Frank Spotnitz is an award-winning writer and producer best known for his work on "The X-Files."
Spotnitz served on "The X-Files" for eight of its nine seasons, including four years as Executive Producer and three years as president of Carter's Ten Thirteen Productions. He was a producer and co-writer of both "X-Files" feature films, "Fight the Future" (1998) and "I Want to Believe" (2008).
Spotnitz directed two episodes and wrote or co-wrote more than 40 installments of "The X-Files," including the Emmy-nominated "Memento Mori" (with Carter, Vince Gilligan and John Shiban) in 1997.
After "The X-Files" ended its run in 2002, Spotnitz served as executive producer with Michael Mann of the critically acclaimed CBS crime drama, "Robbery Homicide Division."
In 2005, he "re-imagined" the classic "Night Stalker" franchise for ABC Television, starring Stuart Townsend and Gabrielle Union. Most recently, he served as executive producer of "Samurai Girl," a limited series that ran on ABC Family in August 2008.
Joining "The X-Files" as a writer in 1994, Spotnitz quickly became involved not only in developing the series' stand-alone episodes, but its elaborate "mythology" storyline dealing with government conspiracies and aliens.
Other awards accorded Spotnitz for his work on "The X-Files" include three Golden Globe wins for Best Dramatic Series, a Peabody Award, and three Emmy nominations for Outstanding Drama Series.
His other credits include co-executive producer of "Millennium" (1997-1999) and executive producer of the Ten Thirteen series "Harsh Realm" (2000) and "The Lone Gunmen" (2001).
Spotnitz also has long been developing a documentary on the life of Los Angeles novelist John Fante.
Spotnitz began his professional life as a newspaper and magazine writer, working for United Press International, the Associated Press and Entertainment Weekly, among others.
Born in Japan, he received a B.A. in English literature from UCLA and an M.F.A. in screenwriting from the American Film Institute.
THERE'S NOTHING LIKE A DEADLINE to focus the mind, and so - fortunately, I guess - we had to work diligently to make sure the script was finished before the impending writers' strike began last November. Reconnecting with the characters proved effortless. It was like they had been waiting there, in our unconscious minds, the whole time. I felt a kind of opening-night excitement as I drove up to Chris' house in Malibu on the sunny morning of October 26. David and Gillian were casually standing in his living room, about to do a "table read" of the script. We quickly realized we had a problem, however: Security on the top secret script was so tight, we didn't have enough copies for all of us to read along. Chris and I decided we could follow along by reading the files in our laptops.
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