For Stark, the answer came shortly after the series' departure. "A friend of mine [Lance Peverley], who was a PA on [X-Files] in season five, we went out for coffee, and we were both out of a job. But we decided to get together, basically because we had talked about creating some sort of small film or something. I had been working on a feature film, a writing project, for five years," he continues. "I wanted him to help me out with it. The more we'd talked about it, the more we thought we should do a short film. And he had written a film already."

Peverley's film was Tilt, the title of which executive producer/production manager/assistant director Stark describes as "in reference to tilting at windmills, from Don Quixote. 'Tilt' is a fencing term. It's like holding up the sword to something inanimate, something non-threatening. Don Quixote would hold his sword up to the dragon, which was a windmill. He's sort of seeing things that weren't there." An updated version of the classic Spanish novel, Tilt is told essentially from the sidekick's point of view, and it was the casting of this modern-day Sancho Panza that first led Stark and Peverley to realize the potential of the project at hand.

"As a local producer, a first-time producer, I thought 'What can I do to make this as high a production value as possible?'" says Stark. "And I said [to Peverley], 'What do you wish for? I don't care what you think you can actually get, but what do you wish for? What is your dream cast, your dream crew?' And he said, 'Well, I wrote the film with Tom Braidwood in mind.'" As any X-Files fan well knows, Braidwood is best known for his role as Lone Gunman Melvin Frohike, although Stark first met the actor in a different context.

"Tom was my boss," he explains. "He was the first assistant director -- he's now a producer and a director. So I phoned him, and he agreed." From there it was only a matter of time before Tilt began to acquire the talent of more and more of the former X-Files crew. "I called the camera operator who had told me if I ever needed help on a film he would help me out," continues Stark. "He [Marty McInally] became my director of photography. I had asked [X-Files sound mixer] Michael Williamson a long time ago if he would help me on my first project, and he said yes. So I thought, 'Wow, here's my start: Tom Braidwood, and the look and the sound of The X-Files. Where can we go from here?'"

Since Tilt began shooting on January 10th this year, the number of crew has grown to over sixty, and now includes roughly thirty-five people from the Vancouver-era X-Files team. "Everything from the camera department, craft services, the lighting, the makeup, the special FX," enthuses Stark. "My makeup artist [Leanne Podavin] was Toby Lindala's assistant for special FX/makeup. She was nominated for an Emmy with him for 'Post-Modern Prometheus.' The woman who hired me initially is our locations manager, and the on-set special FX guy for X-Files is my special FX coordinator. The coordinator for X-Files also did a day for me, and David Duchovny's stunt double is a coordinator as well. People just started coming out of the woodwork, so far as people agreeing to do this or volunteering."

Another notable facet to the production lies in the fact that it is not just the X-Files crew, but the city of Vancouver itself that has contributed so generously to the film. "It just keeps getting bigger and bigger," exclaims Stark. "We had a lot of camera assistant friends who had ends of rolls of film that they donated, a few thousand feet of film. Local companies donated the camera equipment and the lighting equipment; Kodak gave us some film. Everything started to snowball. We have now visual effects, crazy stuff that we're doing that's just unbelievable. We have a guy cabled up on the sixth floor of a building doing a helicopter shot, an aerial shot that's just unbelievable! I look at that," the first-time producer continues, "And I'm like, 'I can't believe we're actually doing this!"