CSI Files » Eads

Eads Answers Fan Questions

Rachel Trongo — Wed, 08 Feb 2012 09:51:50 +0000

CBS posted a new “You Ask, They Tell” video featuring CSI: Crime Scene Investigation’s George Eads (Nick Stokes), and you can find it embedded after the jump!

Interview: Brad Tanenbaum

Shane Saunders — Mon, 06 Feb 2012 18:33:29 +0000

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.

Check Out More First Look Pics From ‘Stealing Home’

Shane Saunders — Mon, 06 Feb 2012 19:37:09 +0000

CSI Files has additional first look photos from the February 22 episode of CSI: Crime Scene Investigation, titled “Stealing Home.” Click the jump to see the photos, courtesy of CBS!

Click the images to see them full-size. They are the exclusive property of CBS Broadcasting Inc. and may not be archived, leased, sold or distributed in any fashion without consent from CBS. They are released for one-time editorial use only.

"Stealing Home" -- David Hodges (Wallace Langham), Julie Finlay (Elisabeth Shue, center) and Nick Stokes (George Eads, left), all want answers as they piece things together on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network.Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.

"Stealing Home" -- David Hodges (Wallace Langham), Julie Finlay, Elisabeth Shue, center) and Nick Stokes (George Eads, left), all want answers as they piece things together on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network.Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.

"Stealing Home" -- David Hodges (Wallace Langham),and Nick Stokes (George Eads, left), all want answers as they piece things together on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network.Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.

"Stealing Home" -- Sara Sidle (Jorja Fox, right) and Nick Stokes (George Eads) on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.

"Stealing Home" -- Nick Stokes (George Eads) on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.

"Stealing Home" -- Sara Sidle (Jorja Fox) on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.

"Stealing Home" -- Julie Finlay (Elisabeth Shue) on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.

"Stealing Home" -- Julie Finlay, (Elisabeth Shue), D.B. Russell (Ted Danson), Nick Stokes (George Eads) and Sara Sidle (Jorja Fox) all want answers as they piece things together on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.

"Stealing Home" -- D.B. Russell (Ted Danson) on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.

"Stealing Home" -- Julie Finlay (Elisabeth Shue) and D.B. Russell (Ted Danson) on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.

"Stealing Home" -- D.B. Russell (Ted Danson) and Julie Finlay (Elisabeth Shue) on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.

Check Out More First Look Pics From ‘Seeing Red’

Shane Saunders — Mon, 06 Feb 2012 18:01:48 +0000

CSI Files has additional first look photos from the February 15 episode of CSI: Crime Scene Investigation, titled “Seeing Red.” Click the jump to see the photos, courtesy of CBS!

"Seeing Red"-- Nick Stokes (George Eads) on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 15 (10:00-11:00 PM ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting Inc. All Rights Reserved.

"Seeing Red"-- Nick Stokes (George Eads) and Wes Clyborn (guest star, Jesse McCartney) on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 15 (10:00-11:00 PM ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2012 CBS Broadcasting Inc. All Rights Reserved.

Hunt & Waldeck Share More ‘CSI’ Set Pics

Rachel Trongo — Sat, 04 Feb 2012 07:59:20 +0000

Director Jeffrey Hunt and director/Line Producer Frank Waldeck shared even more photos from the set of CSI: Crime Scene Investigation. Former leading lady Marg Helgenberger (Catherine Willows) stopped by the set to say hello to the cast and crew, and you can find a picture of her with Hunt below. The other images include a shot of costars Jorja Fox (Sara Sidle) and George Eads (Nick Stokes). The thumbnails are embedded after the jump!

Click to see each image full-sized:

Hunt & Waldeck Share More Pics From The ‘CSI’ Set

Rachel Trongo — Thu, 02 Feb 2012 14:05:43 +0000

Director Jeffrey Hunt and director/Line Producer Frank Waldeck posted a bunch of pictures on Twitter featuring the cast and crew of CSI: Crime Scene Investigation. The cast photos include Eric Szmanda (Greg Sanders), Elisabeth Harnois (Morgan Brody), Wallace Langham (David Hodges), Jon Wellner (Henry Andrews), Elisabeth Shue (Julie Finlay), Jorja Fox (Sara Sidle), Ted Danson (DB Russell), David Berman (David Phillips), Paul Guilfoyle (Jim Brass) and George Eads (Nick Stokes). The thumbnails are embedded after the jump!

Click to see the full-sized images!

‘CSI’ First Look: ‘Tressed To Kill’

Shane Saunders — Wed, 25 Jan 2012 18:23:28 +0000

CSI Files has first look photos from the February 8 episode of CSI: Crime Scene Investigation, titled “Tressed to Kill.” Click the jump to see the photos, courtesy of CBS!

"Tressed to Kill"-- Morgan Brody (Elisabeth Harnois, left) and Greg Sanders (Eric Szmanda) both search for clues while trying to figure out who and what would motivate a killer of young women with an unusual calling card, on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 8 (10:00-11:00 PM ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2011 CBS Broadcasting Inc. All Rights Reserved.

"Tressed to Kill" -- Morgan Brody (Elisabeth Harnois) hopes what she just shined her flashlight on is a clue to the case, on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 8 (10:00-11:00 PM ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2011 CBS Broadcasting Inc. All Rights Reserved.

"Tressed to Kill"-- Nick Stokes (George Eads, right) wants some answers after breaking up an odd occurrence at a local whig shop, on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 8 (10:00-11:00 PM ET/PT) on the CBS Television Network. Roger Bart guest stars. Photo: Sonja Flemming/CBS ©2011 CBS Broadcasting Inc. All Rights Reserved.

"Tressed to Kill" -- Nick Stokes (George Eads) looks for clues as he searches through a whig shop, on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 8 (10:00-11:00 PM ET/PT) on the CBS Television Network. Photo: Sonja Flemming/CBS ©2011 CBS Broadcasting Inc. All Rights Reserved.

Interview: Alec Smight

Shane Saunders — Tue, 24 Jan 2012 09:53:01 +0000

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.

‘CSI’ First Look: ‘Stealing Home’

Shane Saunders — Tue, 24 Jan 2012 17:33:34 +0000

CSI Files has first look photos from an upcoming episode of CSI: Crime Scene Investigation, titled “Stealing Home.” Click the jump to see the photos, courtesy of CBS!

"Stealing Home" -- D.B. Russell (Ted Danson, left) and Julie Finlay (Elisabeth Shue) smile in disbelief after seeing a crime scene, on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Monty Brinton/CBS ©2012 CBS Broadcasting Inc. All Rights Reserved.

"Stealing Home" -- D.B. Russell (Ted Danson, left) and Julie Finlay (Elisabeth Shue) smile in disbelief after seeing a crime scene, on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network. Photo: Monty Brinton/CBS ©2012 CBS Broadcasting Inc. All Rights Reserved.

"Stealing Home"-- Nick Stokes (George Eads, left), Julie Finlay (Elisabeth Shue, center) and D.B. Russell (Ted Danson) all want some questions answered as they piece things together at a crime scene, on CSI: CRIME SCENE INVESTIGATION, Wednesday, Feb. 22 (10:00-11:00 PM, ET/PT) on the CBS Television Network.Photo: Monty Brinton/CBS 2012 CBS Broadcasting Inc. All Rights Reserved.

Check Out More Pics From ‘CSI’ & ‘CSINY’

Rachel Trongo — Fri, 20 Jan 2012 12:28:23 +0000

You can find nearly 30 image thumbnails embedded after the jump, featuring the cast and crew of CSI: New York and CSI: Crime Scene Investigation.

New York’s Gary Sinise (Mac Taylor) shared a few images from the set, including himself and costars Sela Ward (Jo Danville) and Eddie Cahill (Don Flack). Click to see each image full-sized:

CBS shared two pictures from the set of CSI, featuring Marg Helgenberger (Catherine Willows), Ted Danson (DB Russell) and newcomer Elisabeth Shue (Julie Finlay). Click to enlarge:

Director and Line Producer Frank Waldeck shared a bunch of CSI pictures, including shots of Helgenberger, George Eads (Nick Stokes), Jorja Fox (Sara Sidle), director/Producer Alec Smight, and guest stars Jesse McCartney and Sarah Dumont. Click to see full-sized images:

McCartney also posted a picture from his guest stint on CSI, and the image includes Eads and Waldeck—click for full size:

Jesse McCartney on WhoSay

Director Jeffrey Hunt is preparing to film episode sixteen of CSI, and he posted some pictures from the location scouting. The last image, featuring Hunt doing prep-work for the episode, is from Waldeck. Click to enlarge each thumbnail: