I think what's so great about 'Arrow' is that they really ground everything in reality.

The more you spend time with a character, the more you see different nuances of that character.

Whatever kind of story you're telling, whether it's a genre piece for a comic book or whatever it is, it has importance because it's all a metaphor for the existence of our being.

I think everyone thinks their family is insane, and every family is insane. There is no real normal.

The biggest fear you face, as an actor, is whether people are going to like you. When you learn to let go of that fear, you can go so much deeper into the role and really take much bigger risks 'cause you're not worried about trivial things like that.

I just think, as a species, what we [people] enjoy most is creation and creativity, and telling stories is an extension of expressing all the thoughts and ideas that we have inside of ourselves.

The difference between film and TV, for me, is just that huge thing of knowing that there's a script that is not going to change and you can go really deep into that. With TV, you're just constantly on a high-wire, making sure you don't fall.

I could have been on a path that led to different, more traditional teen romance, and 'Nip/Tuck' shook me loose from any generalization I might have been forced into. It helped me understand I wanted to take on things that were edgier, more challenging and riskier.

The process of creativity and life is one of death and rebirth, that's constantly happening over and over again. Whether it's an actual death or just a shift in perspective, that cycle is forever continuing. As an actor and person, that's just something you have to accept.

Passion is so contagious. When you're working on a project where people care, on every level, from the key grips to the main writer to the star of the show, you can't help but want to jump on board and create something.

Before Fringe I was in Dirty Sexy Money playing Jeremy Darling who was this bratty New York socialite.