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.

The difference between a regular camera and a 3D camera, for an actor, is really no different except that the turn-arounds are longer. It takes a lot longer to set up a shot because the cinematographer is really trying to set up a whole world, so it can't be more intricate and more beautiful to the viewers, in 3D.

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.

I definitely read the comic books and got as familiar with the comic books as possible. I was always a fan of Spider-Man and most superheroes. There aren't a whole lot of little boys out there that aren't.

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.

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.

Going from 'Shark Night' to 'Piranha,' a guy holding a fish on a stick in front of you that they're going to replace in post-production, it's a lot different than seeing this animatronic shark that, if you get caught up in the moment, looks, acts and you sometimes think could be real.