Chris Zylka

It's good to have butterflies. And they always go away. The camera starts rolling and they go away and it's all good.

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.

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.

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.

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.