Prior to CSI: Crime Scene Investigation‘s premiere in 2000, it’s safe to say viewers had no clue what the inside of a human body looked like–at least what it looks like after being struck by a bullet. Twelve years later, CSI has introduced viewers to a smorgasbord of fascinating and intricate technical shots, thanks in large part to Co-Producer Brad Tanenbaum. Since CSI‘s inception, Tanenbaum has helped mold the look of various visual effects seen on the show and, for the past several seasons, take on more of a commanding role serving as one of the show’s in-house directors. With his thirteenth credit coming up this Wednesday, Tanenbaum chats with CSI Files’ Shane Saunders about challenging effects, how technology on the show has changed, and tease his latest episode. (Spoilers after the jump!)

CSI Files: This week’s episode “Tressed to Kill” is your third episode this season and also one with a huge void – the absence of Catherine Willows. What immediately went through your mind when you found out you would be directing the first episode after Marg Helgenberger‘s departure?

Director of Photography Crescenzo Notarile (left) and Director Brad Tanenbaum (center) prep a scene on 'CSI: Crime Scene Investigation' (photo: Brad Tanenbaum)

Brad Tanenbaum: It was hard for everyone when Marg decided to leave. I have been working with her for twelve seasons. I thought she went out in a very classy way. I have been lucky enough to shoot some very memorable episodes with her.

It was weird, we actually started this episode while she was shooting her last one. On day one we did a scene with Eric [Szmanda, Greg Sanders] and George [Eads, Nick Stokes] in Catherine’s office. Not to give too much away, [but] it looks a little different now. The Art Dept had to redress the set the way it lives now and redress it back with Catherine’s dressing for her to shoot in it the next day. It was very strange walking in there knowing that this is no longer going to be Catherine’s office.

CSI Files: Did you have any worries or concerns when prepping the episode? Anything particularly challenging about this episode compared to your previous installments?

Tanenbaum: Every episode has it own challenges. That is the great thing about working on CSI. No episode is ever alike.

I was pitched this story last season. Ed Whitmore (the writer) and I worked together on an episode called “Unleashed” last season. He told me the idea for this story then. I was lucky enough to get it. When I read his outline, I immediately saw the teaser in my head. Almost shot for shot. I pitched my interpretation to Carol [Mendelsohn, Executive Producer], Don [McGill, Executive Producer], and Ed and they liked it. The most challenging part was, where it took place. The opening needed to be filmed in a shopping mall, and we shot this episode right before Christmas. We were lucky enough to find a mall that allowed us to get in and out very early in the morning. We were also able to shoot around the Christmas decorations and the tree.

CSI Files: The CSI team is dealing with a serial killer who has an obsession with hair and makeup. What else can you tease about the episode?

Tanenbaum: This episode takes creepy to a whole other level. This is my second creepy crazy serial killer episode this season. I also Directed “Tell Tale Hearts,” I guess that is my calling this season.

This serial killer has a lot of crazy obsessions that all unfold before your eyes. The cool thing to look forward to is the emotional roller coaster that Russell [Ted Danson] will go through. Ted really delivers an amazing performance. He is backed up by everyone else’s, including a stellar guest cast.

CSI Files: Roger Bart plays a hairdresser in the episode and the actor is excellent at giving creepy, chilly performances. Was he your first candidate for the role?

Tanenbaum: Roger is great in everything he does, from Broadway to TV and Movies. His character Fitzgerald will be memorable. We looked at a couple of people, Roger seemed to be the right fit. We have an amazing guest cast. Brianna Brown who plays Paula delivers a great performance as well.

CSI Files: In Catherine’s absence, who steps up to the plate to fulfill her duties? Will there be any mention of her from the team?

Tanenbaum: Catherine will definitely be a presence in this episode. Her void will certainly take it’s toll on our CSI’s. Because of the escalation of this killer, this case becomes a must solve for our CSI’s. Everyone must fill the void. Russell will find a nice confidant in the end.

CSI Files: You have a long history with the show and have served in multiple capacities. From visual effects coordinator to several producing titles and now serving as a director since Season Seven. How did the evolution of your involvement with the show begin?

Tanenbaum: CSI has given me a lot to be grateful for. From a dream come true career to a wife and two kids. I owe everything to Carol Mendelsohn.

I got a job in the spiring of 2000 on a pilot called Crime Scene Investigation, I was the Executive Producer’s assistant. Jim Hart is his name. When the show got picked up,  Jim put me in charge of all the computer graphics, and the coordinator of the Visual Effects. I wanted to Direct and Produce and he said I needed to be able to carry myself in an Editing room to be able to do that. The show was in such an infant stage at the time. We were all just trying to stay on the air. A lot of us, especially me were doing things we had no other experience doing. It was really like going to Grad school.

As the scripts came in, they started to really write these very complex visual shots. It became my responsibility to get what the writers and directors wanted on screen. CGI was at it’s infant stage, when it came to television. So, along with our VFX supervisor we took on a very complex task to Produce, Direct and deliver these shots on a television schedule, television budget week in and week out.

As the years went on I have had the pleasure of Directing and Producing some of the most memorable shots on CSI. One day it’s shooting an apple at 10,000 frames a second with a gun, the next day it’s doing a two and a half minute single shot of our entire cast frozen in time as robbers are stealing a body in our morgue. That shot took months of planning, four days to shoot, and landed our VFX and Special Effects team with a much deserved Emmy.

CSI Files: From a director’s standpoint what big changes have you seen transpire over the years?

Tanenbaum: The biggest changes I have seen as a Director is technology. CGI has grown so much over the years. For an example, we don’t have to go to Vegas as much. We lay Las Vegas in the background in almost every episode. When we scout for locations we look for matte lines to lay in the skyline. We are using the Canon 7D camera a lot now. We still shoot the show on 35mm film, but the 7D gives us more flexibility to put the camera in some hard to reach areas.

CSI Files: You have thirteen directing credits to your name. Is there one you’re especially fond of? One you found to be more difficult than the rest?

Tanenbaum: They are all special. The most special will always be my first, “Lab Rats.” That episode wasn’t suppose to be more than a clip show for the miniature killer storyline we did in season seven. It was our first attempt to be funny. Our subject matter usually doesn’t warrant any humor. The challenge of that episode was to follow a group of Lab Techs, whom we knew very little about and they were to solve the miniature killer case behind Grissom’s back. Wally [Langham, Hodges], Liz [Vassey, Wendy Simms], Jon [Wellner, Henry Andrews], Sherri [Rappaport, Mandy Webster], and Archie [Kao, Archie Johnson] never even met each other. When I read this script I thought they were setting me up.

It really was like shooting a pilot. For the first time since the pilot we did a table read, and we saw what worked and what didn’t. And on day one, one of the first scenes we did involved all of the Lab Rats all together in Grissom’s office. The cast all knew the episode was suppose to be funny, none of us new how far to push it. We did the master shot and then broke for lunch. I was suppose to stay on time and budget, so I was expected to go into coverage after lunch. I told my AD, that after lunch I needed to reshoot the master. The writer [Sarah Goldfinger] and I all sat with the cast and defined each characters own inner dorkyness. We reshot the master, and the rest is history. That group of actors will always be very special to me.

CSI Files: The season is winding down, but you have one more episode that you’ll be directing. Do you know which episode you’ll tackle? Are you aware of what the episode will entail?

Tanenbaum: I do have another episode that I will direct, which will be Ep. 1219. I start prep in two weeks. I am going to work with the writers tomorrow. So stay tuned.

Thanks, Shane for all that you do for us. Thanks to everyone for watching!

Shane Saunders is a freelance writer and reviewer. His work can be seen on EDGE Network and ShaneSSaunders.com. Twitter: @ShaneSSaunders.

Anthony E. Zuiker‘s reputation as a creative genius has long been established thanks to his work on the most-watched franchise in television history CSI: Crime Scene Investigation, CSI: Miami, and CSI: New York; and with his new deal at ABC, his résumé is soon to become even more impressive. One of the top innovators in the movement to introduce new platforms for consuming entertainment, Zuiker is hard at work creating groundbreaking projects for his new venture at Google while working concurrently on television development at ABC. The executive producer discusses his upcoming development slate and the future of the CSI franchise with CSI Files’ Shane Saunders.

CSI Files: It’s a new year, new projects. How is 2012 looking so far for Dare to Pass?

Anthony E. Zuiker: It’s looking great. We’re very excited to be at ABC and working on our development for the year, and also Chameleon. We’re off to a great start. I can’t believe that it’s almost February.

CSI Files: What’s in development at ABC that you can talk about?

Zuiker: I’m writing the script for Chameleon. It’s basically an undercover show about a female agent who does different costume changes to take down the bad guy, so I’m writing that as we speak. We have other shows I can’t quite get into for next season that we’re developing. We have a roster of five-to-seven projects for next season that we’re just starting to get into now.

CSI Files: Your memoir Mr. CSI has been out for a couple months. What kind of feedback are you getting?

Zuiker: Pretty good feedback. I think people are happy to read an autostory to kind of get some perspective on a person behind a show. It’s a human rags-to-riches story and a real story that I think people can relate to. I’m very proud of those efforts and I’m very proud of that being left behind for people to read and enjoy. A lot of people ask me, “How do you do what I did?” and I think the great metaphor about the book is one great idea and a little bit of luck can turn into something fantastic. Everybody can have the same opportunity I had.

CSI Files: The way you came into the business is a rather interesting story and you touch on it in the book. Do you think it’s harder to get into the entertainment industry today than it was in 2000? What advice do you have for those trying to break in now?

Zuiker: I don’t think it’s necessarily harder, I just think it’s different. The advice I have for young people or whoever wants to get into the business is it all comes down to the same core principles: talent, perserverance, networking, luck, and opportunity. I think those are the five things that matter whether you’re a producer or a director or a writer. The great thing about being a writer is it’s relatively inexpensive to write a piece of intellectual property that can be shopped around town. Hollywood is a beast that needs to be fed in terms of material and as long as that’s the case, everybody has a ticket to play it.

CSI Files: Your background is in writing, but you also directed the first two installments of the Level 26 series. Are you planning on getting more involved in directing?

Zuiker: Sure. Primarily I’m a writer, so we have a lot of work to do in that area. Eventually, as things open up, I think I’ll direct more. I do enjoy it. But my primary focus right now really is writing.

CSI Files: The final installment of the Level 26 series came out last month. The digi-novel concept was quite a success, but is there anything you would change about the next series?

Zuiker: I think we probably would putforth more efforts to make sure that the app version of the book topped the last one. I believe that Dark Prophecy pretty much is a blueprint for the future of publishing. If we did more books, we would want to progressively make that app better and better. I’m not sure there’s anything we can do much more on the novel side; you try to write the best novel you can and direct the best videos you can. It’s in the app space that things get very interesting. We would focus more on making sure that we kept topping ourselves in the app space.

CSI Files: There isn’t an app for Dark Revelations–are you planning on developing one?

Zuiker: Not at this time. We really put all of our efforts inside Dark Prophecy. If we do embark upon a new venture for the digi-novel, we’ll probably hit the ground running and make one for the book launch.

CSI Files: Your new company BlackBoxTV will be making its way to YouTube later this year. What genres are you looking to tackle?

Zuiker: We’re doing horror, thriller, and Sci-Fi. We’re very excited. As we begin to embark on a new level of storytelling under the Google umbrella and YouTube, they’ll allow us to do more original content as a company and dabble in the interactive space. It’s very exciting and could lead to what the future is in our business.

CSI Files: Is there talent booked for any of the projects that you can reveal?

Zuiker: I’ll tell you we have A-list talent that we’re about to close. We’re definitely going out for top-level talent going forward.

CSI Files: I want to segue a bit over to CSI. How do you think the franchise is doing? Is it looking like one of the series may be in its final season?

Zuiker: I don’t think so, I think the franchise has never been stronger. I feel like all the shows are having banner years. Ted Danson [DB Russell] has done a remarkable job stepping in for CSI and we’re looking forward to Elisabeth Shue [Julie Finlay] going forward. The episode the other night was fantastic and I just feel like to have this kind of staying power in Season Twelve, Ten, and Eight for all three shows is remarkable. This could be, arguably, one of our strongest franchise seasons yet.

CSI Files: Have you discussed doing another project with Marg Helgenberger (Catherine Willows)?

Zuiker: I have not talked to her personally about that. I mean, obviously, she’s someone that we always keep on the tip of our tongues, so if she’s willing to do something else for television, it definitely has my interest.

CSI Files: Were you involved at all with the casting of Elisabeth Shue?

Zuiker: We talked about it. I think that is a phenomenal choice. Elisabeth Shue is a very special actress. I’m a fan, obviously, of Cocktail and Leaving Las Vegas. She’s very selective in what she chooses to do. She’s someone that I think is hard to get for television, but to be able to say ‘yes’ to this franchise and work along Ted Danson is something I’m looking forward to watching. To me there is no better choice than Elisabeth Shue. I just think she’s that type of special actress.

CSI Files: In Season Nine the show went through several transitions as well: William Petersen (Gil Grissom) left, Laurence Fishburne (Ray Langston) and Lauren Lee Smith (Riley Adams) came in; do you think the show will approach the changes more smoothly than it did a few years ago?

Zuiker: Look, the thing is the fabric of a TV show has changed. Sometimes the change is abrupt and sometimes change is slow going, but I think the way things rolled out this year is the appropriate way to roll it out. We introduced Ted Danson and he had about ten-to-fifteen episodes under his belt before we introduced the exit of Marg Helgenberger and the ease of Elisabeth Shue. I think the audience is tolerant of change when they understand why there’s a change. The writers have done a great job of making sure character-wise, it makes sense why characters are exiting and joining the show. As you can see from Ted Danson we’ve never missed a beat, and it’ll be the same way with Elisabeth Shue. Marg Helgenberger can never be replaced or forgotten, and we believe Elisabeth Shue can help evolve the show.

Follow Anthony E. Zuiker on Twitter: @zuiker

Shane Saunders is a freelance writer and reviewer. His work can be seen on EDGE Network and ShaneSSaunders.com. Twitter: @ShaneSSaunders.

Tonight, Marg Helgenberger‘s run as sexy, smart, and sassy crime scene investigator Catherine Willows will reach its conclusion. A twelve year tenure with more than 250 episodes under her belt, the actress has decided to pursue other opportunities and is bound for more success, whether it be a Broadway show or returning to film. Though her departure will surely bring tears to the show’s audience, the cast and crew of CSI: Crime Scene Investigation are looking on the bright side, reflecting back at their time on the show with the universally adored actress. CSI Files’ Shane Saunders caught up with several of the show’s cast and crew from past and present to talk about their colleague’s departure and favorite memories during a remarkable run.

I could go on and on about Marg as the powerful actress she is, and as a colleague on the set, and as the personifcation of both leading lady and team player.  However, I’d like to share an impression of Marg that comes to my mind every time I think of her: the first time I saw her with no makeup.  It was 5:45AM, and she had just arrived at the studio, hair still damp from the shower.  I was there to talk about a scene in that day’s work, and intercepted her on the way to the hair and makeup trailer.  For a moment, I was completely thrown by how naturally beautiful she is: perfect skin, glistening eyes, no sleepiness – ready for the day and looking forward to it.  She was -and is – stunning.  And it’s not a trick of camera magic.  It’s the real girl.

Whenever I wrote for Catherine and Sam Braun, I loved watching her work.  She gave those scenes such depth – it was a complex character relationship – and she really committed to them. I’ll never forget filming “Built to Kill” on location at the Golden Nugget in Las Vegas.  Catherine, furious with Sam, had to march up and confront him in front of the slot players.  Their confrontation climaxed with Sam slapping Catherine.  It was a rough scene, and in take after take, to the astonishment and delight of tourist onloookers, Marg gave everything to the scene.  It was very gratifying for the writer, and, eventually, the audience.

Marg is sorely missed here at CSI. Her charm, beauty, talent and kindness will never be forgotten. I loved working with her and learned so much and hope I’ll get the chance to act with her again soon.

When I went to do my research trip in Vegas, I watched an autopsy. The ME and staff there told me that out of all the guests they’d had, Marg was the biggest trooper. It’s saying something when I mention that I wasn’t at all surprised. Marg is virtually unflappable. She’s a broad, in the finest sense of the word. She was the first person I worked with when I joined the cast of CSI, and I will forever be grateful to her for making the new girl feel welcome. That show will miss Catherine a lot; the cast and crew will miss Marg even more. I wish her huge luck in her undoubtedly bright future.

I’m a huge fan of Marg’s and feel privileged to have worked with her… great gal.

Alec Smight has directed over twenty episodes of CSI: Crime Scene Investigation and there’s no sign of him slowing down. Employed since CSI’s inception, Smight started off as an editor and gradually explored other avenues behind-the-scenes such as producing and directing. His latest episode–which airs this Wednesday–marks the fourth time Smight has played a critical role in a cast departure. The incredibly busy director took some time out of his weekend schedule to discuss his transition from editor to director, playing a major part in cast departures, and tease his upcoming episode with CSI Files’ Shane Saunders.

Alec Smight, Marg Helgenberger, and Crescenzo Notarile. (Photo: Alec Smight)

CSI Files: CSI has done a really good job at allowing people the opportunity to try different things on the show, and you’re really no exception. After editing the show’s pilot episode and many thereafter, how did the chance to direct an episode come about?

Alec Smight: It’s interesting because when I first took the job on the “Pilot,” I had been offered another series with an opportunity to direct as well, and it turns out that the person that hired me on CSI didn’t hang around, so I kind of had to start from the ground up and develop a relationship with Carol [Mendelsohn, Executive Producer] and everybody but they’ve been so supportive of my work. They were great.

CSI Files: Do you miss editing at all?

Smight: It’s interesting because my other role as a producer is in the cutting room mostly, so I’m still involved in editing, just not hands-on at the machine. I don’t feel like it’s not part of my day-to-day activities. That’s what I bring to the table, I think it’s my strength. Not running the machine, I don’t miss that, but I’m still in there making editorial choices when we’re making changes working with our three amazing editors. It’s a lot of fun.

CSI Files: You’re the producer of the editing department just like Louis Milito is the executive producer in charge of production, and so forth?

Smight: Yeah. It’s funny, at this point, this particular season, I’m directing so much I ended up grabbing an extra show because somebody had dropped out of the rotation. If I’m unable to go in and sit there with Carol and Don [McGill, Executive Producer] when we’re going through the cuts, he’s done that as well, but for the most part that’s how that’s supposed to work out. We all screen the shows together once the directors are done with their cut, and then a lot of times Carol and Don will have some broad stroke notes, and I’ll go in the cutting room with the editors, and we sort of execute those together and then as long as I’m not in prep or directing an episode, I’ll sit in with Don and Carol when we do the final cuts. I’ve been doing this for a long time. A lot of times I can help come up with solutions to problems that they have, and I can help the editors figure some things out, so I really enjoy that. It’s the problem solving side of it that I always loved about post production.

CSI Files: What do you find to be the biggest challenge as a director? Do you find it to be more or less complex than editing?

Smight: I’m an outgoing person, so the hardest part being an editor for me for so many years was just working by myself. I love being on the set. We have an amazing crew. The cast is amazing, so it’s really fun to work with everybody and collaborate. That’s what I love about the directing side. The difficult side is the television schedules. We are an ambitious show in terms of what we want to put on the screen, and we only have seven days of prep, and we shoot our episodes in nine days, so it’s just trying to get the most out of your day. That’s probably the biggest challenge. But sometimes it also creates interesting opportunities to be clever and figure out a solution, a way to do something where you’re running out of time or something that’s difficult to execute. I love having to figure those things out on the fly, it’s fun.

CSI Files: Your next episode is a rather significant one titled “Willows in the Wind,” which focuses on the departure of Marg Helgenberger. From a director’s standpoint, what do you do differently on an episode like this compared to a more standalone installment?

Smight: As you know, this was part of a three-episode arc, and I had the good fortune of doing the first and the last ones, so I was involved in helping to build that. That was actually kind of fun. And then Louis Milito did the one in the middle, and it was kind of fun sharing that with him. The challenge I think is—we wanted to give Marg a good sendoff, obviously, and I think they wrote a really cool story, and it’s different than what we normally do week in and week out because our shows for the most part are standalone. Trying to bring CSI world into a three-story arc, which we rarely do, was probably the biggest challenge. And also making room for Marg to have her big moment at the end where she gets to say goodbye to everyone, wrapping up the story to not feel like that moment was short-changed. That was everybody’s big goal, make sure we serve a good story and give Marg her time at the end to have her goodbye. I think we did, and she’s wonderful. Her last couple of scenes are just terrific, and hopefully there won’t be a dry eye in the house.

CSI Files: You played a major part in previous departures as well. You directed William Petersen‘s final episode and edited both “Goodbye and Good Luck” and “For Warrick”, which saw Jorja Fox (Sara Sidle) and Gary Dourdan (Warrick Brown) leave. How much pressure do you feel when being attached to such an important episode?

Smight: If you look at the big picture of CSI world, you can certainly get overwhelmed like, “Oh gosh, I’m having to deal with kind of a big thing here for this series.” But in terms of just personally dealing with stuff like that, you have to look at it like another episode and not get overwhelmed by what’s going on. At the same time, I know at the end of the day, when the show’s all over with, that these are significant episodes. I’ve just been very fortunate to have lined up with a lot of them. I feel honored to have been part of Billy’s departure and Marg’s. Again, the trick I think in approaching them is to try to not think about all that and just worry about what we have to do to get the show made, and usually that turns out to be the best approach.

CSI Files: In “Willows in the Wind”, Catherine and Russell (Ted Danson) find themselves in quite the predicament. Can you tease a bit about some of the things happening in the episode?

Smight: In “Ms Willows Regrets”, the whole FBI zipper guns thing sort of comes back into play, and Marg essentially becomes a target. In my episode, it’s all about survival and then figuring out a way to catch our bad guys.

CSI Files: It’s fair to say that you’re not killing her off. That’s pretty much for certain.

Smight: Without tipping anything off—I’ve looked at the promos already, I don’t think the network is trying to tease that. No, we’re not killing her off. But she does have a brush with death, we’ll put it that way.

CSI Files: How do you approach the emotional beats in the episode? Were you relying more on the actors’ real life feelings as opposed to them acting out their sadness over Catherine leaving?

Smight: Yeah, I think you kind of hit it there. In this instance, especially after twelve seasons, there’s no avoiding the fact that a goodbye to the team at CSI is also a personal goodbye for Marg. One of the things I wanted to make sure we did when we shot her last scene was…I thought we should do her close up and coverage first. No matter how skilled you are as an actor, when you turn and face people you’ve worked with for that long, it’s going to become as much about the character as it is about Marg personally. I wanted to make sure that we could capture that. If there’s anything I did out of the ordinary in those scenes, it was that. I wanted to make sure that we did Marg’s coverage first instead of traditionally doing sort of a master and then moving in for closer coverage.

CSI Files: What was your final moment on set with Marg like?

Smight: It’s weird because for me too, I was there right at the beginning because I was involved in editing the pilot. It was emotional. She gave a wonderful speech to everybody, kind of her own goodbye right after we did her last shot, and I was pretty choked up. Her son Hugh works on the show, and he was there. It was just a lot of hugs. It was a big moment, similar to when Billy left. We all knew it was coming, and luckily our schedule allowed us to shoot Marg’s goodbye scene as the absolute last thing we did. The last thing I did was drive a nail into the spot where her final mark was, and Louis Milito did the same thing when we shot Billy’s last scene, so if anybody ever gets to visit our stage, those two spots are marked permanently.

[I'm] not sure what they’re going to do for Marg. They were shooting in that set yesterday, and there’s a nail in the ground with paper around it that says “do not remove,” so whatever they’ve got planned for it isn’t done yet.

CSI Files: Has there been an episode you directed that you found particularly challenging? You’ve directed like 25 episodes, so that might be a tough question.

Smight: It is a tough question. Probably the one—it was the second-to-last episode last year, the two-parter for Laurence‘s departure because so much of it took place in Los Angeles. It was almost like doing a pilot. Our normal locations, we’re always looking for parts of Southern California—or occasionally we go to Vegas—but mostly parts of Southern California that could double for Las Vegas. In this case it was the opposite, all of a sudden we were scouting Los Angeles to be Los Angeles, which we all decided should be sort of iconic. We wanted to have the ocean, we had the Santa Monica pier, we shot at Hollywood. So just logistically, that may have been one of the bigger ones that I’ve had to do.

You mentioned Billy’s departure and Marg’s departure. I think just in terms of emotional impact, those two. I guess if I had to pick three that were challenging for me, it would be those.

CSI Files: And the opposite side of that question: you’ve directed a lot over the years. Is there one you’re especially fond of?

Smight: I don’t think my answer could be anything but my first one, just because it was something I’d been wanting to do my whole career. The people on the show are such a great group. Carol’s been so wonderful to me, and getting that opportunity and having the crew be so supportive, and I was blessed with a great script—I couldn’t have asked for a better situation. It was a dream come true, and I was really proud of it when the show came out. Allen MacDonald wrote that episode. It was just a great experience from top to bottom. I had a lot of George Eads [Nick Stokes] and Jorja Fox in that show. Billy actually wasn’t in it because we were doing double-ups that year. They were all wonderful, it was just great. That was like a dream experience.

CSI Files: This season alone you’ve directed four episodes, and you started shooting your fifth on Monday. What can you share about the episode you’re filming right now?

Smight: Elisabeth Shue‘s [Julie Finn] debut was in the episode that just wrapped, and she comes in as a consultant, so I got her first episode as sort of a regular CSI and part of our team. I’m excited about that. That’s the challenge, I think, to see how we integrate her into our team. There’s a lot of meeting everybody that’s involved in the episode and trying to make that not feel anything but real. There’s also a lot of comedic elements in it. I think those are some of the more interesting shows that we do, but there’s a fine line. You have to be careful not to let the comedy become too broad and drift into silliness. So that’s my challenge on this one, to keep it grounded and real. Melissa [Byer] and Treena [Hancock] wrote a really fun script, and we’ve got a wonderful guest cast, so I’m excited about this one.

CSI Files: Will you step behind the camera again this season, or are you taking a much-deserved break?

Smight: I actually have two more after this. I was scheduled to do six episodes, but we had somebody to drop out of the rotation, so this one I’m doing right now is sort of a bonus episode. I have two more after this. I’m sort of on a greased rail to the end of the year. I’m doing Episode Eighteen and Episode Twenty-two.

CSI Files: So basically what you’re telling me right now is you haven’t slept in almost six months.

Smight: [Laughs.] But you know what, I’m not complaining at all. These are rock star problems. I’m having more fun than I ever have professionally, so it’s just been a blast.

Shane Saunders is a freelance writer and reviewer. His work can be seen on EDGE Network and ShaneSSaunders.com. Twitter: @ShaneSSaunders.

Tonight’s CSI: Crime Scene Investigation ended with a bang–literally–as the show prepares to see the exit of Catherine Willows in next week’s episode. Executive Story Editor Christopher Barbour talks with CSI Files’ Shane Saunders about tonight’s episode “Ms Willows Regrets,” part one of Marg Helgenberger‘s two episode departure. Spoilers after the jump!

CSI Files: We talked back in November about how “Freaks & Geeks” was your first major episode for Catherine (Marg Helgenberger), but now you’ve done three Catherine-focused episodes in the first half of the season. What was the process like getting into the rotation for her final episodes?

Christopher Barbour: Her exit episodes really were a team effort. For me I was fortunate to take point on the final two episodes, that was really not necessarily the plan because a lot went into creating the final two episodes. We had input from Marg, the writing staff, and there was a lot of discussion on how to take her out of the show in a way that would seem fitting. What I was interested in personally though was to touch some base with elements from the past because before I worked here I was a longtime fan of the show, so there were elements that I was keen to see. The show is really a team effort–the only way I can explain it is I took point with Don [McGill, Executive Producer], and Rich [Catalani, Co-Executive Producer] but it was a team effort.

CSI Files: How did you guys ‘break’ the story?

Barbour: Don and I focused on the first episode and then it was really a group effort on the second. We all sort of contributed scenes together.

CSI Files: You guys knew at the beginning of the season what her two final episodes would be, correct?

Barbour: We had an inkling of what it would be. There were some factors that we were sort of not sure would be a part of it, but the overall arc of the three episodes we had a pretty good sense of. We weren’t exactly sure how she would say goodbye in terms of her having a scene where she would say goodbye to everyone.

CSI Files: Anita Gillette was back as Catherine’s mother Lily Flynn, but there was no sign of Lindsey (Kay Panabaker). Any reason why she was not involved in the final episodes?

Barbour: It was partly to do with story and also in terms of Catherine not necessarily needing to say goodbye to her daughter. It was more about focusing on the CSI family.

CSI Files: Vartann (Alex Carter) isn’t in Episode Twelve, but he was there tonight in Episode Eleven. Are there plans for him to come back?

Barbour: He’s actually in Episode Fourteen, “Seeing Red.” He will return. He’s a terrific guy and I’m hoping there was some sense of him possibly being in jeopardy.

CSI Files: That brings up another good point. It seems whenever Catherine connects with a guy, bad things always seem to happen. Does Catherine not know how to choose the right person?

Barbour: [Laughs.] There’s some deep explanation for what she needs to do. She has been unlucky in love. I think the relationship with Vartann was a strong relationship but it was not the relationship. I can’t really explain that… it’s difficult for her because the job was very important for her. It was difficult to balance those things at times.

CSI Files: Hodges’ (Wallace Langham) mom has a new boyfriend that was mentioned in the episode, and I recall there being something at the beginning of the season about the possibility of introducing her on the show. Are there plans for her to show up for an episode?

Barbour: There are plans to possibly meet Hodges’ mom. We’re trying to figure out a way to meet her.

CSI Files: Maybe she hangs out with Mrs. Robbins and the two of them find another dead body in a bed?

Barbour: [Laughs.] Right now we’re just mulling it over, but we might meet his mom.

CSI Files: You’ve worked on a lot of episode this season. Do you have any others coming up?

Barbour: As you know I worked on Episode Fourteen and I’m hoping to do one more before the end of the season. It may be one of the last episodes.

Shane Saunders is a freelance writer and reviewer. His work can be seen on EDGE Network and ShaneSSaunders.com. Twitter: @ShaneSSaunders.

It’s hard to imagine how David Berman has the time to sleep, eat, or even give an interview. On CSI: Crime Scene Investigation he not only plays the role of David Phillips–the man who assists Doc Robbins with the slicing and dicing of victims brought into autopsy, looking for clues and determining cause of death on a daily basis–but behind the scenes Berman serves as head researcher, conducting his own investigations to ensure the show uses accurate information. Berman took some time out of his incredibly busy schedule to discuss his character’s evolution, a season of change, and his upcoming National Geographic Channel project with CSI Files’ Shane Saunders.

CSI Files: As the years progress more layers are peeled back on David Phillips; he’s gone from being in the background to developing a quirky sense of humor and working more prominently with the CSIs. How would you describe Super Dave’s evolution from Season One to where we’re at now?

David Berman: I think you did a pretty good job of describing it in the question. I think that over the first few seasons the character was written kind of as you said–as shy, kind of nerdy, but a very respectful guy who really just wanted to do his job. They established very early on that he came from a military background and has a deep respect for Doc Robbins [Robert David Hall], so I really was just kind of working by trade. I was in my early twenties when the show started and was dreaming up my background for the guy assuming it was my first job out of college. Even early on they did a nice job giving me fun stuff to do. I had a crush on Sara [Sidle, Jorja Fox] early on; my very first scene on camera I kind of awkwardly hit on Jorja Fox’s character which was really fun. I love playing those moments.

As time passed the writers have given me more responsibility. I like to think the team respects my opinions more and more, and I’ve gone from being Doctor Robbins’ assistant to actually being his colleague. A couple of seasons ago I got to perform my own autopsy which was a real highlight for me.

CSI Files: In “Built to Kill, Part One” we found out David was a married man, but we have yet to meet Mrs Phillips. Who would be your ideal actress to play the part?

Berman: That’s a tough one. I think she’d have to be a particularly strong woman. The writers have established that my wife kind of doesn’t take shit from anybody and doesn’t tolerate B.S. The couple conversations we’ve had are usually conversations where we’re fighting about something. It’s a very passionate marriage, which I think would seem to contradict the way David Phillips is presented most of the time; he’s respectful and somewhat quiet. I can’t think of an actress per se other than her being tall and strong and vocal.

CSI Files: How do you think Sara feels about David being married? You had feelings for her, but she didn’t quite reciprocate those feelings back to you.

Berman: I think she adores David Phillips, but in the way a big sister loves her little brother. I’ll always have a soft spot for Sara Sidle, but I think they have a very nice working relationship.

CSI Files: Doc Robbins and David had an ongoing bet in last season’s “Hitting for the Cycle.” Some say it was out of character for the two to participate in such a morbid activity. What do you think?

Berman: I disagree completely. Having met dozens and dozens of medical examiners and coroner’s assistants, and physician assistants, I’ve seen more than my fair share of autopsies and I’m very familiar with that world. If you don’t have a sense of humor you will not last very long. That doesn’t mean these aren’t compassionate people, but I think at the end of the day this is a gruesome job. Unless you are able to create some distance between you and the decedent I think you will go crazy. The case was actually based on a real life episode that happened to one of our technical consultants. It didn’t come from out of the blue, which I think lends credence to the idea that it wouldn’t be out of character for them to be making a bet.

CSI Files: The two of them clearly did not like Kevin.

Berman: Yeah, Kevin was a real jerk. But a great guy and a wonderful actor!

CSI Files: David is closest to Doc Robbins in the morgue, but David is also getting to spend a fair amount of time out in the field. Who else would you say is close with David?

Berman: David has a really nice relationship with Nick Stokes [George Eads]. Nick is the one that gave him his nickname “Super Dave” which I really love. It’s not very often I get a chance to play a quirk or something that doesn’t directly have to do with the decedent that I’m examining. So George or Nick really goes out of his way to kind of play up those moments which I love. It’s really–I’m not just saying this because you’re interviewing me for CSI Files–I really love the cast of CSI. I really look forward to working with everybody. It’s a really great group of actors to spend time with.

CSI Files: Do you get called Super David off camera?

Berman: Sometimes. I always get a kick out of it. I think it’s nice that fans really take to the show and embrace me at times.

CSI Files: You’re well into filming on Season Twelve. What do you think of the season so far?

Berman: It’s been a season of change. We’ve had Ted Danson [DB Russell] and Elisabeth Harnois [Morgan Brody] join us and soon to be Elisabeth Shue [Julie Finlay], though I haven’t met her yet and I’m really excited to. Of course Laurence Fishburne [Ray Langston] left and now Marg Helgenberger [Catherine Willows] is leaving, so it’s been a real transitional year. That being said, working with these new actors has been incredible. Ted Danson had some mighty big shoes to fill with William Petersen [Gil Grissom] and Laurence before him–two of the best actors in the world. I don’t know about you, but I think he’s done just a remarkable job; he’s charming and smart and just elevates the material in such an incredible way. When I’m through with work I’ll just stay and watch his scenes because I just love watching him work. Elisabeth is wonderful as well. She also has a really tough role to fill; traditionally a lot of women come and go on CSI and for whatever reason that’s always been a difficult role. It makes Jorja’s role on the show all the more impressive. I think Elisabeth has been doing a great job.

The way I met Ted was a pretty funny story. I filmed a documentary in Israel this summer for the National Geographic Channel and I was there for almost two months. It was a rather exhausting shoot with very long days and lots of driving and shooting in the hot desert–it was rewarding and fun, but difficult. I came home on July 14th from Israel and when I landed there was an e-mail waiting for me from one of our executive producers asking me if I would escort Ted Danson to Las Vegas on Tuesday–I got in on Sunday morning–and kind of show him around the morgue. That was all they really had planned, just a tour of the morgue, and evidently they had tried and couldn’t get him a tour of CSI or the morgue or a ride-along. Because I am a researcher on the show and I do know quite a few actual CSIs, I made a bunch of calls and I scheduled this fairly intense fourteen-hour marathon of covering basically all the sides of Clark County law enforcement. After I did it I kind of thought, “Oh no, what if he doesn’t want to do this?”

I had terrible jetlag and was absolutely exhausted–pretty much couldn’t sleep at all–and I picked him up from CSI at Universal Studios and went to the airport. Our flight was delayed like two hours, we didn’t get there until pretty late at night, and the next morning we got picked up at seven, driven to the morgue, and we’re inside where there’s several bodies splayed open. As we walk in–it was as if the director had yelled “action!”–the medical examiner picks up the bonesaw, slices off a guy’s cranium, pulls off the skull cap, and goes “Hey Ted, hold this.” I went from filming a documentary in Israel to performing an autopsy with Ted Danson in three days. That’s certainly a story I never thought would happen.

CSI Files: Based on what you’ve heard, what is your take on Julie Finlay? How different is she from Catherine?

Berman: I won’t give too much away. She’s certainly a strong-willed character and she’s definitely her own woman. She has lots of experience in law enforcement and kind of a tumultous background with DB. That will definitely play out the first couple episodes.

CSI Files: How emotional were you on Marg’s last day?

Berman: Marg’s last day was very difficult. She’s been my colleague and friend for over a dozen years and saying goodbye to her was very hard. It was bittersweet, but bittersweet because we’re still going to be friends and still going to see each other, we’ve exchanged phone calls and texts even since she left. She’s doing what she wants to do, she left on her own terms. But it was sad to say goodbye to someone who’s so talented and someone I’ve really enjoyed working with. She was very emotional and you can see just how much the show and the cast meant to her.

CSI Files: You mentioned doing research for the show, and you’ve been doing so for quite some time with Jon Wellner (Henry Andrews). Are you at all numb during the research excursions?

Berman: The actual horror of the stuff we’re researching? Yeah. It’s just a job; our job is to solve mysteries and put puzzles together and to help the writers out.

CSI Files: Your brother Josh Berman likes working behind the camera, and you seem to enjoy working behind the camera doing research duties, and also performing as an actor in front of it. Would you ever want to write or direct an episode?

Berman: Not really. My ambitions are to be an actor, that’s what I’ve wanted to do since I was eight-years-old. I got into research to pay the bills when I was very young and acting work was hard to come by. On CSI we have eight full-time writers who are spectacular. Maybe in the future I would like to writing something but on CSI I think I should leave that to our primary staff.

CSI Files: You talked a little bit about working on a documentary last summer. What else can you share about the film?

Berman: I was the on air host. I hosted a four-part miniseries for the National Geographic Channel called Faces of the Bible. It’s four one-hour segments where each episode I look at a skull or complete skeleton that was found in an archaeological dig somewhere in modern day Israel. Using forensic art, the Bible, good old fashioned deductive reasoning, we try to recreate these skulls to see what people may have looked like. Each episode loosely corresponds to an event from the Bible. In one episode, we’re looking at a three-thousand year old Philistine skull to figure out what the biblical character Delilah may have looked like. It was a pretty cool idea and I’m looking forward to seeing how it turns out.

CSI Files: Do you have an estimate on when it’s going to air?

Berman: I don’t. We haven’t even done the narration for it. But I’ll definitely let you know as soon as I find out.

CSI Files: Do you have any interesting fan encounters?

Berman: None I can think of. Lots of nice letters. One story which I hesitate to tell because I can’t really confirm it. But I was at The Grove walking down the street and I saw James Gandolfini, one of my all-time favorite actors. I was kind of trying not to stare, kind of glancing at him, and he was with I assume his wife and child. His wife and child were looking at me and I got very excited, but I thought they couldn’t possibly be looking at me. I kind of kept walking and I took about twenty steps, turned around, and all three were looking at me and James Gandolfini pointed at me and smiled. That was a pretty cool fan encounter.

CSI Files: Tony Soprano watches CSI!

Berman: [Laughs.] I guess he does.

CSI Files: What else is in store this season for David Phillips?

Berman: I really don’t know. Certainly in the next couple episodes David Phillips isn’t doing much other than investigating crimes. There’s some pretty gruesome murders coming up that David Phillips will be examining, but I don’t know much beyond that. I don’t think he’s getting divorced or having a kid in the next couple episodes. [Laughs.]

CSI Files: Maybe there’s a girlfriend on the side.

Berman: I like the way you think.

Shane Saunders is a freelance writer and reviewer. His work can be seen on EDGE Network and ShaneSSaunders.com. Twitter: @ShaneSSaunders.

2011 was a bittersweet year for CSI: Crime Scene Investigation‘s George Eads. During the summer hiatus, Eads happily wed his girlfriend Monika Casey after spending more than five years together. Shortly after the passing of Maverick, his dog and best friend of many years, Eads received news that his father’s health was rapidly declining, ultimately ending in the unfortunate passing this last November. With all of the pressing personal matters in his life, the Nick Stokes actor asked producers of the show that made him a household name to write a “light” start of the season for him so he could travel back and forth from California and Texas to spend some time with his father Arthur Coleman Eads. Now back on the show full-time, the actor is “eternally grateful” to his bosses at CSI for allowing him to be away from the forensic series and promises to be the “best Nick Stokes imaginable.” In his first interview since last year, Eads talks with CSI Files’ Shane Saunders about the loss of another CSI star, how long he imagines being on the CBS series, a potential love interest, and much more. Spoilers after the jump!

CSI Files: You’re one of the few cast members left that’s been with the show since Day One. How hard is it to see all of your closest friends and colleagues of twelve years leave?

George Eads: [Chuckles.] Woooo! It’s been difficult. You continue to learn with every passing year in this business and you have to roll with the punches. In the end I’ve just learned–and I’m learning–that sometimes change is good and things happen for a reason. They’re so missed by me. I learned so much from Billy Petersen [Gil Grissom] as a man and as an actor. Gary Dourdan [Warrick Brown]… I just love Gary Dourdan, he’s sorely missed. He’s unlike any other man in this business. I love the guy. But having said all that, I have to try and improve as an actor and welcome these new people and move forward. It’s been difficult.

CSI Files: With Marg Helgenberger (Catherine Willows) being the latest cast member to leave, are you starting to contemplate whether you want to start pursuing other projects as well?

Eads: Yeah, I contemplated that for a while, but for me in the end I want to nurture what’s right in front of me and who’s to say I can’t have some brilliant moments here on CSI? If I continue to link these scenes together and make them seamless and really make them smooth and great, then that can only bode well for me when CSI is cancelled. I think if somebody says, “What is the most recent work of the guy?” hopefully they’ll be able to show them last year’s CSI and it’ll get me more work. I think having the reputation of being loyal and a hard worker and a good fun guy working on a set for twelve hours a day, I think there’s something to be said for riding this out until the end.

CSI Files: When the show does end what kind of projects do you want to go after?

Eads: I’m just going to let my work speak for itself and hopefully take meetings with people who get together as a group of producers and see me in a different light or want to see me as something that I haven’t been [on CSI]. Would I like to do films? Of course. Would I possibly like to direct one day? Maybe some TV, I really know what I’m doing so of course I’d like to do that. There’s a big difference in saying, “Oh I can do this!” and sound like a bragger. That’s just not me. It’s not up to me, it’s up to the people who do the hiring and firing. I just try to be a good guy in front of the camera and in life so hopefully that will do me well. I’m just glad I’m on CSI, I love it just as much now as the first day I started.

CSI Files: Speaking of Marg leaving, what were your final days on set together like? The previews show Nick and Sara (Jorja Fox) tearing up.

Eads: That was very emotional. Marg has been a huge influence on me as an actor and as a man, too. Again it’s the same song, different verse about what a great person she is. I went to her trailer personally one on one with nobody around and we had a heartfelt, really heartfelt feelings of gratitude and that we’ll both miss one another. So what you see on camera is not acting at all. It was acting for me to try not to blubber up. [Laughs.] I did all I could to not fall on the floor like a kid in a grocery store and just have a temper tantrum, I didn’t want her to leave. She’s a beautiful person.

CSI Files: So would you say it was art imitating life?

Eads: I think for maybe a few characters it was. I think when I saw her goodbye speech–well, maybe I think it was something she said to us as a group after the cameras were off–and she said something about how Laurence [Fishburne, Ray Langston] did and how we’ve seen people born and we’ve seen people die, and we were all looking at each other because we’ve all been through it personally as a company; man it was a cool moment. It was really cool.

But I think when you see that monologue and see the emotions she has, that you know when somebody is putting on and she’s definitely authentic in that moment.

CSI Files: Well I called Costco and they’re delivering a large quanity of Kleenex to me.

Eads: Well, I did cry.

CSI Files: Let’s talk a bit about the next couple of episodes. How does Nick factor into Catherine’s departure?

Eads: I think they kind of have him take the reigns and be in command for a while with Catherine and Russell [Ted Danson] in the predicament they’re in. He’s kind of the catalyst to make sure stuff gets rolling. So we see him a bit in that leadership role, which I really personally enjoy because I feel like I’ve earned it. I’ve been here a long time… I was promoted to a CSI Level Three in the “Pilot”; Grissom said I was his best student. I think in other labs he could be the supervisor, you know what I mean?

And then there’s a couple of storylines in the following episodes when she leaves where I get to be in the episode a lot and sort of driving these scenes and I dig that. There’s a lot where I’m working with Elisabeth Harnois [Morgan Brody]. I pull a guy out of a burning car tonight, save his life… I’m running over to the car peeling things off and trying to save his life. That’s the kind of stuff I really enjoy. The guy I’m saving is Jesse McCartney, so there’s a spoiler. He’s in peril when I save him.

CSI Files: I’ve noticed you work with a lot of musicians on the show.

Eads: [Laughs.] Yeah, it just so happens. I always go “Wow.” And for me, with no disrespect, I like getting to go, “Wow, I got to work with that kid.” When I watch them perform, I get to go “Wow, they’re really talented, special, and one of a kind kid.” Again, with no disrespect to stunt casting, there’s a big community here in LA that need jobs. I kind of like getting to watch people you’ve never seen before on TV shows. We’re only as good as our guest stars.

CSI Files: To clear something up, viewers aren’t quite sure whether Nick was demoted along with Catherine. Are you aware of his senority status or are you in the dark as well?

Eads: That I don’t know. Those are specific details that I think the fan community sort of talk about and discuss. There hasn’t been a discussion and it hasn’t been brought up. I don’t think there’s any level of difference between anybody other than Ted as the boss.

I really felt like I maybe had a chance to be put in Billy’s shoes and cast around that. But that’s just something that never has been the formula for the show and I kinda needed to accept that a patriarchal type character is what drives the show. That’s a discussion for the people that created the show, not me.

CSI Files: There was a bit of tension at the beginning of the season between Nick and Catherine due to the Nate Haskell (Bill Irwin) fallout and Nick going rogue somewhat with Langston. Looking back, what do you think Nick should have done differently?

Eads: Well again, real quick, those scenes aren’t written to be hot. Marg and I chose to make it a bit of a tit for tat argument with some level of volume. It turned into something fun for us because we never get to fight on the show. I love to have more arguments on the show, even more shouting matches. Nick and Sara got into it in the hoarder episode and we had a really good time. But looking back, Nick could only do what was written for him to do. I really wanted to be involved in saving Langston’s life. I told them, “Hey, I want to be involved with this. I maybe even want to save his ass.” It ended up coming out differently. But the only thing that I would have done differently is write a cooler scene and make him more involved. [Laughs.]

CSI Files: Now you’re working with Elisabeth Shue (Julie Finlay) on Episode Fourteen. You two share scenes in the episode, correct?

Eads: No, we don’t have any scenes together in this episode. I don’t think. But I did meet her yesterday and she’s great.

CSI Files: And what’s it like working with Elisabeth Harnois and Ted?

Eads: Because of the situation with my father and me being so light [on the show] this year, I think I’ve been light with her. I think you’ve seen Eric [Szmanda, Greg Sanders] be really heavy this year to help me out and help himself out, he’s a great actor. My time’s been limited with Ted just because of my personal situation, which is over, but you continue to evolve your relationships on camera with every scene that you do. I think every time… I don’t want to say it gets better, but it gets more authentic every time I get together with the two of them. One thing I can take from Quentin Tarantino is make it real. It’s a collaborative thing on our set; they allow us to add and take away dialogue. Yesterday I had a discussion in my trailer with the producers about a small point of contingency that I had in a scene with Jesse. We ended up clearing it up and it was great.

CSI Files: With there being several cast additions this year, does it feel like CSI: 2.0 to you or does it still feel like the CSI you’ve been with for more than a decade?

Eads: A little bit of both. I’ve always felt a certain way about the show from the start… I’ve always felt like it was mine. And it’s not; it’s theirs too. We all had an equal stake in it almost like being partners in a company. I know I still certainly feel the same way about CSI like I did from Day One. But does it seem weird to look across at Ted instead of Billy or Elisabeth instead of Gary? Of course. Do I miss those guys? Of course. Do I think it’s better or worse? That’s relative. That’s relative for the audience to decide. I still feel passionate about it.

CSI Files: And for being on a show for more than a decade Nick can’t get some proper loving! We hear there’s a potential love interest coming up, are you excited for Nick to start getting more personal?

Eads: You know we keep teasing that and every time it’s absolutely nothing. I think it’s fun to flirt on camera and to have a little chemistry with somebody but even with this episode right now, the nurse that’s involved with saving this victim we kind of bat eyes at each other and we say, “If you’re ever free for dinner…” but then it never goes anywhere. I can tell you and I can probably tell the producers right now through you, if he’s going to fall for anybody it’s going to be Elisabeth Shue. It’s going to be a character like Marg Helgenberger or Elisabeth Shue. I already told Elisabeth, “I admire your work” and she goes, “Thank you. That’s great, we’ll play that.” I told her I’m already in love with you and she turns around, laughs, and says “Great!” [Laughs.] I think they keep putting people in front of me but the whole time the girl is right there. I think Nick’s going to fall for somebody he has respect for and works with. I don’t know; it’s not a soap, it’s not a show about people making out. I applaud those shows that do it well, but I don’t know if this is the one. But do I want Nick to have a partner? Absolutely. [Laughs.] Line them up, please. I’m ready to interview! [Laughs.] I don’t know how my wife would feel about it… [Laughs.]

Carol [Mendelsohn, Executive Producer] picked Naz [Boniadi] I guess through the audition process. It’s so light and it’s a blink-and-you’ll-miss-it, but it’s a reminder that Nick is available and he needs loving. I don’t mind putting that out there, again, I lean towards it being Elisabeth Shue. We had an immediate connection yesterday. I think she’s awesome.

CSI Files: Over the summer there was a comment saying Billy Petersen contacted you and shared he would be making a return. What changed?

Eads: Billy, in his personal life, was having twins. He was having twins and I think there were some complications, so he needed to be there with his wife and his family. That’s my understanding. He had a lot going on.

CSI Files: Do you still keep in touch with him?

Eads: It’s a phone call away. We’re pals. I think Jorja may talk to him more. He’s open to any phone calls from us. He will always be the king and the patriarch in my mind. I think he’s an amazing actor and an amazing guy.

CSI Files: For years you’ve gone on the record saying you’d like to direct an episode, but it seems the timing and scheduling hasn’t quite worked out. Have you ruled out directing an episode or is the idea still on the table?

Eads: Well, no. The pathway to do that though is, as much as I know about the process, I would really need to take steps to on my offtime here stay on set and shadow a director for at least two or three episodes. I would also need to spend hours in the editing bay watching them edit; that’s long days and long nights and when you’re acting at the same time, I don’t know if I want to spread myself that thin. I feel like if I went lighter on the show and had a couple episodes off I would be able to shadow. I’ve gotten encouragement from all the directors and producers here that I should do it and even the actors, which really shocked me. I’d hate to do it and let everyone down. I care about everybody too much to screw them over. I feel like there’s a part of me to direct.

CSI Files: You’re not on Twitter, correct?

Eads: No, but I thought about getting on there.

CSI Files: Let’s do it, c’mon!

Eads: Well, is it just me or does it seem like once you open that door providing access, you’re asking for some trouble? Is it weird to think like that? Council me on that.

CSI Files: I think a lot of people have gone through that mindset, but they’ve also seen how great of a tool it can be.

Eads: Yeah! I think it can be too if it’s used properly. [Laughs.] You better use it right or you’re gonna hurt yourself.

CSI Files: I know Jorja isn’t on there, but Liz Vassey (Wendy Simms) and several others from the cast are.

Eads: And Elisabeth Harnois, right? I’m sure Eric Szmanda is too. I’m going to think about it, I really might. It’s simple to do, right? But you know what I’m afraid, Shane? I’m a sensitive guy. [Laughs.] I’m afraid man that some of the harsh critics will spin me off and put me in a funky mood that I didn’t ask for. You know what? I’m thinking about it, man. When I go out to a meeting or something and someone has never met me before, if they IMDB’d me or went online, there’s just weird stuff posted about me: what possessions I have, my sexuality, and all this weird stuff. I’d like to just be able to clear up the smut. There’s stuff like me owning two Cadillacs and I live in Santa Monica–all this weird stuff that’s not true. I’m going to think about doing Twitter, I’m serious. I just think you can’t drink two bottles of Sake and get on there. [Laughs.]

CSI Files: But there are some celebrities who do that!

Eads: [Laughs.] I like my Sake, Shane.

CSI Files: 2012 will definitely be a new era for CSI. You have Jesse McCartney working with you on the current episode and the long talked about “love interest.” What else is coming up for Nick and the show in general?

Eads: I’d love to give an elaborate, cool answer on that. I just don’t know. I don’t know how the producers see me and what’s in store with me. I’d like to continue a bit and have an action level, like I said. I chased a guy from a convenience store one time, I had a shootout, I pulled a guy from a burning car; I like that kind of stuff. I would love to see over the course of the next four years, maybe in the final episode of CSI–which is hopefully ten years from now–Ted looking down and say, “I’m leaving, you’re the supervisor.”That’d be the end of the CSI series, I finally make the supervisor in the final scene of the last sixteen years. [Laughs.] I want Nick to be there and be able to tell people what to do, I think he’s earned the right to lead.

We’ve scratched the service on what potential my character has and what his abilities are. He’s a good leader, he’s fearless, he’s compassionate, and he’s old school when it comes to this whole fighting for justice. He’s a dedicated employee, I like playing him.

Shane Saunders is a freelance writer and reviewer. His work can be seen on EDGE Network and ShaneSSaunders.com. Twitter: @ShaneSSaunders.

In 2009, Anthony E. Zuiker launched a brand new media platform. The Digi-novel concept was featured throughout the entire Level 26 franchise, Zuiker’s first project after leaving CSI. Now, just a little more than two years since Level 26: Dark Origins was released, the book series comes to an end, and with it, a final installment of cyber-bridges, a video feature that takes you beyond the pages of the book. Level 26: Dark Revelations contains eight cyber-bridges, each directed by Joshua Caldwell. Born in Bellevue, Washington, Caldwell joined Zuiker’s Dare to Pass Company in 2009, and has since taken the position as Director of Digital Media. In this interview with CSI Files’ Shane Saunders, the Dark Revelation director gives background to what his duties at the company involve, talks what it’s like working with the creator of CSI and being behind the camera for the epic conclusion of Level 26.

CSI Files: First off, let’s get a little background on you. You’re the Director of Digital Media at Dare to Pass, what exactly does your job entail?

Director Joshua Caldwell sets up a shot on the "CSI: NY" lab set to film "Dark Revelations." (Photo: Alex Minkin)

Joshua Caldwell: Basically, it works like this: Anthony is obviously the top creative force in the company and right with him is Matthew Weinberg, who oversees all the development and production. Orlin Dobreff is our Vice President, who produced the cyber-bridges for all three books. Then, there’s myself as the Director of Digital Media and David Boorstein, Director of Development. Like David is for our television business, I’m a conduit for all our partners on the digital side for anything coming into Dare to Pass, or anything that might be going out. In the case of the third Digi-novel, that ended up being my project to run, with Anthony and Matt overseeing.

CSI Files: How did the job at Dare to Pass comeabout?

Caldwell: It’s a bit of a long story. Basically what happened was Matthew Weinberg co-ran a company called Guy Walks Into A Bar right before he joined up with Anthony and David Boorstein was his assistant. While they were still at Guy Walks, I had a script that got submitted to David–I didn’t know David at the time–and he read it and went to the producer at Guy Walks and said, “We gotta produce this.” Which they signed on to do. David and I grabbed drinks and stayed in touch. At the time, I was working freelance, odd jobs, and was at a point where I came to the decision that, regardless of what I was doing, I wanted to work in this industry, even if it wasn’t directing; there was just no giving up. And I realized that the only way to get there was to possibly take an internship and try to get my foot in the door. I contacted David to see if he knew of any opportunities–he and Matt were with Anthony at this point–and he gave me a call and said I should meet with Anthony and Matt. So I came in, met with the guys and started to intern. It was right around when the first Digi-novel was being released and the editor who cut Level 26: Dark Origins was no longer there. They needed some deliverables made and I said, “Hey, I know how to use Final Cut.” [Laughs.] So I started doing that and eventually my ‘in’ was as an editor. January of 2010 Matt pulled me into his office and they said they wanted to hire me full-time, and at the end of 2010, I was promoted to Director of Digital Media.

CSI Files: Were you familiar with Anthony’s work on CSI?

Caldwell: Of course I knew of the show but I’m not generally a big TV watcher, which my dad always gives me a hard time about.

CSI Files: You were the editor on Level 26: Dark Prophecy, which was directed by Anthony, and on Level 26: Dark Revelations, you got to serve as the director. How did you get the opportunity to direct the third series?

Caldwell: That’s probably more a question for Anthony, but I feel like it was a combination of the work I did on Dark Prophecy, as his editor working to fulfill his vision, and him seeing [and signing onto as an Executive Producer] my short film Dig. Obviously as we moved into late summer, Anthony had turned his attention back to TV, and it was really up to me, once we locked picture, to coordinate and shepherd the bridges through post and bring him the music, color correction, and sound mixes that he would both like and approve of. Following that, I co-wrote, produced and directed Dig in an effort to show Anthony and Matt what I was capable of as a director.

CSI Files: How daunting of a task was it to be directing the final chapter of the trilogy?

Caldwell: It never really felt daunting. I had a very clear vision of what they would be, having helped to developed the novel component with Matt, Anthony and Duane Swierczynski [the co-author of the series]. One of the things that I learned very early on, when I was directing in high school, was that no matter what I did visually as a director, no matter how good the talent was, no matter what was brought to it in that respect, if the script wasn’t great then the film itself wouldn’t be great. So lately, even with Dig, for me it’s all in the writing. Me and my writing partner Travis Oberlander, who co-wrote the screenplay for the bridges, spent a lot of time crafting it. Once we had the script in a great place, I felt very comfortable stepping on set and seeing this thing through. Anthony had done an amazing job setting up the world in the previous two books and cyber-bridges, that it made it easy to both fulfill that existing vision and bring my own thing to it.

CSI Files: You were very fortunate, you were able to get the actor who plays Steve Dark back. What kind of casting process was it like for the others? What was your involvement, and who did you have in mind for Labyrinth and the other characters?

Daniel Buran as Steve Dark in "Dark Revelations." (Photo: Alex Minkin)

Caldwell: There were a number of roles I filled immediately with actor friend of mine who I had worked with previously. Our casting director, Jennifer Cooper, did a fantastic job of setting up this marathon casting session where we filled out all the others. Every person in this is amazing. We got really lucky that she was able to find some really awesome people that would work for not a lot of money but deliver a performance at a really high level. Part of that is my job saying, “Yeah, you know, listen, if you’re in this, it’s not a paycheck, but it’s gonna be something special for you”, and then living up to that. Everybody came in and killed it.

Labyrinth was a tough one. He’s from Britain, so we had to find somebody who was British because you don’t want to bother with faking that accent. This limited our choice of who we could get, especially for the amount of money we had available. And then beyond that, with an already small pool of potential people, we had to find somebody that could live up to who this villain was within the book. He needed to be worldly, a soldier, an assassin; someone who is very, very intelligent, charming, could pass through the party of wealthy aristocrats in Europe, who came off as a thinker and a bit of a renaissance man and you had to believe that he is capable of killing someone. We had to find all these different qualities within one person and he also had to be British and live in LA.

We met with some talented actors, and they would have worked, but they just wouldn’t have had that one extra little thing that would have pushed this character over the edge. As a last minute thing, Jen sent me one more “Hey, check this guy out.” His name was Hal Ozsan and I looked at his reel, and I said, “We should definitely meet with him.” He comes in and he goes, “Alright, so of the two of you who wrote this, who’s the Libertarian?” [Laughs.] He immediately got the politics of it. He immediately got the message of it, and he was just a guy that really came off like he could operate within all these different worlds. Honestly, considering what we were up against in terms of finding somebody, it was a blessing to have him come in the room, want to do it, like it—and then, as a guy who’s a seasoned pro (who could have sleepwalked through this thing if he wanted to) came in and delivered an amazing and a very nuanced performance.

CSI Files: Who are your influences for when you direct something like this? Were you inspired by what Anthony did before, or was there another director you’re kind of taking bits from to add to it?

The "Dark Revelations" slate. (Photo: Alex Minkin)

Caldwell: You know, it’s interesting because I’ve reached a point where I feel like I’m less about trying to find how other directors do it and more about how can I do it. So I wouldn’t say that there are any directors that I referenced. Having directed a number of shorts and music videos over the years I’ve developed an aesthetic, a way of shooting, that works for me and delivers a specific result that, I feel, is unique to me and my vision. I think audiences are very smart, and they pick up on things consciously or subconsciously, and I like to use visuals in such a way that I’m tapping into that response. Beyond that, it’s an aesthetic that tends to work well with small budgets and short shooting schedules, because I shoot a lot of handheld and move very quickly. However, that’s a benefit of my way of shooting and directing, not a reason for it. Director of Photography Paul Niccolls, who shot this along with nine of my other projects, is a big additive to that as well. We know how to work together in a way that delivers that result I’m looking for, he’s looking for, keeps us on schedule but also, and this is probably most important, looks really good and interesting and different. I’ve reached a point where I’ve broken free from paying homage to or building off the aesthetics of other directors. Now it’s really about how I see it.

As I mentioned before, Anthony, in the previous two books, had done such an amazing job setting up this world and these characters that it was really easy to slip in there, bring something a little new, a little different, that fits well within the existing canon. He made it easy for me.

CSI Files: What was the major thing you learned about yourself while directing this project? Did you learn anything new about yourself, anything that you would add to future projects of yours, or anything in general?

Caldwell: Well, for one, I learned that I kind of agree with Labyrinth. [Laughs]. And that apparently, according to Hal, I’m a Libertarian. I think these bridges really feed into a collective sentiment that’s floating around out there, the idea that our world is corrupt, that we are not living up to our potential and that the majority of the people aren’t getting a fair shake. The timeliness of it was something that makes the book and the bridges really unique. Politics aside, I was really fascinated by a character who could commit some fairly heinous acts in the name of the world becoming a better place and make me say, “You know…I think I’m on his side.” That was the challenge in general, even for the audience, since Labyrinth, as far as the bridges are concerned, is our protagonist.

I’ve gained a lot more confidence as a director lately, having now directed Dig and the cyber-bridges this past year. I know that this is what I really want to be doing, and I think it’s what I’m here to do, to tell stories through film. To be given an opportunity like this with a generous budget, to work under the creator of CSI, to have him recognize the talent and/or ability in you to do this and give you the freedom to really make something special—and then to really like the result, it’s just very…Anthony ran the three biggest TV shows in the world, and for him to put his stamp of approval on something I’ve done means a lot to me. I think it shows that I’m capable of directing and doing it at a very high level, while at the same time doing it for a very limited budget and yet pulling off something that is still… This thing is fifty minutes long! We shot a TV show in five days! Despite that, watching it last night [at the cast and crew screening], people said it just feels big and epic. The funny part is that most of the scenes are dialogue heavy and they’re all interior. It’s great that my team and I were able to create this feeling of bigness despite limited means. And it’s rewarding to have Anthony tell me that he really likes them.

CSI Files: What’s the latest word with the movie? You guys were talking about how there’s a potential movie in the works on set, is there anything new with that?

Caldwell: No, we haven’t even had a chance to discuss it. There’s certainly the possibility, I know we’ve talked about it. It’s come up every now and then, but in reality it’s just not something on our slate right now. Something we definitely want to do, but we haven’t really had any actual, serious talks about it.

CSI Files: What’s your next project that you’ll be working on?

Director Joshua Caldwell takes over the "CSI: NY" autopsy room to film "Dark Revelations." (Photo: Alex Minkin)

Caldwell: Anthony/Dare to Pass, along with Tony Valenzuela and Collective Digital Studio are teaming up on a YouTube channel called BlackBoxTV that will be debuting next April as part of YouTube’s premium content initiative. We’ll be producing roughly 40-50 short films as part of an anthology series over the next eight months and I’ll be coordinating development of that on behalf of Dare to Pass. Hopefully, there will be the chance to write and direct a few but the primary focus for me in 2012 is fulfilling my duties at Dare to Pass and getting our digital arm up and running. We’ve got some very exciting things coming up this year.

Follow Joshua Caldwell on Twitter: @Joshua_Caldwell

Shane Saunders is a freelance writer and reviewer. His work can be seen on EDGE Network and ShaneSSaunders.com. Twitter: @ShaneSSaunders.

It’s good to be Elizabeth Devine. Not only is the former criminalist back on CSI: Crime Scene Investigation as a consulting producer (Devine left the series after season four to work on spinoff CSI: Miami), but “Genetic Disorder,” her first script produced this season, brought in big ratings–the highest since this season’s premiere. Just a few hours after preliminary ratings surfaced, the Jill of all trades (fair to say for someone who can write and solve crimes in real life!) talks with CSI Files’ Shane Saunders about some behind-the-scenes changes required for her episode, saying goodbye to a best friend, and teases what’s to come after CSI‘s winter hiatus. Spoilers after the jump!

CSI Files: This was your first teleplay since you returned this season. What’s different about being at CSIsince your last episode?

Marg Helgenberger (left) and Elizabeth Devine (right) on the set of "Genetic Disorder." (photo: Elizabeth Devine)

Elizabeth Devine: Well, we have a really collaborative writing staff here–not that we didn’t before–and everybody is just more seasoned. Trying to find new methods is really hard now because our fans are just so smart they know everything, so I was fortunate to be able to find the familial DNA in CODIS was something we hadn’t done before. That was kind of fun. At first when we were writing, everything was new to us and everything was cool. Now, you really have to work to get our fans interested because they know everything, so that was fun.

CSI Files: Last year David Rambo and Carol Mendelsohn had a pilot in development that dealt with geneology. Was “Genetic Disorder” an idea from Carol since the pilot was never produced?

Devine: She has a complete fascination with geneology and yes, her research in the pilot that she wrote had something to do with that, absolutely. I wouldn’t say that’s why she wanted to do geneology but she knows it’s a great arena that people are really interested in. We thought it would be fun to do an episode around it. She has a lot of research that I got to look through. She just loves this episode; she was just so excited about it. Geneology is very close to her heart.

CSI Files: How many drafts did your script go through due to the cast changes in this episode?

Devine: That was, I guess, the hardest part. I was told initially that Jorja [Fox, Sara Sidle] would not be in the episode, that Ted [Danson, DB Russell] and Marg [Helgenberger, Catherine Willows] would be light; so I thought ‘well, okay, that’s fine.’ We have such a great cast we can always focus on someone else. But at the very last minute George Eads [Nick Stokes] had a family emergency, so the night before we started shooting we did have to rewrite the whole show. That was kind of stressful. [Laughs.] And because there was personal geneology information from a character’s standpoint, I had to do a lot of research at the last minute to get the Norwegian backstory as opposed to what I had for Nick. There wasn’t just dialogue changes for the characters, it was some major geneology stuff that I had to find at the very last minute, but that’s kind of the fun part. I was sad to not have George, but things happens and we’re a family here and supported whatever had to be done on his end. We knew Eric Szmanda [Greg Sanders] would step up to the plate, which he did fabulously.

CSI Files: So your first draft had Nick working with all of the geneology information?

Devine: Yes.

CSI Files: It was a big episode for Doc Robbins last night, and Robert David Hall just knocked it out of the park. When creating the character of Judy Robbins, what did you guys have in mind? We’ve never seen her before, but she’s been mentioned during the past eleven seasons.

Devine: What I really wanted to demonstrate is that despite his disability, not only does he have a wife that loves him, but they have a very long-term marriage, which long-term anything has its ups-and-downs, but there was a general faith that they had in each other that was rocked a little bit in this episode. What I wanted to do is what you would not expect when you have someone finding their wife in a compromising situation where it really looks like she’s having an affair. I wanted him to be different than what we would expect which is the yelling and the ‘I’m gonna divorce you,’ all of that stuff that you usually see on shows. I really wanted Doc to be smarter than that and be hurt, but because he’s a forensics person he really did try to put his head before his heart and figure out what the evidence was before he got his heart into it too much.

CSI Files: Which is the polar opposite of how Brass (Paul Guilfoyle) was acting.

Devine: Right. I just felt that Paul Guilfoyle as Brass was perfect because he is a guy that got blindsided by his wife and was really hurt by her; he’s still getting over it. When he sees that tableau in Doc Robbins’ master bedroom, he had made up his mind. The last scene when they make up is actually the first scene we shot in the episode and Paul just got it; he knew where he had to end up in the episode. It’s fun when the actors really get the episode and understand what you’re trying to accomplish.

CSI Files: Will we be seeing Wendy Crewson (Judy Robbins) again?

Devine: We are leaving that open. She was such a joy; absolutely wonderful to work with. She and Doc Robbins and the real Judy Robbins, Robert David Hall’s wife really bonded. We’re really hoping we can bring her back. I think we’ve left that door open.

CSI Files: This is your first season back and of course it’s Marg Helgenberger’s last. The two of you are very close, so how has it been knowing one of your good friends is leaving just as you’re back on the show?

Devine: I know. Especially in my last episode she had other committments, and I didn’t get to have her very much. I’m going to miss Marg; no one can replace Marg. I know our fans are a little frustrated with her leaving; I can see from her own standpoint, she’s been Catherine Willows for twelve years and I can see that’s a lot to do for one role for that long. We beg her on a daily basis just to change her mind, and I think I can safely say that when our fans see her exit the door is open for her to come back. She’s fabulous. When I read articles saying she’s being replaced, that does bother me because you can’t replace these characters. What we try to do is bring in other characters that bring a different point of view and are interesting. I understand that without Grissom [William Petersen] and Catherine it is hard for some of our fans because they’re so wonderful. It’s heartbreaking for me and I can tell you her last scene… we were all in tears crying. It was just a mess. The whole stage was in tears. She’s fabulous and everyone loves her and she’s such a great person–great actress, but a really great person. We are really going to miss her here.

CSI Files: And the show has done a good job of bringing in new blood, such as Ted and Elisabeth Harnois (Morgan Brody) and coming up there will be Elisabeth Shue. What can you share about her character?

Devine: She’s going to be a reconstruction expert and I’m really excited about that because that’s what I did. [Laughs.] It’s easy for me to totally relate to that and write that. She will be very physical. She’ll be getting down into crime scenes because doing reconstruction means throwing a lot of blood around and figuring out who is standing where. Really bringing a different point of view to the characters. She will know DB from when they worked together in Seattle, so they have a bit of a connection; she was his number two there. It’ll be interesting to see DB when Catherine leaves… he was getting settled in. When Catherine leaves CSI, he realizes there’s something that he needs, so he goes to the person that can fulfill that need in the standpoint of work, which will be Elisabeth Shue, who I believe will be playing the character of Julie Finlay. It’s really going to be an interesting dynamic. They do finish each other’s sentences and they do have sort of a yin-and-yang as they say, but she’s not there to replace Catherine. She’s a completely different character and I just hope fans can–insteading of just closing things up and saying ‘I’m done’–give her a chance, because I think they’re really going to like these characters. We love our existing characters but we also think that adding a little new blood gives you a fresh take sometimes. It adds a little life being twelve years into it. We’re all very excited here and I think the fans that stick with us will be pleased.

Ted Danson’s just been wonderful and he’s such a nice man. I personally feel fortunate that he’s so dedicated to the show already and he’s only been here a few months. We’re very excited here.

CSI Files: Changing gears, you had a pilot at A&E that you were working on. Anything to come of that?

Devine: They decided they weren’t going to go that route. Pilot writing is very difficult and I enjoy it, but at the same time I’m surprised any shows get made. [Laughs.] It’s so difficult! I’m still working on some new stuff, but right now I’m just really happy to be here at CSI.

CSI Files: Do you have another episode that you’ll be working on this season?

Devine: I’m not sure. I may have involvement in some of the last episodes. We’re so far ahead–knock on wood–and we’re already breaking Episode Nineteen. We’re in such great shape that it’s just a testament to how hard everyone works. There’s only three episodes to break after this, so if they tap me on the shoulder I’m more than happy to jump in.

CSI Files: Do you anticipate that you’ll be back for Season Thirteen?

Devine: I hope to be. I would like to be, absolutely.

CSI Files: What can viewers expect after the winter hiatus?

Devine: Well of course we have the farewell to Catherine, which is a great trilogy. We’re going to rerun “Zippered” to kick off her exit. Then we have some really funky fun episodes. We have the important introduction of Elisabeth Shue’s character, which is also very fun. I think fans are going to like her right away. Some moving houses and caterpillars and all kinds of crazy stuff, so it’ll be fun.

Shane Saunders is a freelance writer and reviewer. His work can be seen on EDGE Network and ShaneSSaunders.com. Twitter: @ShaneSSaunders.

Crossing Jordan and Heroes alum Joe Pokaski joined CSI: Crime Scene Investigation this season as a supervising producer; and since his addition to the series, Pokaski’s hit the ground running with two iconic CSI episodes. His debut episode “Tell-Tale Hearts” was based on a story by technical consultant Larry Mitchell, and encapsulated a blend of humor and stark drama in a case that left the CSI team with more suspects than answers. This week, his second CSI creation, “Zippered,” aired, acting as part one of a three-part exit storyline for the show’s leading lady. In the following interview, Pokaski speaks with CSI Files’ Shane Saunders about setting the stage for a character exit, collaborating with close friends, upcoming episodes, and more. (Contains spoilers!)

CSI Files: “Zippered” introduced some new characters, and if I remember correctly, Agent McQuaid (Grant Show) was supposed to have a steamy fling with Catherine (Marg Helgenberger). Was that ever filmed?

Joe Pokaski: Not for Episode Nine. That’s all I can say.

CSI Files: You’re setting the stage for Marg’s exit. When you have a three-part storyline such as what is happening here, how do you breakdown what happens in each episode?

Pokaski: I think this is how it happened, and I apologize if I’m not getting everything correct. Carol [Mendelsohn, Executive Producer] and Don [McGill] had a conversation with Marg I think before we even broke Episode One. [They] had dinner and discussed how she wanted to go out and they had a lot of ideas that became Episode Eleven and Twelve. I believe the intial intention was to be one episode but it was so great and so epic, which you’ll see soon enough, that it turned into two episodes. To that point we wanted to tell a story where we could introduce some of the players, the end story that is awake now and introducing all these people. So we kind of knew [Episode] Nine needed to be a story where we could introduce these guys and focus on Marg and set her up emotionally for the idea where she might go somewhere else. That was kind of as far as we got and then we broke through this story that suggets it turns into some stuff that we’ll use in [Episodes] Eleven and Twelve. If that makes any sense…

CSI Files: When you guys ‘broke’ this season, how did the writers decide what kind of note Catherine would go out on? Was that part of the dinner conversation?

Pokaski: Yeah, I think that was part of it. I think burnout is interesting but it’s an easy place to go, and the fact that we did kind of go that direction with Sara [Jorja Fox] inparticular… you know, these people are kind of heroes. They’re kind of forsaking their families to solve murders and bring justice to other families. For me, I kind of focused on her as a superhero. She was just the best at her job and potentially, without spoiling too much, there might be another place where she can be the best at her job in another context.

CSI Files: “Zippered” reminded me a lot of the Season One finale “The Strip Strangler.”

Pokaski: Uh-huh.

CSI Files: Did you look at that one for inspiration to your episode?

Pokaski: You know what, I watched that probably a year or two after it was on a few times. My very first spec script was a CSI and I remember “Strip Strangler” being one of my favorites. It was a great episode and had Dwight [Rainn Wilson] from The Office as a bad guy!

CSI Files: At the beginning of the season it was said Nick (George Eads) would play a pivotal role in Catherine’s exit. Is that being shifted a bit–is DB Russell (Ted Danson) stepping up in that role?

Pokaski: I think everyone plays a pretty big role. The scene we shot [Wednesday]… the episodes kind of focus on how Catherine is touched by everyone. So Nick plays a pivotal role, as does Russell. We didn’t know who the actor was when we started breaking the story. I think it’s fair to say pretty much everyone does, especially Nick and Sara who’ve been around.

CSI Files: I believe you were a fan of the show prior to writing this season. How has your experience been so far on CSI?

Pokaski: These are honestly the nicest people I’ve ever met. I’ve always been a huge fan and again, my first television spec script when I moved out here was a CSI. I watched seasons one, two, and three like five times each. I was very fortunate that my friends originally from Crossing Jordan started showing up on CSI: Michael [FX] Daley, Chris Barbour, Melissa [Byer] and Treena [Hancock]. It was a no-brainer when I was leaving Heroes the only thing I didn’t want to do was about magics and capes and things like that; I kind of wanted to diversify my portfolio. Then someone told me a position at CSI was available and I was like, ‘Oh, I want to work there!’ I saw Carol Mendelsohn speak at one point; honestly just the nicest person, you’ve met her before. She’s completely nice and so talented.

CSI Files: Roger Bart is playing a part in the episode you’re shooting right now. What else can you share about the episode?

Pokaski: It was written by Ed Whitmore, who’s just a fantastic guy. He freelanced last year–

CSI Files: “Unleashed”?

Pokaski: Yeah. You’re ridiculous, Shane. He’s just a classy guy and British. The fact he’s British makes him even classier. It’s this really cool suspense serial-killer story; I think it’s the one serial-killer story we’re going to tell all year. It involves hair as the title suggests. The fun part is it’s directed by Brad Tanenbaum, who just knocks episodes out of the park. It’s going to be a lot of fun and has a lot of good actors. There’s a decent amount of fear that we don’t get to see all the time on CSI…

CSI Files: You mention actors, is there anyone you can say who is in the episode?

Pokaski: One of my favorite actresses, I don’t know if you watch Homeland at all, Brianna Brown, but she played the call girl for the prince.

CSI Files: Then she was killed.

Pokaski: Yes. I watched her onscreen and literally her first scene I was like, ‘Wow, she is beautiful and she can actually act.’ So there’s a woman named Paula who bonds with Russell… and this is the craziest part of life, because I’m a huge fan of telelvision like you are, is I can sit in a casting session and say, ‘You know who we should try to get is Brianna Brown.’ She comes in and reads, nails it, and all of a sudden she’s in the show. So I just want to go on the record and say she’s going to be a big star soon. I’m very happy we could get her.

CSI Files: What’s your next episode that you’ll be working on?

Pokaski: Right now I’m working on an episode that’s either going to be Eighteen or Nineteen. I’m gonna try to grab Carol before Friday and pitch her a few ideas before she goes back to Scent of the Missing.

Shane Saunders is a freelance writer and reviewer. His work can be seen on EDGE Network and ShaneSSaunders.com. Twitter: @ShaneSSaunders.