the conclusion of this series compare with the experience of ending of The X-Files? I have a picture of it somebody snapped as we started to walk away from the car. We kind of just walked off into the sunset and he was crying. When we cut and the First AD said, “That’s a series wrap for David,” Tom Kapinos, the writer and creator, was there. I had to say goodbye to the Porsche! That was very difficult. I was alone on that promontory by LAX where we like to shoot, where we watch the planes take off and land. I got to say my goodbyes onset to different actors as we were moving through the last episodes. What was the last day on set like for you?
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