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By Suzanne

CCH Pounder

Interview with CCH Pounder of "Warehouse 13" on Syfy 9/13/10

Syfy Conference Call with CCH Pounder, Warehouse 13 

September 13, 2010 12:00 pm CT

Operator: Ladies and gentlemen thank you for standing by. Welcome to the SCIFI conference call.  I would like to turn the conference over to Mr. Stephen Cox. Please go ahead.

Stephen Cox:   Good morning and afternoon everyone. Thank you very much joining us this Monday. We have the lovely talented and overall magnificent CCH Pounder with us today.

Coming up on Warehouse 13, Mrs. Frederickís life hangs in the balance during this weekís heart-pounding episode airing tomorrow, Tuesday, September 14 at 9:00 pm.

The season finale of Warehouse 13 airs Tuesday, September 21, next week, at 9:00 pm. Weíre really excited to have her joining us and we will turn it over to your questions now. Thank you very much moderator.

Operator: Ladies and gentlemen, we will now have a question and answer session. To register a question via the telephone, please press the 1 followed by the 4 on your telephone keypad.

If your question has already answered and you would like to withdraw your registration, please press the 1 followed by the 3.

If youíre using a speakerphone, please lift your handset before entering your request.

We ask that all participants register only one question and one follow up question at a time. If you would like to ask further questions, please re-queue up by pressing 1, 4.

Our first question comes from the line of Kenn Gold with Media Boulevard. Please proceed with your question.

Kenn Gold: Thank you so much for your time today. I really appreciate it. Hello.

CCH Pounder: I can hear you Kenn Gold.

Kenn Gold: Okay.

CCH Pounder: Yeah.

Kenn Gold: Hi. I just wanted to ask you, you usually played some really memorable characters out there in a lot of different genres. And I was wondering if you could talk about just generally how you go about deciding, whether or not, you want to take a role and specifically how you came to play Mrs. Frederick?

CCH Pounder: Well, only recently, like maybe in the last seven years, I took a look at my resume and kind of went, ooh, Iím kind of hitting my stride on touching pretty much every genre known to man in the film world. Maybe I should just go for it.

And so, this - all this is about timing. It wasnít that I went out to seek a SciFi product, but it - one came up and the other thing that came up was, police captain. And I thought, well having just spent seven years in that end, perhaps Iím going to go SciFi. So thatís actually how I found SciFi again.

And this way, the character, Mrs. Frederick is so mysterious, that even the writers are - havenít been able to tell me who she is. She has no legend like the other actors do.

And I thought, it might be fun to just so sort of insert yourself in a place where you know nothing about the character, except whatís written on the page for that particular episode.

And so far, itís been a little scary, but still challenging and fun.

Kenn Gold: Hey, great. Thank you. And then as my follow up, since youíre Mrs. Frederick on the show, there must be or must have been a Mr. Frederick at some point.

Do you have any druthers on who youíd like to see play him if they ever go that route for the show?

CCH Pounder: Well, Iíve been trying to figure this guy out. First of all, is he still alive? Did she take over his job? Was there actually a Mr. Frederick and she knew so much about him that she just took his place, which sounds a little bit like Avatar with the dude, the dead brother and the living brother.

But, itís a possibility. And then again, thereís Mrs. Frederick with that fabulous beehive hairstyle stuck in the 60ís, perhaps he was the guy in the audience that - while she was singing in the nightclub, that passed on secret information to her.

I really could go anywhere. So, I have no clue, but I cannot wait to see who or what Mr. Frederick was or is.

Kenn Gold: Right. Thank you. Thank you.

CCH Pounder: And does he look as real age?

Kenn Gold: All right.

CCH Pounder: So is he like 150?

Operator: Our next question comes from the line of Troy Rogers with the Dead Bolt. Please proceed with your question.

Troy Rogers: Hi CCH.

CCH Pounder: How are you?

Troy Rogers: Not too bad. Now, Iím - Ms. Frederick has a connection to Warehouse 2. I donít know how - how much of her back story will we see in the ďBuriedĒ episode?

CCH Pounder: Well, some of it will escape, because Mrs. Frederick is sick, and therefore, the computer/brain in her head starts to spew out information. You just have to learn another language to figure it out, but weíve got the fabulous Claudia to figure that out on the computer.

So, you will learn a little bit more about her and maybe Warehouse 2 is, one of several warehouses that she has participated in.

So, your guess is as good as mine, but you will get a hint of it in this ďBuriedĒ.

Troy Rogers: Nice. And for my follow up, Iíd like to know what was it like working opposite Lindsay Wagner?

CCH Pounder: Oh, that was fun. Itís so funny, because when youíre known for something, people never say, itís sort of like, ďOh, you know, whoís coming in on this set, itís Lindsay Wagner.Ē They go, ĎNo, itís the Bionic WomanĒ.

So, your mind goes back to the Bionic Woman, what 30 years ago. And then Lindsay Wagner, the actress, shows up and she is a fabulous actor of film and television and theatre and you get to work with a pro and itís cool.

Troy Rogers: Nice.

CCH Pounder: And the Bionic Woman, long dead and gone.

Troy Rogers: Thank you.

CCH Pounder: Youíre welcome.

Operator: Your next question comes from the line of Lillian Standefer from SciFi Mafia. Please proceed with your question.

Lillian Standefer:  Hi CCH. Thank you so much for taking the time to talk to us today.

CCH Pounder: Youíre welcome Lillian.

Lillian Standefer:  Well, my question is regarding the regents. Will be able to see - to learn more about the (in matic) regents and the right eye of Horace?

When we spoke to Allison Scagliotti a couple of weeks ago, she said that regents were working class people rather than government types.

And since the last two episodes of this season are in Egypt, are we going to see more of - I guess, behind the Egyptian symbology, between the regents and the make some fault line?

CCH Pounder: Now, thatís really interesting that Allison, young pup, only saw what looked like working class people in that cafť, because in fact, there was sort of every level of humanity in that cafť and the surprise was, was that, they looked ordinary and that was the difference.

Lillian Standefer:  Okay.

CCH Pounder: So, I would say that regents are ordinary looking people with extraordinary responsibility.

Lillian Standefer:  Ooh.

CCH Pounder: Thatís the first thing. I think youíll hear a lot more about the regents because they are the big decision makers of Warehouse 13.

Now, how did thatíd all come about? I have no clue.

Lillian Standefer:  And is there anything that you can tell us about the Egyptian symbology? But I kept feeling that there was - that part of - refers to McPherson plotline that wasnít fully paid all up.

CCH Pounder: Yeah. Yeah. Well, I think Warehouse 13ís probably really confident, especially when they already know that thereís - the season three is going to happen, so that maybe they didnít have to explore everything and explain everything all together this season, because weíve got another season to come.

And I think all those things kind of will reveal itself, but I donít know which path that theyíre going down. I donít know whether itís the eye of Horace path. I donít know whether the Egyptian warehouse kind of Alexandria will come back up again.

And Iím kind of clueless as you are.

Lillian Standefer:  Ooh. And I would love to learn more about that plot line. I was kind of disappointed that I didnít - that we didnít get more of that this season, but Iím really psyched to here that weíll be able to get into that next season.

CCH Pounder: Well, particularly because the - Egypt basically is the origin of the warehouse, so I think the possibilities of it going back and forth there is, you know, and plumbing those stories is probably a reality for them.

But, itís my educated guess. Thatís all Iíve given you.

Lillian Standefer:  Well thank you. And my little follow up question is, do you have any theories about what - what or who Mrs. Frederick is?

CCH Pounder: Yes, I do. I think Mrs. Frederick is a hologram.

Lillian Standefer:  Oh, but she can touch things and interact with people.

CCH Pounder: Yes, she can.

Lillian Standefer:  And the mystery of how she is able to transcend time and stuff. This is a very interesting...

CCH Pounder: Yes, how is she able to transcend time? Why doesnít she need to enter through a door? All these things. Why is that hairstyle so prominent? Is that period that she liked and said, ďOkay, Iím going to go with this for the next 400 yearsĒ.

Did she see it in the future and decide thatís a fabulous hairstyle? Is it a memory of the past? Thereís, you know...

Well, Iím always trying to figure it out myself. I will tell you that, Mrs. Frederick has no legend and I donít know if you know, that most actors are given a kind of legend or background story of who the character is. Mrs. Frederick just got a blank page and said, ďNot to be divulged.Ē

Lillian Standefer:  I think your character is one of the most amazing characters on the show, so thank you very much for bringing her alive.

CCH Pounder: Thanks. I appreciate that.

Lillian Standefer:  Thank you.

CCH Pounder: Thank you.

Operator: Our next question comes from the line of Tiffany Vogt with Airlock Alpha. Please proceed with your question.

Tiffany Vogt:   Hi CCH.

CCH Pounder: Hi Tiffany.

Tiffany Vogt:   Okay, without knowing much about Mrs. Frederick, her characterís background, what would you personally like for the writers to do more of with your character?

CCH Pounder: Well, one of the fun things about being CCH Pounder, is that the one quirk I have, is that I am rather fascinated by what writers do. And so, I never like to put ideas into their heads and I love to just sort of reveal what it is that theyíve written in kind of flesh form.

I just like to sort of create it there. So, I donít have a sort of personal ego about, oh she shouldnít become this, and oh, she canít do that. Iíve never had it.

And so, it affects this show just as well as it did the others. And the others were very successful for me, by not requesting that my character become so and so. So, I kind of rather like my small ego-minded self and then the character becomes the big deal.

Tiffany Vogt:   Okay, great. And my follow up question would be then, are there anything thatís similar between Mrs. Frederick and yourself?

CCH Pounder: Besides the fact that we both wear glasses, absolutely nothing. Even in the sense of women in authority - I think most people know that Iím a giant wimp, so itís kind of fun to be able to play these characters in the fake world. That I have visions of full of in real life.

Tiffany Vogt:   Oh great. Thank you very much.

CCH Pounder: Okay. Youíre welcome.

Operator: Our next question comes from the line of Kenya Jones with ACED Magazine. Please go proceed with your questions.

Kenya Jones: Itís ACED Magazine. Thank you. Hi. Itís very great to talk to you.

CCH Pounder: Thank you.

Kenya Jones: Well, I wanted to take it back to your classic characters and ask you about Avatar, if I may. I know that I was one of the people who knew your voice so well, but because it was a type of animation that you know, we were like to trying to figure out, is that CCH? Is it not CCH?

And you know, of course, you had the accent. So it was like, you know, when we finally saw the credits and it was you, we were so excited. So I was wondering if you got any of that from friends or family watching the movie and trying to figure out, you know, if that was you?

CCH Pounder: Well, Avatar has huge credits. Theyíre really, really long and I know lots of people who stayed to determine whether that was my voice or not.

Yes, I got that a lot from lots of mail, lots of Facebook reaction on that. But, itís really interesting that the folks that - who were under 15 years old who are friends of Justice League and recognized - know Amanda Wallerís voice, knew even in another language, even while speaking another language, knew that it was me, which I felt pretty amazing.

So, Iíve got a slew of 15 year old young men who said, ďWe knew that was you.Ē

Kenya Jones: You do have such a distinctive voice. Itís really - you have this great quality to your voice.

CCH Pounder: Thank you.

Kenya Jones: Another thing I wanted to ask you about if - Iím so sorry. Iím taking it like way back, a cult classic I know in my own household is, ďThe Tales from the Crypt Demon Knight.Ē

CCH Pounder: Ah.

Kenya Jones: And you have so many quotable quotes in that movie man, we still watch it to this day and we quote you non-stop. Like do you - did you ever get anybody coming up to you quoting you from that movie or any of the other films youíve done?

CCH Pounder: I do. I tend to get -people whoíd make their arm disappear. They like to do the arm disappearing and the swigging the vodka moment a lot. Yeah. And so, even if they donít speak to me, right away you know exactly what theyíre talking about and what they meant and they get a thrill of like, ďI thought you knew what I was talking about.Ē

So...

Kenya Jones: I only get two questions, so Iím going to come back around, so thank you so much.

CCH Pounder: Okay. Youíre welcome.

Operator: Our next question comes from the line of Joseph Dilworth with Pop Culture Zoo. Please proceed with your question.

Joseph Dilworth:   Hi CCH. Thank you so much for talking to us today.

CCH Pounder: Got it Joseph. Do they really call you Joseph? Or do they call you Joe?

Joseph Dilworth:   They call me Joe.

CCH Pounder: Yeah.

Joseph Dilworth:   My first question is, as you said earlier, you played in pilot ones for seven years on the table where you know, one of the regular characters and a cornerstone of the show.

And now you can do Warehouse 13 where youíre this mysterious character whoís kind of -floats in and out. Is there - acting-wise how do you adjust to the varying difference there?

CCH Pounder: Well, thereís kind of really no difference in the acting, except that in terms of how I go about it. But what is really nice, is that Iíve always tried to either extend characters that I did before sort of cameo style and I get an opportunity to do say, like a police captain in another genre, in another area.

For instance, I did a police captain in the film and then suddenly I got the shield and they had similarities. And I brought that one core thing that they had, which was they were very tough and then tried to turn it into, why did they become tough, how did it happen, etc., etc., and what made them the type of character that they are.

So, with Mrs. Frederick, who is - has no history whatsoever to be - for the writers to tell me about and they wonít tell me about it, I can tell you that.

Iím just like a complete blank slate. So they get kind of a thrill of me showing up and say, ďWhat is she going to do with that?Ē, and I get the kind of excitement of, I have no clue as I have no idea where she came from, where is she going.

Is she human? Is she - what is she? And still trying to pass on information, so youíve got a story to tell.

So it has been kind of like the hareís wild ride and another thing, Mrs. Frederick cannot be a regular, because some of the things, if youíre mysterious and you keep showing up all the time, then itís like not so mysterious. Youíve going to eventually...

Joseph Dilworth:   Okay.

CCH Pounder: ...have to say something that gives people some kind of information as to who she is.

So...

Joseph Dilworth:   Right.

CCH Pounder: ...I think sheís kind of going to remain this sort of character that you sporadically see, but when you do see her, something majorís going to happen.

Joseph Dilworth:   Well, I know we all wish we could see more of you and itís always exciting when we do. So...

CCH Pounder: Thanks a lot. Thank you.

Joseph Dilworth:   As a follow up question, I was just wondering if thereís any updates on the progress of artists for a new South Africa?

CCH Pounder: Well, right now we are in the throes of a thousand tiny little projects. When a subject isnít big news, like Apartheid right now, is not big news, although, when you do something for 50 years and itís part of the fabric of a place, itís really hard to kind of have the independence, have ten years of Nelson Mandela and everything is all fine and dandy.

The repercussions of it, is it that there is still a lack of housing, that thereís still an AIDS pandemic. And so we are working on all of those tiny things, but we get a third of the amount of the donations, because right now all the emergencies are very different.

Pakistan has a huge emergency. Haiti has a huge emergency. There are all these immediate things, so itís one of those organizations who understand the ups and downs of being recognized and right now weíre going through just in the trenches, slogging from one part to the next to get funding for this, that and the other.

And weíre still here. I always like charities to disappear, because I still find that things got better and something was remedied, and I try really hard to be patient and proud.

It not being done in my lifetime, you know, what I mean. So...

Joseph Dilworth:   Yeah.

CCH Pounder: ...I have to hang in there.

Joseph Dilworth:   Well, hopefully we can all get the word out a little bit more about that. So...

CCH Pounder: I appreciate it. Thanks so much.

Joseph Dilworth:   Thank you and thank you for your time today.

CCH Pounder: Okay. Take care.

Joseph Dilworth:   Okay.

Operator: Our next question comes from the line of Melissa Germante, with the Television.com. Please proceed with your question.

Melissa Germante: Well, how are you doing today?

CCH Pounder: Iím fine. Thank you.

Melissa Germante: I wanted to ask you, coming from, you know, The Shield, which was set in, you know, nitty gritty outlay. Howís your experience been working in the Toronto so far?

CCH Pounder: In Toronto, in Yorkville, where the restaurants are endless and the shopping is right at your fingertip and you can walk anywhere freely, day or night, compared to the...

Melissa Germante: Yeah.

CCH Pounder: ...the risk with studios. But compared to where the studio was in L.A. for the Shield, this is sort of almost downtown and in the rough and tumble areas, but what I call very artsy. And thank god for artists.

We turn everything into shinola, which is really great. So, itís very, very different, but the physical place of where Warehouse 13 takes place, like when you actually go to work, it is in a giant warehouse and itís surrounded by a certain amount of barrenness, which does kind of - well it doesnít look like the desert, but it does look deserted.

And well, itís fine. Itís very, very, very, very different. Because the whole situation for me is different. In The Shield I was a regular and we were very family like. We worked together all day long all part of the castings of the Police Station, so, thatís very different after coming in as the mystery woman and working once or twice per episode, one or two days for episode. Itís very different.

Melissa Germante: And just kind of a follow up, and Iím not sure if all of this was done in the studio or not, but how did they transform Toronto into Egypt? Was that all done in your studios or were there any locations that were suddenly transformed into Egypt for these upcoming episodes?

CCH Pounder: Well, Iíve got tell you, they are the specialists ex-king. I just donít know how they pull this stuff off, but they do and it was all done in the studio and you know, I think cordoning offer part of a neighborhood and sucking it out turning it into that Egyptian look.

And which, by the way, because you know, Toronto is a really eclectic city and itís got all types of people there. There were - they didnít have to go to any great lengths to make it look like Egypt, by the way.

Melissa Germante: Yeah. Well thank you so much and I hope you enjoy the rest of your time in Toronto.

CCH Pounder: I appreciate it.

Operator: Our next question is a follow up question from the line of Lillian Standefer with SciFi Mafia. Please proceed with your question.

Lillian Standefer:  Hello again.

CCH Pounder: Hi.

Lillian Standefer:  Iím sure- well - will you lend your voice again to play Amanda Waller in any upcoming animated movies sufficient with the Justice League?

CCH Pounder: Well, itís very interesting, because there is actually a movie coming out and Pam Greer is playing Amanda Waller. So, that was, I believe, the third Amanda Waller that there is.

I canít remember who the very first one was. So, I donít know, but I do know that the Amanda Wallerís voice that Iíve done is, probably the most recognized. So itís very possible that we could do something like that. Weíll see.

Lillian Standefer:  Well, it sounds like youíve got a really big fan base from that, as well.

CCH Pounder: Iím very surprised. Yeah. It is pretty surprising.

Lillian Standefer:  Well, as a follow up question to that, what are the different challenges do you see from doing voice acting versus doing television or movies?

CCH Pounder: I donít find them very, very different at all. But thereís just one thing though that I really do want to clear up, particularly for something like Avatar, which a lot of people consider that voice acting, but in fact, youíre doing like a full bodied acting where your physicality is what youíre actually seeing on the film.

What youíre not seeing is what I look like. Youíre seeing what the Avatar looks like. So, a lot of people got confused by that, and it took us a really long time to explain that...oh, no this is not an animated voice thing.

This is actually actors acting, but they look physically different. But all the physical stuff that they did, all the gestures, all the eye movements, but that was all us doing the work.

So, thereís going to be a lot of changes then, because thatís basically, I think one of the new things, new parts of technology and incorporated with acting thatís going to be happening and itís going to be a regular part of our lives.

So, the people who had not considered using their voice as, you know, part of the acting world, I think that very quickly now, theyíre know, theyíll have to incorporate that too, because thereís going to be voice acting. Thereís going to be performance capture acting and then theyíll be just regular everyday acting that you see now.

Lillian Standefer:  Thatís fascinating how much technology has changed.

CCH Pounder: It really is, because I can imagine that the person who was in the silent movies and who suddenly had to go to the talkies and hearing their voice for the first time, and suddenly, you know, not be eligible because your voice sounds too squeaky or you know, you look manly, but your voice sounded too soft.

All those things are in - have to be taken into account, even from - yet going from black and white to Technicolor and now from this idea of what we see as acting now into performance capture where you put on this gear. Youíve covered in electrodes. Youíre doing the acting, but you donít see the actor. You just see the animated version of that actor or that Avatar.

And so, you can become anything now.

Lillian Standefer:  But the performance control...

CCH Pounder: You can become anything now.

Lillian Standefer:  But the performance control - but the performance that you give is still captured and itís executed that way, right?

CCH Pounder: Exactly.

Lillian Standefer:  Wonderful. Thank you very much.

CCH Pounder: From now on, I can say any fact, any age, and any race. Yeah. Equality at last.

Lillian Standefer:  That is quite amazing, isnít it?

CCH Pounder: Yes it is.

Lillian Standefer:  Well, thank you very much.

CCH Pounder: Thank you.

Operator: Our next question is another follow up question from the line of Tiffany Vogt with Air Lock Alpha. Please proceed with your question.

Tiffany Vogt:   Hello again CCH. I was wondering if you have at the bar with Warehouse 13 as favorite episode or scene that youíve done?

CCH Pounder: Favorite. No, I donít want to say I had a favorite. Iíve had one that made me the saddest and that was when I lost my bodyguard.

I donít know if youíve seen - saw that episode already, but at the end of the first season, my bodyguard got some kind of internal choking mechanism happening to him while driving and he imploded.

It was horrible. I miss him. Yeah.

Tiffany Vogt:   Understandable. And a follow up question, how did you land the part of Mrs. Frederick? Were you approached? Did you have to go and interview for it? How was that done?

CCH Pounder: I think because Iíve done a series of -for the fairly authoritative women and I think a lot of the times the word CCH Pounder and Gravitas go together. Somebody there, I was just asked would I consider that?

So, it was simple. At this point, itís kind of simple in the things that people know you well for. Whatís the challenges an actor is - the other things that you want to do and they just kind of imagine you doing it, because youíre such a heavy or youíre such a giggler or youíre all of those different kinds of immediate recognition things that they give you.

So right now, Iím CCH Pounder, the woman of gravitas. So when theyíre looking for gravitas, they call for me, but I could be quite silly and lighthearted.

Tiffany Vogt:   Itís good to know. Thank you very much.

CCH Pounder: Youíre welcome.

Operator: Our next question comes from the line of Jamie Ruby with SciFi Vision. Please proceed with your question.

Jamie Ruby:  Hi. Thanks for taking our call today.

CCH Pounder: Thank you.

Jamie Ruby:  So how did you get started in acting?

CCH Pounder: I grew up in England in a Boarding School. And I got hit at the back of the head with a cricket ball. I had short term memory and the nuns thought - it was a private school lead by nuns, the nuns though, ďOh, you know what, if we taught her poems, perhaps itíll kind of get her memory goingĒ.

And so I used to learn these poems by rote and recite it back to the nuns. I should say the nun - then the nuns, because the more I recited them back, the more poems I learned, the larger the audience of nuns became.

So that was my very first audience, me and my crappy memory reciting poetry to nuns. And then I entered amateur theatre and then became professional, all in a nutshell.

But it was really because of that cricket ball, because I was going to be a doctor, of course, like every other kid in the world.

And so, thatís how it originally happened and I was in the theatre for many, many years before I came to television and film.

And they were all by accident. So, this has been guided by sort of Kismet and good luck and timing.

Jamie Ruby:  Okay. Can you talk about - youíre on two of my favorite shows. Could you talk about working on X-Files and Millennium?

CCH Pounder: Sure. Well, Iíll talk about Millennium first, because I thought that was the darkest show on earth and I kept saying over and over to the Chris Carter, ďBut Chris itís so dark. Thereís no hope.Ē How, I mean, he said, ďNo, but itís something that thereís a glimmerĒ and I said, like another thing, ďI never saw the glimmer.Ē

So X-Files on the other hand, which is by the way, how I met Chris Carter, was Agent Lucy Caston that I played in - for them, who was a marvel of efficiency. And I really had a very, very good time in X-Files, and there was a moment there when I thought, oh this would be recurring and then we moved onto Millennium.

X-Files, I found that really fascinating. That was terrific and scary and weird in lots of ways, but Millennium I found scary and dark and dark and dark. And it just - it was actually kind of depressing when Iíd go to work. It was sort of like, youíre never going to get out of this fog and I was actually really amazed that thereís a group of people who are like really staunch Millenniumers or whatever, like they are really behind it.

But itís - thatís a dark series.

Jamie Ruby:  Yeah, definitely. I think it started to get a little lighter though as the show went on, but not for a while I guess.

CCH Pounder: Not for a while and I think it also sort of went lighter, because of pressure, you know. So they said lighten it up. Come on. But, I donít think that weíre in the habit of seeing things that seem without hope.

Even though I thought the writing in it was really super and the look of it was pretty amazing, but I donít know, I just thought that in terms of telling stories, that lightness had to be a huge part of the story. I didnít think there was very much light in it.

I should have asked Chris Carter was he was going through at the time.

Jamie Ruby:  Well, I enjoyed it. So thank you very much.

CCH Pounder: Okay. Take care.

Operator: Our next question is a follow up question from the line of Kenya Jones with ACED Magazine. Please proceed with your question.

CCH Pounder: Hi.

Kenya Jones: Hi again. Talking of your fan base, I mean, someone has mentioned favorite shows youíve been on and ER was one of mine and Iím - you know, you must be approached by a range of different people, on, you know, a range of different subjects and roles youíve played in general.

Like what is your life that way to, you know, dealing with being recognized for so many different things youíve done?

CCH Pounder: Well, I think that thereís a through line in all of them and that is the character is always very, very believable. And a lot of the characters, people seem to sort of relate to personally that there is truth in her that they recognize in themselves or other people that they know, so that sheís not foreign or distant or alien.

A lot of people when Iím walking around the streets, think that I was their high school principal, because sheís so amazing.

Kenya Jones: Wow.

CCH Pounder: So, they all - but itís all this, ďYou were in charge of that. Artbury- were you the principal of my school?Ē, and it was so funny that you - that for some how or either, Iíve impressed upon them that when they see me theyíre supposed to sit up straight and speak correctly.

But, the roles that I have played so far have been, for the most part, my choice. And I am fascinated by, I say it often, the extraordinariness of ordinary people and the things that they pull out of their reserve to get things done.

My mother did and made it by that. And I really think that super heros are you know, everyday folks.

Kenya Jones: I wanted to congratulate on your Emmy nominations for the Number One Lady Detective Agency.

CCH Pounder: Thank you.

Kenya Jones: And that was another of my favorite roles of yours and a very, very good chill. I donít know if you know anything about the - whatís going on with that show or not, but I think itíd be awesome if you did continue to - that you made an appearance there.

Do you have any information about that show?

CCH Pounder: Well, Iíd love to visit it again, but (Jill) recently had a baby and I know that she doesnít want to have the baby travel until- I donít remember what month or how old she had stated.

And so, I think they are trying to work around that. But at the moment, it is on hold.

Kenya Jones: Oh, thank you. Thank you so much.

CCH Pounder: And the babyís gorgeous.

Kenya Jones: Iíll bet it is. Sheís gorgeous.

CCH Pounder: Yeah, worth the weight. Thank you.

Operator: Our next question is a follow up question from the line of Jamie Ruby with SciFi Vision. Please go ahead.

Jamie Ruby:  Hi again.

CCH Pounder: Hi.

Jamie Ruby:  Iím not sure how much you know, youíve watched Warehouse 13 other than your own part, but do you have a favorite artifact or also if you could like pick some artifact to be in the show, what would it be?

CCH Pounder: Well, the thing about what you guys donít get to see, is us when we actually walk down through the warehouse. They- their artifacts there that have nothing necessarily to do with the current show, but theyíre there in the event that that might happen, so they are some pretty amazing ones.

I like sometimes the really simply ones, like the wallet that talks and influences. There were the bronzification machine and to see that in person, the stuff that theyíve built, is pretty extraordinary.

In terms of what else could be in there, Iím kind of tickled by the fact that it is sort of steeped in history in some way or another and that kind of steam punk look is a huge part of our show.

And so, not necessarily the artifacts, but I use computer to see it in reality is an amazing thing. It is fabulous to look at how they put these -these keys look like theyíre from the old adding machines and then thereís - itís bronzed over.

And this case is completely ornate. Itís - I donít know where we get out talent for the -for our props and the works, but this stuff is gorgeous.

Like fiber ware. Yeah. Fabulous.

Jamie Ruby:  Awesome. Now you talked a bit earlier about kind of that you donít know, you know, any of Mrs. Frederickís story or have an idea. But if you could write something, and you know, make whatever you wanted up, is there something that youíd either like to see have been in her back story, or see happen on the show?

CCH Pounder: Oh yeah. Well, I told it once, so weíll spend a little time. I envisioned that Mrs. Frederick was actually a back up girl for some singing group. And that the resolve is a fellow in the audience that came to see her over and over again, and obviously this was CIA agent, but she didnít know that at the time.

And that on - he came one time when he was sick, and after her performance, he approached her in the hallway backstage and said, ďCan I have a drink with you?Ē

And then, of course, it was the Ď60ís and I think that Mr. Frederick was a white guy and they have to find a place where a black person and a white person can have this conversation.

And he tells her his entire life and who is and what he does, and that he has this information and he says, ďAnd I want to feed it to you.Ē And by whatever means he does it, through blood, through transfusions, through hooking up to electrodes together, he implants all this information in the now Mrs. Fredericks playing - who has moved from Show Girl background doo-op singer to the incredible brain of Warehouse 13.

There you go.

Jamie Ruby:  Okay. Thatís great. It would work.

CCH Pounder: You like it? Thank you.

Jamie Ruby:  Donít tell that to the writers now. Okay. Thank you.

CCH Pounder: Youíre welcome.

Operator: There are no further questions at this time.

Greg:  Thank you very much everyone for joining. Thank you very CCH for your time. We really appreciate it and Warehouse 13 airs tomorrow night, Tuesday at 9:00 pm.

Thank you very much guys.

CCH Pounder: Okay. Bye, bye.

Operator: That does conclude the conference call for today and we thank you for your participation and ask that you please disconnect your line.

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