Warehouse 13 Returns For Its Third Season

By Jamie Ruby

Warehouse 13Syfy's most successful series, Warehouse 13, returns July 11 with all new episodes. The show follows government agents who hunt down and return artifacts with strange powers to a top-secret warehouse where they can be kept safe and not cause anymore harm.

The team is led by former Secret Service agents Pete Lattimer, played by Eddie McClintock, and Myka Bering, played by Joanne Kelly. However, last season Myka left the warehouse and her future is unknown. Joining the team this season will be Steve Jinks (Aaron Ashmore).

They are also joined by warehouse caretaker Artie Nielsen, played by Saul Rubinek, and apprentice and hacker Claudia Donovan, played by Allison Scagliotti.

McClintock, Rubinek, and Scagliotti recently set down with the press to talk about the upcoming season and what's in store for their characters.

Syfy Conference Call
Warehouse 13
Eddie McClintock, Saul Rubinek, and Allison Scagliotti

July 06, 2011
4:00 pm CT

EDDIE MCCLINTOCK: Hello.

ALLISON SCAGLIOTTI: Hey.

SAUL RUBINEK: Hello, hello.

SAUL RUBINEK: It's complicated.

ALLISON SCAGLIOTTI: Uh-huh.

EDDIE MCCLINTOCK: I'm scared. Thank you.

Why don't we ask them some questions?

QUESTION: Without giving away any spoilers to the upcoming season, can you describe the direction each of your characters seem be heading this season?

SAUL RUBINEK: Without giving up the spoilers, oh, okay. Well, I was planning to spoil everything, but if you don't want to, okay, all right.

QUESTION: If you can spoil it, that's fine.

SAUL RUBINEK: Oh, it is. That - they're willing to go there in a second.

...

ALLISON SCAGLIOTTI: I have spoiled oranges downstairs, if you want me to throw those in.

SAUL RUBINEK: So, Eddie, how deep do we get into Pete Lattimer's character this season?

ALLISON SCAGLIOTTI: Knuckle deep?

SAUL RUBINEK: We should ask each other questions, honestly you'll get great answers.

Eddie McClintockEDDIE MCCLINTOCK: We kind of get an insight to the people that really influenced him when he was a kid, kind of who made him who he is. We find out more about his dad. We find out more about his mother. And so we really actually - I can't remember the name of the episode, but my storyline is pretty much centered around Pete's past. So we're going to get to find out what made him the way he is.

ALLISON SCAGLIOTTI: And it's sad. Oh, not all sad. And also funny and a little frustrating.

EDDIE MCCLINTOCK: Lots of things.

SAUL RUBINEK: Go ahead, Allison.

ALLISON SCAGLIOTTI: No, me? You want to save the best for last do you, Saul?

SAUL RUBINEK: Yes.

ALLISON SCAGLIOTTI: Because you're the most eloquent of the bunch, sure.

SAUL RUBINEK: Because I can't think of anything.

ALLISON SCAGLIOTTI: Okay. Well, Claudia's arc is always sort of mirrored my personal arc. This season she finally got a peer in the Warehouse in the Steve Jinks character and they developed a really close, great friendship, an almost brother-sister dynamic. Claudia is contributing in the technical field as always, building tesla grenades and periscopes in the Warehouse and whatnot.

But more than anything, she just sort of is figuring out what it means to be a part of the team which I'm figuring out along the way, what does it mean to be part of this team that makes [this] television show every week?

EDDIE MCCLINTOCK: (Wacky) team.

ALLISON SCAGLIOTTI: That's right, that's right. So sort of wanting to be respected and, you know, just figuring out her purpose there and her function there and also dealing with her past. I think we touched on what was mentioned in Season 1 which is Claudia's time in a mental institution which is obviously emotional and a touchy subject. But it's been cool to explore as an actor and I've had a really wonderful time flushing that out this season.

All right, Saul, put all the shame now.

...

SAUL RUBINEK: The shame. Well, third season, there - they can take some chances in where they might not have wanted to right away, they wanted people to get to know the characters. So they can play a little bit. We can go off-character a little bit. We all get a chance to be kind of bizarre versions of ourselves in some way or another because of - certainly I do because of artifact-related incidents.

And the writers got a chance to have a little bit more fun. They know that they've got a core audience. They know that the show is successful, that their tone and their storylines have been on the right track, that for the most part, we're getting incredibly positive responses from people. We have a lot of fun. And I think that what's going on is, you know, we're not searching, "How can we make this show work?" We're not part of a group of people trying to figure out how to stay on the air.

We're trying to give the fans more of what they already like. This is the kind of show I would watch with my family. So it's really an entertaining show. It's really unpredictable and it continues to be that way for my character, certainly. I think that you get to find out how Artie fits into the Warehouse hierarchy with a little bit more depth. They continue to deal - as writers of the show, they've allowed the show to explore the mythology and the regions and even by putting, you know, life and death situations into the hierarchy of how the Warehouse operates.

They're allowing themselves to explore this world as it really existed and looking at the intricacies of it. That's really fun for fans. It's fun for us. We - honestly, we get scripts. We're very lucky that we read through them two days before we go into production. We have a read through around the table with some guest casts if they're available and we're listened into by network and studio.

And we sometimes haven't even had time to just - except briefly read it once. And they're like page-turners for us. We're all delighted. We're laughing. There are surprises all the time. We're hoping that that's actually what's going to happen to the fans. And it's happening to each of the characters.

Artie's love life is explored in a little bit more depth and ruefully and funnily. And we're all having a great time in season three, yes.

EDDIE MCCLINTOCK: Well done.

QUESTION: What is your favorite episode so far?

ALLISON SCAGLIOTTI: I've got a favorite.

SAUL RUBINEK: Was that one of the...

ALLISON SCAGLIOTTI: My favorite happens right in the middle of the season, it's episode six, called "Don't Hate the Player." And this episode has everything. It's probably our most absurd, to date, I think in the history of Warehouse. [It's a] sort of Tron-meets-Dungeons-and-Dragons episode with an amazing guest cast. Plus we all get to do crazy things and play sort of heightened versions of ourselves and also very different versions of ourselves. And that's the episode that heralds the return of Mr. (Neil Grayston) to Warehouse 13.

SAUL RUBINEK: That's right, yes. Go ahead, Eddie.

EDDIE MCCLINTOCK: I would say "Don't Hate the Player" is definitely one of my favorites of the season. It's things that just start being done on television. The fact that we got it by the network and they let us make the show, it speaks a lot towards the amount of confidence that they have in our writers and our show runner and Jack Kenny and us as actors to pull this off.

It was so much fun and like Allison said, there's really some absurd stuff but it's actually funny. It's not just silly and stupid. It's stuff that will make you laugh which obviously is always very important.

My other favorite would be, there's an episode called "Love Sick" where I had to play being drunk and for quite a bit of it and it's always - I've only had to maybe do that one other time. But it was really challenging for me to walk the line between someone playing drunk and someone who actually looks the part.

So because that was a big challenge for me as an actor, I'll be interested to see how it turned out. And I hear that it turned out okay. So I guess the payoff is that it's always nice when you're trying to convey something and you're able to actually do that. So those were my two favorites, I'd say.

SAUL RUBINEK: And that episode, "Love Sick," was one of my favorites too and the other one too that you mentioned, "Don't Hate the Player," I got to play a kind of Artie - you know, as if he were doing a Monty Python movie. And it was an offshoot of Artie. And in "Love Sick," Artie's bedroom is introduced and it's an extraordinary set; it gets used a couple of times during the season. Terrific times.

But this is an opportunity and I think Allison and Eddie will join in is to talk about the unsung hero. We've sung praises of Jack Kenny and our co-stars and how well we get along and we have wonderful guest stars. But the unsung hero of our series is really Franco De Cotiis, who is our production designer...

ALLISON SCAGLIOTTI: Absolutely.

SAUL RUBINEK: ...who is a magician, who has created a look for this show that I will - I really believe he should be nominated for an Emmy. I think cable is a little harder. There are less viewers and it's a little tougher to get nominations, but if anybody deserves to be recognized in a television industry at the moment, for my money, after 30 years of doing television, I'm looking at great designers and even in feature - in the feature world, there are very few people who can do what he can do on a budget that he's got.

The fans are getting a master craftsman who is doing masterpieces. He's doing - he's got an incredible team, he's got a great art director, he's got great set decorators, people who love the show, every prop, every - that he supervises, all the design, the costumes by Joanne Hansen, every aspect of the show on the design front is...not talked about by you guys in the press much, and understandably, you know, we're out there, these characters are interesting, there's great storylines and we got great artifacts and the fantasies and adventure part of it is really fun.

But take a look, I mean, a book, a coffee table book that's come out about Franco's work, Joanne's work, our costume designer, and if we look at the props that we've got all the different incredible props, some of them spend over $10,000 per prop, you know, when they make these things. They're beautifully made. We walk along our Warehouse shelves and there's little cards that you never see in close-up that are besides the little video descriptions of what's on the shelves.

And the cards are hilarious because they're in detail. They talk about the artifacts and what they can do and how to protect yourselves. They had a great time in depth creating the detailed look of the show. They are amazing so I wanted to take that opportunity to talk about that.

EDDIE MCCLINTOCK: And if I may at the moment, another...

((Crosstalk))

SAUL RUBINEK: Sorry.

EDDIE MCCLINTOCK: I was just going to say, if I may throw another name into that hat, little (Billy Rifkin) who despite his limp is one of the finest (unintelligible) in the business and he always greets us in the morning with a smile.

SAUL RUBINEK: Eddie. Eddie.

ALLISON SCAGLIOTTI: That was rude.

EDDIE MCCLINTOCK: So he's something else.

SAUL RUBINEK: He's just playing with you. Allison, you were saying something in (unintelligible), I'm sure.

ALLISON SCAGLIOTTI: Well, I don't know if it was intelligent but it was at least agreeing with you. Yes, I think what always strikes me about the work of the people that you were talking about was that there's so much joy that goes into the work that they do every week. Every time I have the pleasure of meeting with our wardrobe designer, all of her ideas come from the story and the character. And it looks great because it's motivated by what's happening with us.

SAUL RUBINEK: Yes, they really have fun doing the show. I wish this comes across. At least I hope you guys in the press are going to write about that. Terrific.

QUESTION: What keeps challenging all of you about your roles?

SAUL RUBINEK: Well the scripts are surprising. When you're doing the procedural - there are a number of them on television, some of them I like. I used to like the Law and Order episodes, their procedurals are - you're basically doing the same show every week. There are some slight variations. Some of them are a little bit more by rote than others and still gets huge numbers and great fans and people like what's predictable with variations.

We don't have that. We really don't know, other than the fact that an artifact is going to be retrieved. We don't know from one show to the next. We're challenged - listen, we were very lucky, Aaron Ashmore joined our cast this year and I think that Allison and Eddie will agree with me. In order to do our show, you have to be deft. You have to be able to cross quickly from doing melodrama to action, we call it schmacting, facting and acting. Schmacting in front of a green screen. Facting is exposition. Acting you've got to be able to do melodrama, thriller, comedy. You've got to do sentimental staff, tragedy. You got to jump usually, not just from one episode or one scene but sometimes from one line to the next. There's going to be a joke that you got to get away with some wit. And that's basically our show.

So the challenge is to be able to be (spry) enough and to wake us up to be able to see it when it's in front of you and to keep it alive and spontaneous and jump from style to style without it looking that way. That's our show, right? I mean, that's...

ALLISON SCAGLIOTTI: We really watched out with Aaron because not only can he handle it, he's great at it. He fills up the - at the three tenets of working in Warehouse 13 which are acting, schmacting and facting.

SAUL RUBINEK: Yes. And Eddie, you know, makes fun of himself as the buffoon of our group and disparages the fact...

EDDIE MCCLINTOCK: Thank you.

SAUL RUBINEK: ...of any serious stuff that he does. But - and I know I have to tell you, I've been doing this for a long, long time, Eddie can handle all of it. And he has more of it to do than any of us and it wouldn't be a great show, it would not be if he didn't have a versatility that he does. So I'm a big fan of the guy.

QUESTION: I can tell he's blushing through the phone.

SAUL RUBINEK: He's blushing, yes.

QUESTION: Why do you think people continue to tune in and watch Warehouse 13?

SAUL RUBINEK: Eddie gets undressed a lot.

ALLISON SCAGLIOTTI: You tell us.

SAUL RUBINEK: He's buffed up. He takes his shirt off. Okay, what do you want me to tell you?

QUESTION: And, Allison, there's a love interest for you this season?

ALLISON SCAGLIOTTI: Very briefly. Very briefly. The love interest that happens for Claudia I don't think is nearly as interesting as how Claudia learns to work with her new friend and partner, Steve Jinks.

SAUL RUBINEK: We didn't say, we don't have time for love interest.

ALLISON SCAGLIOTTI: It's true.

SAUL RUBINEK: These agents are the reason why Artie didn't have a family and these people are eventually going to discover that Artie isn't an anomaly. When you work in the Warehouse as what happens with Pete in the first season, right, it's very hard to hold on to a relationship, where do you have time for it?

ALLISON SCAGLIOTTI: True. Right. And as Claudia's responsibility is increased on the job, that's just less and less time she has for outside things. But if she does have time for outside things like open mic, which I do a couple of times this season, she's going to spend them on herself because that's what 20-year-olds need to do. I hope my family just read that.

SAUL RUBINEK: Allison has turned into this great performer. She's got a beautiful singing voice. You're going to get a real treat in Season 3 when she performs on open mic. I'm not going to give away what the song is and stuff but it's a really cool thing that the writers have allowed her to do only because she's really developed. She's really worked hard on her craft as a musician and as a performer and that's going to be - that's part of her character. It's really cool.

ALLISON SCAGLIOTTI: That's very sweet, Saul.

SAUL RUBINEK: Moving on.

QUESTION: How would you say the show has evolved over the three seasons? And from a personal perspective, how was the experience of filming the third season different from the previous two?

ALLISON SCAGLIOTTI: How the seasons are different? I think every episode is different because we learn more and more with every script and with every happy accident and every scary accident because I think Jack has said in the past and Saul, you said, as well, the only procedural aspect of our show is that we have to go find artifacts that threaten the world and the worlds they neutralize and then bring them back. But we've [got] sort of endless possibilities for what happens around that, what triggers it and what can happen as a result and what's happening to our characters emotionally.

So I really don't think that any two episodes are the same and as a result, it just gets to grow more and more.

Saul RubinekSAUL RUBINEK: The seasons are a combination of what happens as a family, how we grow, how our relationships grow, our need for each other, our worry about each other, our exploration of our dark sides and the sides of us - each other that the more we care about each other, the stakes get higher because we lose each other, it becomes more - it would be more unbearable than it would be if we were just people who are just agents.

And so there's that one level. The second level has to do with every season that has an overriding villain. In the first season it was MacPherson, the second season H.G. Wells and this season also has an aspect of that that I can't give away and the combination from the past as well.

And those are not stuck on. They have to do with the mythology and the past of the Warehouse and that's what's really cool is that they've deepened the show by - I was so thrilled in the second season that they were doing this and then the third season they've continued it. It's a wonderful that our season closer in the season had to do with the lost warehouse in Egypt and that they really went into it, really explored it design wise and story wise. And the mythology of the Warehouse and the past of the Warehouse is continuing to be explored.

So our third season is a continuation and a deepening and an even more entertaining season than we've ever done before, partly because [the] writers are more secure, partly because the budgets are really great given the fan base. They're spending money on the show and you guys are getting the benefit of that. Our fans are getting the benefit of that.

So I think that that's what's really happening. And for us, look, we're in the third season of a hit show. We feel blessed. We love going to work. We have a great time with each other. I think that comes across, at least I hope it does.

QUESTION: What is your favorite scene together this season?

EDDIE MCCLINTOCK: I don't think it's happened yet.

SAUL RUBINEK: I think our Christmas episode is going to have it. There's something special about these Christmas episodes where all four of us are together. Because what you're asking about, what happens is get split up between A and B stories and so we very rarely are the four of us together. The Christmas episode will have that for sure. And...

EDDIE MCCLINTOCK: And a lot of times when the four of us are together... a lot of times we have to do exposition. There's a lot of expository things when the four of us together and we're in the process of splitting up those scenes generally. So it would be nice to have scenes where we're actually sitting together and able to act and relax and without having to give a lot of information. And I think in the Christmas episode, we get to do that.

SAUL RUBINEK: We were going to do that. But, you know, the truth is that we really enjoy it because we've now been working together for so long that there's a short hand between us. We have fun together. There's some spontaneity. The way things come together before they're shot is easier than it ever was because we know each other and we know our characters better than we ever have.

So I'm hoping that there's actually more of the four of us together but in the nature of the storytelling, things just split us up.

QUESTION: Any movement on the Allison Scag 4 Cassie movement?

ALLISON SCAGLIOTTI: There's not. That movie is sort of in the - it's in development limbo. I think the people who acquired the property are just sort of deciding whether it makes sense to turn it to a feature, if they want to turn it to Web content. But that one's in the backburner for now.

QUESTION: Obviously with technology and whatnot today, it's hard to keep things secret. The idea that Myka would be leaving permanently, obviously we know Joanne is not leaving the series. So did you think of that storyline and how do you get the audience to buy into that?

SAUL RUBINEK: Well, first of all, I got to say, the audience isn't expected to buy into it. I mean, the audience is incredibly sophisticated. They would know if we had an actor who is asking for $1 million a episode or whatever and wasn't going to be asked back because word would leak out. And Artie was killed at the end of the first season.

We're not going to give away how it happens or what happens but nobody is trying to pull the wool over anybody's eyes. The way you pull wool over anybody's eyes is by saying you've got a great show and you don't. When you tune in, it's not. The writers create cliffhangers, not so much because you think they're trying to fool you into thinking somebody's left the show or has been killed or however a cliffhanger is because...the joy of it is figuring out how do you get out of this which is why you leave the woman on the train tracks tied up as the train is pulling up, Simon Legree, the bad guy tackles his way in victory.

Well, the audience is delighted by how you're going to get out of this mess that you just put yourself into. How are you going to do it? And that's part of the bargain that is struck between the writers and our production and the audience. So that's part of the fun of the show.

Now that said, there are things that happen that are going to surprising that you are not going to expect. And that you will go, "Wow. How did they do that? Why, that's kind of - I haven't seen the series do that before. That's really interesting and new." And there are surprises in the show, maybe not the ones you'll expect. That's my answer to that.

EDDIE MCCLINTOCK: Great answer.

ALLISON SCAGLIOTTI: Yes, I don't think either one of us could have put it better.

QUESTION: Obviously the cast continues to expand and yet the writers are doing a really good job of getting everyone involved in the storylines. Everybody is really intricately involved in the storytelling. What is the secret to that? How do you make that work?

ALLISON SCAGLIOTTI: Collaboration.

SAUL RUBINEK: Eddie is on set more than any of us and he really knows from the inside works. We all have ideas of it but I'd like to hear, Eddie, what do you think about that?

EDDIE MCCLINTOCK: Well, the first thing that came to my mind when you said that was it's really the writing. The writers have found a way to - I mean, it's their responsibility as to whether or not a character is going to be a throw-away character and I don't think Jack would ever let that happen because each character is import to the show. There's no need to have an extraneous character and there's no time.

And so everyone gets treated with equal amounts of respect even if their part isn't that big. I have not had any problems making my acting choices because the characters that I'm having to work off of, whether they're there for a day or whether they're there for three episodes, they are always really well fleshed-out by the writers.

SAUL RUBINEK: The writers are like nine years old spiritually on some level. They really love...

ALLISON SCAGLIOTTI: Some of them. And others are like sixty.

SAUL RUBINEK: ...doing the show. But they really have fun with this show. And because it's operating on a number of levels, the job is to create a fantasy adventure for the whole family. As it turns out, it's a 9 o'clock show, perfect. I mean, it really is a show that the family watches because there's an aspect of it that are really a ten or eleven year old can get but then it gets wittier and there are things that the adults in the room are going to get that the kids aren't going to get without losing the kids.

So they're having fun because they don't have to take themselves 100% seriously and at the same time, they're able to explore a fantasy world that has such fertile ground. And Eddie's right, they haven't got the time to create characters that are not going to be part of the storytelling. The fun part of this is that, for me, the boss character in shows has become a cliché and not on this show because I'm on the field. I'm part of the story. My past is important. It's not like the boss character who gives out assignments [and] in maybe once every eight episodes you find out something about their personal life like they're an alcoholic or they have a gambling problem or an ex-wife.

Artie's character - the past of Artie's character has insinuated itself into the storyline, the same way that Pete and Myka's and Allison's character and even now you'll find the same thing is true of Mrs. Frederic and some of the Regents, all their pasts are going to help tell the story because of the things that they've done, much as in life.

And every show is different. One of my favorite shows in television is Justified. It's not a fantasy adventure show. It's very realistic. Elmore Leonard created that tone for that kind of show and his stories are (unintelligible) and the writers have a particular job there with character and they do a great job.

Our writers are dealing at a much more comic, adventure, fantasy world and very tough to keep that alive. And it's not just the fact that they are - the writers are there and they're being led by the right person in Jack, it's also - it happens that this network and studio developed this for three years. They love their - it's theirs. They didn't acquire it. They bled for it. They put their reputations and their careers to a certain extent on the line when the network got branded with this series and they put money behind it.

So, there was a lot of stake and they took chances, tremendous chances. And it's paid off So that's the reason people keep coming back.

QUESTION: What did Aaron Ashmore bring to the dynamic of the Warehouse this season?

EDDIE MCCLINTOCK: What I think we learned about Aaron - as you know he becomes Pete's new partner. And so he is a great actor. He's got great comedic timing. And there is something about - his character is into - is this to be Buddhist? I think he's Buddhist.

ALLISON SCAGLIOTTI: Yes, he's Buddhist.

EDDIE MCCLINTOCK: No, he's very Zen and it's a lot like Aaron himself. And so...he's like the calming force to Pete and whereas Myka was a little more rigid, he's calming in a completely different way. He's just more laid back and relaxed and I think he brings a real freshness to the series and not that the series needed freshening up, you know, I think we're still in a great place in regards to the status of the show. But he takes a show that didn't really need freshening up and makes it even that much more enjoyable.

ALLISON SCAGLIOTTI: Fresh.

EDDIE MCCLINTOCK: Fresh.

ALLISON SCAGLIOTTI: Yes, I have to add, having the pleasure of spending a lot of time with Aaron this season, he is a phenomenal actor. He's a [consummate] professional and is really hilarious and super at what the show requires which is the ability to stand in the moment and have gravitas and then flip right over to sometimes absurd comedy.

And he and I are wired very much the same in the way we approach the day. We come to set prepared and then have fun in the moment. And I think he's had the opportunity to work with all of us in different storylines and I haven't heard a bad thing about him. I think he's just one of those guys who has the ability to complement whoever he's working with and really just elevate a scene. So we really lucked out with Aaron.

QUESTION: His character, Steve Jinks, has the ability to detect a lie. So how's Pete going to get away with anything this season?

SAUL RUBINEK: Tough.

EDDIE MCCLINTOCK: He actually puts a roofie into his ginseng drink. And then when he's passed out, he takes pictures of him in certain states of undress.

SAUL RUBINEK: Stop.

EDDIE MCCLINTOCK: And then [holds] some over his head for the rest of the series.

SAUL RUBINEK: There you go.

EDDIE MCCLINTOCK: He's going to blackmail [him].

QUESTION: So what type of artifacts will we see in season three?

SAUL RUBINEK: Everybody asks that. We're not going to tell you. I can't tell you.

ALLISON SCAGLIOTTI: I'll talk about one but you probably already seen [it in] the first episode.

EDDIE MCCLINTOCK: Tell one. You have to be the cool one.

ALLISON SCAGLIOTTI: Jimi Hendrix's guitar. That's the one I really want to steal this year.

SAUL RUBINEK: Oh, yes.

QUESTION: Will we learn any more about the Regents this season?

SAUL RUBINEK: Yes.

ALLISON SCAGLIOTTI: A lot.

SAUL RUBINEK: You will. The Regents, there is an aspect to their past that creates great jeopardy for the Warehouse and for them. I can tell you that much. I think that the writers have gotten further into their responsibilities and how they operate with each other and also in relationship to us. So, yes.

QUESTION: Can you each talk about your character's reaction to this new guy coming in to the team?

SAUL RUBINEK: Sure.

ALLISON SCAGLIOTTI: Yes. Would you mind if I start this one off?

SAUL RUBINEK: Go ahead.

ALLISON SCAGLIOTTI: Claudia was expecting a bit of a promotion I think starting out really just kind of like, Myka is gone, let's get her back but in the interim. I'm here, Pete needs a partner, let's go. And that's not what Artie's got in mind and so she feels a little slighted when this new guy comes aboard. Not exactly friendly to him initially, but sort of getting to know him more and Steve imparting his wisdom into a frustrated 20-year-old really brings Claudia around and the relationship goes from, at first prickly, to one of real familial love and that becomes extremely important to Claudia over the course of the season.

EDDIE MCCLINTOCK: Yes, in regards to Pete, I think he's still stinging from the way that Myka decided to leave the Warehouse. He feels like she basically ditched him and so he doesn't want have anything to do with the new guy. And I actually think he's pushing for Claudia to come out with him because he knows Claudia. He cares about Claudia and Claudia doesn't remind him of the fact that Myka has gone and kind of left him hanging as if were.

QUESTION: And Saul, what about Artie?

SAUL RUBINEK: Well, it's tricky because the most important thing, you get the feeling from the pilot episode that Mrs. Frederic and I had some discussion about bringing Myka and Pete in and from what happened when Claudia arrives at the Warehouse, there was a discussion about even terminating Claudia on some levels. It was terrifying if I do say what happened, but there was procedure for terminating someone forever in a way, terminating them. And bringing her in to the Warehouse was on my head.

There was a responsibility. I have to see how it's going to work out. Artie's constantly observing to see how the relationships are playing out and to see whether there's any bonding happening or whether there's friction. And if any of that is useful in terms of the job. Also, it's like bringing a new kid into the family that we've adopted. So Artie's responsibility as a boss is one thing but then he gets emotionally attached and that happens and it could play havoc with the way things operate. It could work well for the Warehouse. But it could also create danger. In our case, both things happen. It works well and it also creates danger.

He does fit in as an actor, really well. As a character, he does and he doesn't. There are aspects for his personality that are off-putting and because we do miss - the agents certainly miss Myka and her presence and how the chemistry works. And there [are] aspects to his character - certainly I think he's a little bit more straight-laced in some areas. He's ethically very by-the-book, his hierarchy of values is really strong and it plays a part in the storyline.

...

SCIFI VISION: What would the three of you like to see happen for your character storyline wise, whether it be you want more of a love interest, or to do something crazy, or just anything you would want to happen if you could write it.

ALLISON SCAGLIOTTI: Well, I kind of got what I wanted this season, Claudia exploring her young adulthood and coming in to her own as a member of the team. But going forward, I really love exploring that story and we know from Claudia's first episode that she was orphaned because both of her parents died mysteriously. But we don't know anything about that and I'm really curious who Claudia's parents were. Were they in some indirect way tied to the Warehouse or where they not at all?

And I'm also curious about what we touched at the end of Season 2 which is Claudia's destiny as the future Mrs. Frederic. I know that the writers have an idea of where they'd like to go with that. But they have certainly not let me in on the secret. So that's something that I'd like to explore.

EDDIE MCCLINTOCK: I'd like to do some kind of Marine Corps flashback with Pete and have him go back into the Marine Corps and discover why he's no longer in the Marine Corps and how we got from the Marine Corps into the Secret Service. We kind of touched on it last season but I think it would be cool because I think it's an important part of who Pete is. So that'd be cool.

SAUL RUBINEK: I think it'd be interesting to explore somebody - Artie has been with the Warehouse so long, it would be interesting to see what would make him want to leave it. What would it be? What would it take, what kind of storyline would it take, what kind of incident or series of incidents to do with the Warehouse and in his life would bring his participation in the Warehouse to a crisis, a real crisis? Not because somebody else wants him gone, like MacPherson, not because of outside forces but because of what's happening inside of him. What would that be? I'm curious. So that would be interesting to me.

SCIFI VISION: Saul, you mentioned the other day that Lindsay Wagner is going to be back. Is there anything more you can tell us about that?

SAUL RUBINEK: Yes. I can tell you that Artie is trying to - with the help of Claudia and egging on of Pete, he's slowly trying to step forward to try to have the kind of relationship he never had and is wondering whether he'll be accepted or rejected. But there's something about her past that he doesn't expect and that's as far as I can go.

SCIFI VISION: Alphas is premiering the same night as Warehouse 13. Allison, you already answered this and said that you'd like to have Nina's mind manipulation powers (in our exclusive interview). What kind of super powers would the rest of you choose if you had a choice to have one?

EDDIE MCCLINTOCK: I'd like to fly. Fly. Mine is fly.

SAUL RUBINEK: You want to be able to fly.

EDDIE MCCLINTOCK: Nobody else fly.

SAUL RUBINEK: Well, there are - right now they have the powers of what, super strength, the ability to accentuate anyone of their senses at the expense of other senses, the ability - what's the other woman do?

ALLISON SCAGLIOTTI: She's a mind manipulator.

SAUL RUBINEK: Oh, she can bend people to her will, right? And the other one is able to pull out any kind of electronic auras of the air and manipulate them. Wow. I'd like to be able to play any musical instrument that I touch.

...

QUESTION: In a past interview Allison mentioned that Eddie is the cast clown.

SAUL RUBINEK: Not always, we all are kind of goofy. You work long hours and if you're not goofy, you'll just go insane. That's not really fair to say that. Eddie, yes, likes to clown around. We call it the buffoon...

...

ALLISON SCAGLIOTTI: He's the gassiest of all of us, let's just say that.

SAUL RUBINEK: Yes, he's the gassiest. I mean, if something is going to be...

EDDIE MCCLINTOCK: Actually right now.

SAUL RUBINEK: Yes, luckily we're not in the same room with him, you know, or in a car.

EDDIE MCCLINTOCK: The paint is actually melting off the wall here.

SAUL RUBINEK: Yes, I'm not surprised. No, I don't know if we categorize ourselves that way. We all are pretty goofy on the set. Sometimes we get serious and we work really long hours. But mostly [we] laugh. We have a lot of stuff to get through. We really - the directors are given a handful of stuff. I mean, they really have sometimes ten days with the work that they've got to do it. And it's tricky - we got to be there, we can't be late. We got to be on the money in terms of our lines and our presence and there's a lot of hard work.

So the way we blow out steam is with each other goofing around and some of that fun has got to make it on to the show.

EDDIE MCCLINTOCK: Hey, guys. I'm sorry. I love you.

SAUL RUBINEK: He's got to get back to work.

EDDIE MCCLINTOCK: I got to get back. They're calling me back in. Thank you, all you guys out there for the interest in the show. And I hope you enjoy the season this year. Truly, truly thank you for your support and interest and hope to see you at Comic-Con.

SAUL RUBINEK: Bye.

EDDIE MCCLINTOCK: Bye, guys.

ALLISON SCAGLIOTTI: Bravo, Eddie.

EDDIE MCCLINTOCK: Thanks.

QUESTION: You mentioned early about Franco De Cotiis being the unsung hero. All the stuff he does for inside the Warehouse, the descriptions of artifacts and stuff like that. With all that work he does for things that don't necessarily get seen on the screen or seen at least in-depth, do the writers ever pick up on some of the stuff he's designed for that and say, "Hey, this would make a great artifact for a storyline?"

SAUL RUBINEK: I don't know if it's happened exactly like that but certainly coming on to our set, every one of the writers gets to see their episode shot. They come to Toronto. They get to see it. It helps them immeasurably in understanding how production works so that they're not writing huge sets that are going to be used for an eighth of a page.

They're learning how production affects the writing and how their writing can really seriously adversely affect the budget. And so they've learned. But also they're inspired by it. So in an indirect way, they're like kids. It's really fun to watch them come to the show because when you come - we're operating out of a huge building that has three different studios in it that we use. And they're beautifully designed.

And just walking into the atmosphere is like walking a little bit into a storybook. We've had visitors, various family members from cast and crew come in and you look at them and it's like they're coming in to Disneyland in a way. There's a real child-like expression in their eyes. And even if the writer has written the episode, they are inspired with a child-like fashion by the design of the show.

Allison ScagliottiALLISON SCAGLIOTTI: And likewise, going back to that question, if Franco builds something beautiful that's mentioned in one script, and it's really spectacular and just goes very well on camera, we work with it, it will reappear later on in other episodes. Right now I can say that of the periscopes that you see in the first episode, as well as the pneumatic tube system that's in the office. There are all these...

((Crosstalk))

SAUL RUBINEK: You know, Artie's bedroom.

ALLISON SCAGLIOTTI: Yes, Artie's bedroom, you know. If it works, it will come back.

QUESTION: You do most of your filming in and around Ontario, maybe a little bit in Montreal. Are there any particular locations that stand out for you as favorites?

SAUL RUBINEK: We don't film in Montreal. We film exclusively in and around Toronto. We couldn't afford it. It'd be too hard for us to go travel to Montreal. And Toronto of course is a really kind of wonderful, you know various looks that could be anywhere in the world. So we've been able to shoot London, Paris, Rome, different parts of the United States, all in and around Toronto...

My favorite location is the Warehouse. I love shooting in Artie's office. There isn't an angle in that room that isn't shootable. That's my favorite place to go. We feel at home there. Going on location is always a little tricky and difficult. We went - where was that place, that amusing place, the Niagara Falls we went to last year?

ALLISON SCAGLIOTTI: It was an abandoned power plant.

SAUL RUBINEK: Yes, it had recently been abandoned. It was an operational thing from the 19th century and recently been upgraded and they've got rid of it and it's where we shot the place of CERN in Switzerland where Claudia's brother works and it was an amazing location. No one had ever filmed in there. We were the very first people. We got a tour of the place that goes down into the depths, six stories. We weren't able to shot everywhere because it was unsafe. But it was an extraordinary building. I don't know if more people have shot there. There's even a coffee table book of that place in Niagara Falls, the Canadian side of Niagara Falls. It was an amazing...

ALLISON SCAGLIOTTI: And what was so ironic was that it was designed by Nikola Tesla and M.C. Escher.

SAUL RUBINEK: Well, certain things about it were, yes. Yes.

ALLISON SCAGLIOTTI: Big beautiful blue turbine and whatnot. Yes, I'd forgotten about that. It's a beautiful place. I'm the same. I really love Artie's office. It does feel like home. There's a comfort about shooting at the studio, although the musician and they really did enjoy filming inside the (Silver Dollar) this year.

SCIFI VISION: Allison, you've been on Destination Truth before. Are you planning to go back or doing something similar? Or Saul, are you planning to be on any other paranormal show?

SAUL RUBINEK: I'm not planning it, no. If I'm asked to, if my schedule allows it. But, no, it's not something I'm planning.

ALLISON SCAGLIOTTI: My answer is the same. I never plan these things. It's something that network initiates and if I can do it, I do because it's fun and if I can't, then I can't.

SCIFI VISION: Do you guys ever think you'll do something like a musical episode?

ALLISON SCAGLIOTTI: I certainly hope no.

SAUL RUBINEK: I have no idea. There are going to be musical aspects to the show, but doing a whole show that would be a musical, it's not really in the cards, I don't think. I think that they've created such - it's kind of like such a big gimmick for our show that it would be like, Why are we doing a big musical number?"

ALLISON SCAGLIOTTI: Come on. There's a musical artifact. Just like the hat from the music man.

SAUL RUBINEK: Yes, but it was...

((Crosstalk))

ALLISON SCAGLIOTTI: Julie Andrew's dress from the Sound of Music, come on, three big...

SAUL RUBINEK: I mean, it wouldn't be the whole episode. It would be parts of it, right? It would be fun because we have. We can't get away from it, I guess, yes.

SCIFI VISION: What are you most looking forward to at Comic-Con? And are you going to any other conventions in the near future?

SAUL RUBINEK: Comic-Con is a chance to meet a core audience. Some of them - there's a lot of really wonderful fans who were very good to us the first season. Right before it aired, we showed the episode with Allison and we - even though there were only three episodes that aired the very first season, we were there. We had a large group of people. [They had to] expand the room and continued to expand the room for us, the Warehouse 13. It's really fun to see people who so much enjoy the show and get to talk to us directly.

That's the best part of it, meeting people who love your show and getting to talk to them directly. And they get to hear our stories, that's the best part of it. Really it's a bit of a zoo. It's really crazy. And it's a job for us to do PR and if we didn't love the show as much, it would be difficult. But we all are proud of the show and it's fun to go. And, the event is a great launch for us.

ALLISON SCAGLIOTTI: Yes Comic-Con is kind of my Disneyland. I feel the same way. It's really a treat to get to meet the people that consume what put so much work into face-to-face. And this year I believe our first two episodes will have aired by the time we sit down for our panel. So I'm looking forward to that. I'm looking forward to seeing all my other sci-fi friends who I don't get to see very much because they shoot in other places And I'm looking forward to a bocce ball rematch with Josh Gates.

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