My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.

I'm an artist; I love everyone.

I just want to keep working. Longevity is really important. I am extremely passionate about what I do and the happiest I am is when I'm on set working. I suppose longevity and respect. It takes longevity to earn respect.

In a film you only get two hours to do this big arc and so you have to pick and choose your moments carefully, but with television you get to take your time and just take it episode by episode and discover new things.

I guess that's the oddest personality trait for me - I'm too dumb and naïve to ever really be nervous about anything. I just don't take it all that seriously. I'm much more happy to go home and lay on the couch and watch I Dream of Jeannie with my fiancée and our dog.

Read the script as a fan and try to create this community in your head. That's the thing that a lot of people tend to forget - it's not just about your character. Even if you're a lead, you're still supporting the supporting the entire story.

It's just so much more fun to play bad than good. Plus it's just good to get that out of your system so it doesn't show up in your personal life.