It's all kind of just all of us coming together and all lending a hand on what we think will make it a good movie.

You'll have a large amount of people going into DNA.

The main producer [of CSI: Miami] Ann Donahue - I believe that is how she started - and then we have one other man on set but that's just his job although I haven't seen him this year. So maybe they figure we have it down somehow.

My character [in Ted Bundy] was unaware of all the murders that were being committed by him, so I kind of tried to keep myself out of it and kind of keep an innocent point of view from it. The hard scenes for me were the sex scenes just because there's like sexual deviance going on and there was stuff that he want her to do and that was really disturbing.

I think it was just part of the storyline [in CSI: Miami] and the producer called me beforehand and said, 'Listen, I am going to kind of do something with your character that looks like she might get fired, but I just want to reassure you that we're going to have you back,' and I thought, 'Oh god, I hope that is true.'

There are some wonderful parts in the movie [Loulou] where Loulou used to be a dancer and a cabaret. To see her kind of be able to interact with another human being so isolated for so long, it's just neat to see that being played out and how fun and explore that.

I think my favorite scenes [in Night Music] are the ones that kind of happen when the handsome Englishman shows up.. He doesn't quite figure out she is from the 1920s because he doesn't really figure out she is a ghost, because she has manifested into physical form.