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.

Source: WGNTV.com

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.

Hollywood is a business where sometimes you have to start small to go big, and Jeff Hunt can prove it. Tomorrow night’s CSI: Crime Scene Investigation is Hunt’s fourteenth episode as a director, but his legacy on CSI extends way past his initial credit on “Bite Me.” Serving as a camera operator since “Cool Change,” Hunt continued to follow his dream and was finally given the opportunity to direct shortly before season five ended. Since then his career has exploded with high-profile directing positions on shows such as Nikita, Fringe, Burn Notice, and Chuck. Speaking with CSI Files’ Shane Saunders this past weekend at his home, Hunt looks back at his years on CSI and previews this week’s episode “CSI Down.”

Director Jeff Hunt. (Photo: CSI Files)

CSI Files: Characters from the show have found themselves in grave danger before. As a director, what did you do with “CSI Down” to differentiate it from prior storylines?

Jeff Hunt: Obviously, yes, we have had lots of episodes where—Tarantino’s being the most famous of the CSIs in peril; Nick’s buried underground and we’re all racing to him—and definitely that episode and the way Tarantino handled that inspired me. Tom [Mularz, Writer] and I actually sat down and looked at some footage from that episode and kind of looked at things Tarantino had done to inspire us. I’ve done fourteen CSI episodes and [“CSI Down”] was the first one where I really had this timeline. They know they have to save Morgan [Brody, Elisabeth Harnois] and they have to figure out where that helicopter is going and keeping our people really active. Not the normal we can process DNA, we can sit and think about it; we didn’t have time for that. We had to move on any evidence we had as fast as we could. For me that was new for my CSIs; we’ve had that pace in other shows that I’ve directed, but for CSI that was different for me. You can see in this episode the camera is going to be doing different things, I’m moving from one scene to another in different ways. It’s a very elegantly shot show because you can sit and analyze evidence and as a character the camera can match that. This [episode] is about movement and about being able to save this person; we are in jeopardy here.

CSI Files: So in this episode they’re working more on gut instinct as opposed to concrete evidence?

Hunt: Yes. You’ll see our characters get us a small piece of something and hey, that sends me here. Instead of where we need to analyze or sit around and think about this, they’re moving quickly from what they know as CSIs.

CSI Files: How do you take an episode that’s a departure from CSI and make it feel like an episode of CSI?

Hunt: No matter what episode of CSI you’re looking at it is an evidence, clue-driven story. Like all CSIs, it’s not that different, it’s driven by the evidence. Just because someone’s life is in jeopardy and there’s a clock ticking on that life and a helicopter doesn’t have that much fuel in it, we still have to do what CSIs do: we still have to look at the evidence. We might not have time to process the DNA but we’ve got to take what we learned from all other experiences and use that gut instinct.

CSI Files: How do you create tension in situations like this when Morgan clearly survives her ordeal?

Hunt: What makes you think that? [Laughs.] I think what happens to the characters in that helicopter will surprise you. I think the way you feel about the character of Frank who has taken over this helicopter will surprise you. Who he is, the journey he’s on, what are his motivations; he’s not your typical bad guy. I’m hoping as a viewer you’ll be rooting for Frank in the end.

The surprises are going to come as who Morgan is. We don’t know much about her yet and we don’t know how she handles situations yet, necessarily. The jeopardy is very high for her. We get to learn about how she handles pressure and we’re going to find a lot about what brought her to Vegas; what is going on with her and her father? We’re going to learn about those characters in this episode.

CSI Files: You’ve been with the show since the beginning. How was it working with new cast members Elisabeth Harnois and Ted Danson?

Hunt: It’s interesting… Ted being the new star of the show and I’m directing episode five, so he’s done four episodes and now a part of the show.  I show up and he goes, “Oh the new guy!” and I go “No, you’re the new guy! I’ve been here for twelve years!” [Laughs.] Ted… he’s fantastic. He is a kind man, he is a committed man, and he brings a life to the set that I haven’t seen in a really long time. He brings energy to shooting that hasn’t been there in a while. I think Ted is the rebirth of CSI. Not that it needed a rebirth, it’s always been a fantastic show and always been my greatest pleasure to direct, but he is something special. This is an actor that I’ve followed since my childhood and to be able to direct him was a real pleasure.

CSI Files: You directed Laurence Fishburne’s (Ray Langston) last episode without even knowing it. Does it kind of feel a bit eerie?

Hunt: No, I really enjoyed working with Laurence Fishburne. His approach and process on set was definitely different than Billy’s [Petersen, Gil Grissom] or Ted’s, there’s no doubt. As a director I find it an honor and a pleasure to direct him. I will always look at the episodes I did with him, especially his last episode, which performance wise I think was pretty awesome. It’s a dark horror movie; we made a dark horror movie with that episode. That’s what my goal was; that episode will always stand out as one of my great achievements as a filmmaker.

I remember shooting the last scene of the episode where he’s at the interrogation and we did the take a few times and Laurence is just looking the investigator down. I came in and went, “Hey Laurence, can you give me one where you just crack your mouth?” He said, “Well what am I saying?” and I go “It’s not what you’re saying, it’s that a thought would be forming and that will leave our audience with that great question.” The honest truth is I had asked Carol [Mendelsohn, Executive Producer] what is to come and no one knew.

CSI Files: The promo for “CSI Down” shows Greg (Eric Szmanda) erupting in anger, something that viewers have not really seen from him in a while. Was that in the script or a direction on your behalf?

Hunt: Some scripted and the level of it was a character choice between Eric and me. We discussed it when I was prepping and Greg has an investment in why Morgan is in that helicopter. There’s something going between those two a little bit and I’ll be interested to see people’s reaction [to it].

Eric plays a really strong character; Greg is a strong guy. He’s usually kind of on the sidelines going through the evidence and a very methodical thinker. We don’t necessarily see that raw passion out of him all the time and I think that is something fans will really like out of this episode. Greg is heavily invested in the situation that is going on.

CSI Files: You started out as A-Cam/Steadicam Operator on the show. How did your first directing gig come about?

Hunt: I started episode one of shooting, the pilot had been made the year before and the show was offered to me by Roy Wagner who was coming on as Director of Photography. There were some other shows that came up but working on CSI seemed like the right thing to do. I had worked on many other projects as a camera operator but Danny Cannon I found very inspiring. This young guy came in who had a really clear vision of what an episode was and it inspired me. I wanted to be a part of that. Episode twelve or thirteen Danny was made a producer so he would be full time on the show and I just loved operating for him; that kind of just kept me around. Danny took me under his wing somewhat and was like, “What do you want to do?” We were going through cinematographers and he was wondering if I wanted to be a DP on the show. I said, “What I really want to do is direct.” I made a short film, which Danny recommended, and it was well liked. For a couple years there was talk but when you’re the number one show and Bruckheimer is behind it, you don’t really let the camera operator direct an episode. They really had to push with CBS and Bruckheimer to give me an opportunity. It came down in the end with Carol, Danny Cannon, Louis Milito [Executive Producer], and Billy saying this has got to happen. At the end of season five they let me know. There are no words to describe the gratitude I have for those four people. They handed me my dream.

CSI Files: CSI has been an opportunity for you to branch out to other shows as well. Do you like getting the chance to change projects up every week, or would you prefer a more stable director-producing gig?

Hunt: Good question, one that my agent and I talk often about. It’s a tough life right now because LA is dead as a film town. You can see where I live. This is where family lives, where you’re sitting. I live in those two suitcases out there, and that’s hard. My first and primary focus is my family, my wife and my four children, but I gotta work. That is my passion, and it puts me in an airplane, out of the country or in other states. So yeah, if a director-producer job was offered to me here in LA, I would jump at it because I’d like to stay at home. I would like that job because you become so intermixed with every episode, and you know…I direct Fringe, which is a show I absolutely love, but I don’t have the time to watch every episode, and it’s a very serialized [show]. The five that haven’t aired by the time I go to direct one, in prep I don’t have the time to sit down and read the last five scripts, so it’s tough to know the storyline. But if you’re the director-producer on that show, you totally understand the mythology. You totally understand the storyline, so you don’t have to do all the question asking that I have to do when I show up at Fringe. Like, “Oh, what’s going [on?] This episode was the last one I watched, and I need to know [what's going on] now.”

There is a certain excitement that cannot be reproduced that comes from showing up somewhere new every month, and that’s sort of how this year is looking for me. I’ve got a bunch of repeat episodes. I did a couple of Hawaii Five-Os, three or four CSIs, a couple Nikitas, some new shows, Person of Interest, Vampire Diaries, which I haven’t directed before; some more Fringes. There’s an excitement that every month it’s going to be a different show. I’m doing sci-fi type stuff this week, and I’m doing serious drama over here, and I’ve got vampires there, and I’ve got a magical computer that tells you who’s going to be murdered this week, and every show has a different style, and something you can bring to it. It’s very exciting as an artist to be mixing it up.

CSI Files: Has the opportunity come up at CSI?

Hunt: No, it hasn’t, and financially it will never come there because to retain me to stay on full time would just be a lot of money. I would not have grown as a filmmaker, you wouldn’t have “CSI Down”, you wouldn’t have “In a Dark, Dark House”, those episodes would not be what they are if I hadn’t gone everywhere else. The greatest blessing of my career is that when I hit, there were so many things going on with [Jerry] Bruckheimer that I was able to branch out immediately and build a career. Without that, as an artist, I would not be where I am. You could not replace what I have learned on the other shows, and right now, that’s kind of where I want to continue.

CSI Files: So far, your resume is strictly episodic drama. Have you ever considered doing comedy?

Hunt: You get typecasted. Let’s face it, I’m an action drama director, and that’s the shows I’m being hired to do. If you could call Tina Fey, I’d really like to direct 30 Rock, or I’d really like to direct The Office because those are the two shows that I escape to. When I got home from Canada I had an Office marathon, and I watched the four episodes I hadn’t seen yet. Those are shows I love. I love to laugh, but I think my strengths are in blowing crap up.

I directed an episode of Chuck a while back, which had comedy on it. It’s fun to sit on set and be cracking up at the monitor. I did an episode of CSI that was my comedy episode, which was “Drops’ Out”, and we had moments there where you’re just like, “Hold it in until I say cut. Don’t blow it.” You’re just cracking up because Method Man would be doing something just hysterical. That’s fun. When I go to the movies, I’m usually going to see an action drama. I wanna tell Black Hawk Down. I want to tell Man on Fire. That’s what I’m going to be drawn to, and it’s nice that I’ve landed there. In the end, rather than standing around having everyone laughing, I want to have Nikita blowing something up and kicking some butt. I want to race to find someone, to save someone. In the end, that’s really where my passions are.

CSI Files: You have quite the ongoing bromance with the cast of Nikita.

Hunt: [Laughs.] My wife tweeted and kind of called it that, and started it.

CSI Files: Do you ever use responses that you get on Twitter and kind of change your project in ways that maybe the fans would want to see?

Hunt: No, but I will say, I’m not an internet guy. I don’t have Facebook. I never wanted to catch up to people in high school that I don’t already stay in contact with, but Dustin [Lee Abraham] got me to do Twitter, and immediately I got feedback. It was amazing to me to see fans who knew my episodes. They knew which ones I had directed, and they had comments. They weren’t always positive [Laughs], but I love that. I tweet for the feedback. It’s inspiring. I think any artist wants to feel that what they’re doing is influencing others or bringing joy to others.

I’m not trying to save the world, that’s not what I do for a living. I try to entertain people. I try to give people a great 44 minutes. I’ve always felt a director’s first responsibility was to entertain. You can’t tell any story, you can’t give any point, you can’t make any impression about anything in the world if I can’t hold your attention. I want to entertain people, and people feed back to me that, “Oh my gosh, I love that episode.” Hawaii Five-0 has a big Twitter follow group, and I got so much positive comments back and questions, and I’ll answer some of them. It brings me real joy.

But the bromance, to get back to that [Laughs], if that doesn’t sound weird. I like to go to the gym a lot, that’s kind of my escape from the world and from my job. Devon Sawa, who I worked with on Nikita on my first episode, became a really good friend of mine. He’s really into MMA fighting, which I’m into too, so we started taking classes together on MMA fighting. My wife kind of makes fun of the whole thing. Then Shane West last summer came to the gym almost every day with me when I was in town, so we tweeted a lot about that, and my wife also made fun of that. That’s kind of how that whole thing [got started] on Twitter.

CSI Files: Is the content you tweet out up to your discretion, or do you have to get clearance from networks [or] studios?

Hunt: I just tweet at random and wait for the fallout. [Laughs.] I’m smart enough to know I don’t want to tweet [certain things]. I was directing the episode of CSI: New York where [Peter] Fonda dies at the end, and I wasn’t going to tweet a picture of that. I don’t want anything in my stories that I direct to get out. You talk about the promos for “CSI Down”, and they make my blood boil. I directed the episode of CSI: New York where the house blows up, “Green Piece”, which is one of my favorite episodes I’ve directed, certainly in the top group there, and I remember the writer Zach [Reiter] and I blew the house up, and we were like, “Yeah, that’s gonna be in the promo. Everyone’s gonna know that’s coming.” You don’t want anything getting away, so I don’t want to tweet anything that gives too much away.

We tweeted pictures of the helicopter down because those who are following me on Twitter who are real fans of CSI can read the title of the episode, “CSI Down”, and they’re gonna put two and two together. But I certainly don’t want you to know what happens to anybody in that helicopter.

CSI Files: Do you have any favorite directors besides Tony Scott that influenced you into your television projects?

Hunt: Yeah. You talk about me being trained to be a director, and I worked for Danny Cannon, Ken Fink and Richard Lewis primarily. If there’s any three directors I did the most episodes for, it would be those three guys. I worked with Ken on other shows besides. I learned so much from those guys. All three [have] very different directing styles, but they all inspired me when I was the operator and made me want to be a director. There were other directors who’d come through and frustrate you, and you think, “You’ve gotta be kidding me,” but those guys are artists. They are solid, and they know exactly what they’re doing. Lewis was always very inspiring. I just thought, “I wanna be like Danny. I want to come in the set like Danny and just know what the project is exactly, come in with this clear vision.” There’s no film school, there’s no anything, there’s no price that could ever be put on the training I was given in the years I worked under those guys.

Working with [Quentin] Tarantino [was] the nineteen best days of my career. It was a magical thing. The first minute he was on set, me and him just hit it off really good. Michael Slovis, who was the DP on that episode, he wrote me a thank you note at the end of the season for my hard work, and he was a great guy. He said, “It was really awesome to watch how you and Tarantino worked together.” Tarantino offered me to work with him afterwards, after CSI, which was tough to say no on some of his projects that went on after that because my directing career had already started, and it was time to focus on that and to say goodbye to the camera. But the value of what I learned on that camera, under such great directors, was priceless. Such an amazing time.

CSI Files: What’s your favorite thing about directing CSI?

Hunt: You couldn’t ask for a better cast than the CSI cast to work with. There’s not a complainer, there’s not a spoiler in the whole group. I’ve gotten to watch them all grow as actors. They are just fantastic. And they’re so serious. George Eads comes in so prepared…He just knows the scene and what his character is doing there. As a director, what more could you ask for, to have an actor who’s so prepared and so passionate? Let’s face it, Eads has been doing this role for twelve years, he’s making a ton of cash, he’s a great looking guy naturally. He could phone this in, but he doesn’t. I have never directed an episode [or] had a scene where I thought George wasn’t prepared. You can’t say that everywhere. It is a fantastic cast.

CSI Files: What has been your favorite episode to direct?

Hunt: [Laughs.] It’s either that question, or it’s, “What’s your favorite show to direct?” There is no answer. I’ve learned from every one of them. There’s certain ones that I think I hit it better than others…Television director, you show up, and you’re handed a script, and you’re gonna direct that script. You didn’t choose it, you didn’t have input in it on the board of what it would be the months before. That’s the script. You’re going to direct it. Now, you get to have input, and in places like CSI, Carol Mendelsohn wants to know what you feel about the story, and you can suggest all the changes you want, but let’s face it, you’ve got seven days. You’ve got to prep that sucker, cast it, find all the locations, figure out how you’re going to shoot it, pick the props, pick the wardrobe, and shoot the thing in seven days. That’s a lot, so you’re gonna shoot that script. Some scripts speak to you, and some scripts you direct.

I’ve never directed anything where I didn’t give 100% or feel my whole career hung in the balance of the outcome of this episode anywhere. I’m passionate about every one, but some scripts just speak to you, and the story is just so clear in your mind and what you will do with it. “Bite Me”, so lucky, my fist one, that script just spoke to me. I look back at that and I think, “Gosh, am I doing that now? Am I making choices, am I doing artistic things like I did?” There’s this beautiful moment in “Bite Me”, it’s one of my favorite moments. Billy says “Stairway to Heaven”, and the light comes up, and it blows out. I was reading that script…that shot, that effect came to me, it was just in my mind as I was reading the words. He said that, and I just visually saw it. It doesn’t always happen. I’m very fortunate it happened on that first one.

I went to direct [Terminator: The] Sarah Connor Chronicles, and they had a big feature director lined up for this huge episode they were doing, and he fell out at the last minute, and they were kind of desperate. Prep started Monday, and it was Friday at 5:00. They needed a director, and luckily my name was floating around and I got in. I read that script, which scared the living crap out of me. It was the biggest action thing I’d ever done—visual effects, going in the future, terminator stuff—but the script spoke to me. You read a script and you see in your mind the camera, you see the performance, you see when the actors look to each other. It’s really magical when that happens, and it’s not always.

CSI Files: You’re going back to CSI for a couple more episodes this season. Do you have an idea when those might be?

Hunt: I think I’m doing twelve and twenty-one. [Edit: Hunt will be directing episode sixteen and twenty-one.]

CSI Files: Twelve is Marg Helgenberger’s (Catherine Willows) last episode.

Hunt: That’ll be sad. That’ll be rough on me. I remember my last episode I directed with Billy, “Young Man With a Horn”, we were shooting in the bar scene. It was the last scene of the episode, and I was leaving the next day to go direct another series, and I knew it would be the last time I’d see Billy in production. It was rough on me. Here’s the guy who handed me my dream. I learned so much from [him]. He’d been so generous and kind to the crew, caring about the crew, and I had to say goodbye to him. The rest of the crew did it all together…but I had to do it by myself, just me and him. He said, “Ah Jeff, I just don’t want to do this.” We hugged. He was in tears, and I was in tears. What an amazing man, what a good human being. He is unreplaceable.

I think Ted Danson brings a little bit of that magic back. I just think it’s gonna be a fun show with Ted. I know [on] “CSI Down”, I had a fantastic time with Ted. It was just great, and it made me feel like I was back with Billy. The energy on set and the excitement about the story, the excitement about what we were doing, it felt like episode two of the series…I’m excited for the show, and it deserves it. It’s got some of the hardest working people I’ve ever known in Hollywood. Carol Mendelsohn—I owe her my entire career, when it comes down to it. She’s always been so supportive of me, so kind, and the words she’s said about me in other places that have helped my career is so important to me. She’s such a good person, and is an amazing showrunner to collaborate with. I just enjoy preproduction with her, sitting in her office, going through the script with her, talking about what I want to do, or could we do this, or having her feelings about what it should be. It’s priceless.

Follow Jeff Hunt on Twitter: @Huntvision

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

This season’s twelfth episode will see the departure of Marg Helgenberger, one of the few remaining original cast members. Originally planning on leaving during season eleven, Helgenberger delayed her exit to provide a proper closure for her character. And she’s getting one.

While filming is about to wrap on episode eight, the show’s writers are hard at work completing scripts for episodes eleven and twelve, which will act as a two-part exit for the character of Catherine Willows. Starting in episode nine, the series will introduce four new characters who will play an important role in her exit arc. The characters include one of Catherine’s old friends, the friend’s husband, and two FBI agents. One of the FBI agents winds up in a steamy encounter with the recently demoted CSI, but does that mean the relationship is over for Catherine and Vartann (Alex Carter)? A source close to the show tells CSI Files there’s been no concrete evidence to prove the two were in an exclusive relationship, and when things left off in “The List,” the status of the relationship was undefined. “Perhaps infuriatingly undefined,” the source says, but “Catherine will not be cheating on Vartann.” In the case of Catherine, the show is trying to display that her life is “in flux and she’s searching for something, but she’s not even sure what that might be.” By the time her departure happens, most of those answers will be explained.

Though he hasn’t appeared in any of the episodes to air so far, Vartann will be making a return to the series. Fans can look forward to his return in episode eight, “and he will be in eleven,” the source confirms. Speculation online currently points to a grim ending for Catherine, but that is fortunately not the case. “The door will be open for her to return,” a source teases. “There may be something in the finale, but for now [episode] twelve is definitely her final episode.” And while Catherine may be exiting, Vartann will “continue to be in future episodes.” As for those closest to Catherine, fans will likely see the return of several key family members in this season’s twelfth episode. Could that mean a visit from Catherine’s daughter, Lindsey (Kay Panabaker) and mother, Lily (Anita Gillette)? The source plays the vague card, only saying “her family will be a part of her final episode.” At this time, unfortunately, plans have not been made to bring back William Petersen as Gil Grissom. “Scheduling wise, it doesn’t look like it will happen,” but nothing is set in stone.

Several past characters will also make a return visit within the next few episodes. Detective Vega (Geoffrey Rivas), who was last seen in “Hog Heaven,” will appear during this season’s eighth episode. Archie (Archie Kao) has been missing so far this season, but the show is finding a way to bring him back into the fold. The show hopes to get some other previous detectives and techs to stop by; meanwhile, there are no current plans to have Sofia Curtis (Louise Lombard) return, but “things can always change.”

There are no immediate plans to bring someone in to replace Helgenberger as the new leading lady, but the source suspects the show will go that route at some point. “There may be a time where there won’t be someone filling in, but it has not been decided.” The source adds, “there will probably be a transitional phase–it might be a couple of episodes, it might just be one episode.”

In terms of helping usher Catherine off the show, Nick Stokes (George Eads) will play a pivotal role. “Without giving away spoilers about what the storyline is, Stokes will hopefully play an integral role in helping Catherine solve her final case.” Someone may be going rogue, but it’s up to DB Russell (Ted Danson) to “keep the team on task,” a source shares.

“Marg has been a part of the DNA of the show,” and the source says they’re being very sensitive in regards to doing justice for the character.

CSI Files’ own Shane Saunders posed alongside CSI director Frank Waldeck. Waldeck also shared a picture of a monitor featuring a close-up of Ted Danson’s (DB Russell) face. CBS shared an image from DB’s office. Vernon Cheek posted a picture of Elisabeth Harnois (Morgan Brody) holding a CBS EyeLab clipboard. There’s another picture of Harnois, courtesy of CBS, which shows the actress Tweeting to her fans. Click to see each image full-sized!

Next, CSI: New York’s leading man Gary Sinise (Mac Taylor) offered fans a blast from the past by posting several Steppenwolf pictures from the 1980s—the first picture includes former CSI leading man William Petersen (Gil Grissom), who can be seen wearing a leather jacket on the left. Click to enlarge:

Jorja Fox is excited about the new season of CSI: Crime Scene Investigation, premiering tonight on its new night and time. The Sara Sidle actress has nothing but high energy and enthusiasm just hours before the season premiere, and could not be more thrilled about the show’s twelfth season. CSI Files’ Shane Saunders caught up with Fox to talk about her presence on the show this season, working with new cast members, a fellow co-star’s pending departure, and much more in this exclusive interview.

CSI Files: First I just want to start with clarifying something. You’re back this season but working a reduced amount of episodes like last year, correct?

Jorja Fox: Yes.

CSI Files: And how many episodes do you think you will be in this season?

Fox: We’re talking somewhere between fifteen and seventeen. I did fifteen last year and I did fifteen the year before that. I’m really probably the laziest person in Hollywood so it’s a really good schedule for me; it allows me to get some rest [and] I have a couple of very little projects that I’ve been doting on since I took a sabbatical that I don’t want to drop the ball on. So they’ve been very generous in allowing me the time do that kind of stuff.

CSI Files: I’ve seen the first two episodes of the season and they’re really fantastic. What do you think of the scripts so far?

Fox: I think the scripts are spectacular; really spectacular stuff so far. Grosser than ever. You know every time I think that they can’t out-gross themselves anymore, they do. Melissa [Byer, Co-Executive Producer] and Treena [Hancock, Co-Executive Producer], watch out for those two. They have two of the darkest minds that I’ve ever met. [Laughs.] They’re really unassuming, sweet… like you would never in a million years think these two ladies were writing for CSI and writing some of our darkest stuff.

CSI Files: One of my favorite moments of the season so far is Sara teasing Morgan (Elisabeth Harnois) about her driving in episode two. The smirk you two exchange is worth a million bucks!

Fox: Aww, thank you. Well her character is really great and I think we’re gonna see a lot of cool one-liners coming out of Morgan. She’s rough in a really humorous way and sexy at the same time. The more I get to know her I’m like, “you’re a lot like your character!” [Laughs.]

CSI Files: Well Morgan also has a vibe going on that reminds me of a younger Sara.

Fox: That would be a compliment! Thank you.

CSI Files: They have a lot in common.

Fox: They do have a lot in common. It’s really fun to infuse some younger energy into the show. The tricky thing with Morgan is she’s really good at what she does. The easiest storyline for her is to go and have all the other characters teach Morgan what to do, and that would probably be the easiest thing to do. But Morgan is coming into CSI Vegas as a seasoned pro and it’s just really fun. The exchanges that you see in the next couple episodes, particularly with Eric Szmanda who plays Greg Sanders and Morgan, are priceless. Just off the page I was laughing out loud. One thing that I’ve learned from all these years is when I read an episode I might think it’s good, but it always ends up better once it’s shot. I’m looking forward to that.

CSI Files: What’s coming up for Sara as the season progresses?

Fox: Sara… she’s kind of like a rolling cart right now. I will say there are some exciting love trysts forming this season on the show. Sara’s completely clueless about those because she’s happily married and very much in love with her husband. I think one of the trickier parts for Sara is quietly making this long-distance relationship work. For me I’ve been so blessed; I’ve always had some sort of love interest on the show almost since the beginning. Now I’ve got this really amazing love interest who is far away, so that’s hard. I miss Billy [Petersen, Gil Grissom] and Sara misses Grissom. So she’s there primarily so far supporting the other storylines. Sara has a big arc in episode three where she goes head to head with some really nasty characters and that was a lot of fun for me to do.

CSI Files: One of the great things about CSI is how you guys always get great actors, and this year you’re getting to work with Ted Danson (DB Russell). How’s your experience so far working with him?

Fox: You know when he walks on a stage sometimes I swear I see feathers under his jacket. I’m convinced he’s an angel. And I’ll let you know more about that later in the season. He’s spectacular; he’s just a great guy. He’s really warm; he’s an actor’s actor. I think it’s normal for somebody like me to be nervous to work with Ted Danson and actually, the nerves that I thought were gonna happen never materialized. He really gets down in trenches and wants to rehearse lines and talk character. He really takes all that energy from where you can be nervous because you’re with him and pushes it onto the story. Next thing you know you’re working and not even thinking about the fact that you’re working with Ted Danson. I think that’s a very special unique talent for an actor to have; to make all the actors you’re working with comfortable. I’m really thrilled.

Honestly, I gotta say that I was absolutely heartbroken when Laurence [Fishburne, Dr Ray Langston] wasn’t coming back and it was a surprise to me. I loved working with Laurence and I miss him dearly, but the gift I guess was someone as cool as Ted Danson would show up. I’m really keeping my fingers crossed. I think fans will really enjoy this season.

CSI Files: You were very instrumental in bringing William back for an episode last season, and there’s a strong possibility he’s coming back to help Marg Helgenberger’s exit with Catherine [Willows]. Have you two discussed what might happen with your characters?

Fox: Not as of yet. It is something that we generally do to get together and talk about. I think everyone’s still really hoping that Marg is going to change her mind. [Laughs.] Everyone’s delaying getting prepared for that in the hopes she’ll postpone her departure.

CSI Files: Apparently Ted is attempting to talk Marg into staying. Do you think she might stick around a little longer?

Fox: I would be a fool to try and project what Marg Helgenberger might do on any given day; she’s a force of nature. If she does go I think it’s going to be a hundred people sobbing in plain view of each other on the stage when we say goodbye. I really can’t imagine doing the show without her, but at the same time because I walked in season eight because I was exhausted, maybe I sort of personally understand that it might be the time where she feels it’s time to take a break. I’m trying to support her, but I think once a day when I work with her I ask her to stay. Who knows what she’ll do. That’s part of the fun right now, too.

CSI Files: Every now and then there’s talk about meeting Sara’s mother. Is there someone you’d like to see play Laura Sidle?

Fox: Gosh, a whole bunch of people come to mind and probably a bunch of them are actually too young to be my mother. Susan Sarandon would be amazing. Mary Tyler Moore would be amazing. Let me think here… Kathy Bates would be amazing, but she’s pretty busy and has her own show now. That’s one other thing that’s so great is that there’s always something to look forward to. We’ve been talking about Sara’s mother since season four or five and so just knowing that this storyline is out there in the ethers may happen is something to look forward to. I would imagine the intensity of stuff between those two women would be pretty insane in an entertaining way.

CSI Files: You’ve said in the past how you’d like to write an episode of the show. Is that something you’re still chasing after?

Fox: Yeah, I’m still advocating for the musical actually. [Laughs.] That may be the episode that I do try to write because I think everyone in the writers’ room is definitely opposed to it, which I completely get. [Laughs.] So maybe I think I’ll write that episode and present it and then see if they think it’s awful. Which they probably will, but it’d be a great exercise for me.

CSI Files: It would make a great lab rats episode!

Fox: Yeah, indeed! Oh, I have ideas about this musical and I don’t know that I necessarily have great ideas, which is why I’m not a writer or necessarily a director, but a girl can dream.

CSI Files: Is there something in particular that fans should look forward to this season?

Fox: Well I think we’ll have at least one love affair which is always a lot of fun for us. The world that we live in in Las Vegas is so dark and so unforgiving sometimes and so difficult to sort of process, and I think that a love story could be a really cool thing to come out of that; it’ll be very well done. Then there’s the issue of Marg; I think that’s kind of the really big, big, big question mark. If she does decide to go we probably will develop that idea over several episodes. It will be deep that I know for sure.

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