GRANT BOWLER

I was born in New Zealand, so I have a lot of family there.

I seem to be incapable of playing that guy that always does the right thing, who always responds well in any circumstance.

I think that the way of bringing realism into fantasy is to treat it as the commonplace.

I never talk about a job before the contract is signed and I've shot the first three days.

I love working in New Zealand. It's just the most beautiful country I've ever been to.

I've actually usually been wary of taking on science fiction as an actor because it's really tough to do. It's really difficult to execute. There's often lots of prosthetics, green screen and special effects, and it can get very technical.

I don't watch the beginnings of many series; I don't know why - maybe because I'm normally working.

I'm a huge fan of classic sci-fi.

A long-running TV series is a beast in that it demands you stick to one character over a long haul.

For my money, if I'm playing anything then it has to have some sharp angles on it. It's got to have some edges that you can cut yourself on, otherwise it's boring.

Money is tighter now, with the advertising dollar spread a lot more thinly across a whole range of media because of the Internet. It means the television networks have less power to produce shows, and TV is where most Australian actors make their money.

Making a movie with Lindsay Lohan is not for the faint of heart.

Comedy has to be so much cleaner than drama. You can't layer it in the way you can a dramatic performance. Which is why it's more difficult than drama - you don't have so many tricks.

I love playing bad guys; they're always much more fun than the good guy.

I grew up in Queensland, and my dad was a tradesman and my mum an insurance agent, both self-employed.

A character, their ability or inability to laugh at themselves should always be a very, very conscious choice. It's a very big key to the nature of a human being.

I'm a person who doesn't necessarily enjoy feeling vulnerable, so I think my loved ones and my family make me feel vulnerable. Also, being connected with people when I'm working is a very vulnerable place to be.

I pretty much always choose characters. That's what I do. That's what I look for. I look for dynamics in a script and potential.

I think my children have presented one of the biggest lessons so far in my life. It was only when my kids were born that I realized just how much I'd been living my life worried about what everybody thought of me and, even more strangely, worried about what I imagined other people might be thinking about me.

Looking back is a form of insanity, given that I could really never understand what everybody else was thinking. I find these days that I'm much more efficient when I just focus on what I need to do in order to move my family forward and get the focus off me.

The truth that I know for sure is that I may have an opinion, but I do not know the truth, and the other thing I know for sure is that certainty is the root of all ignorance and the root of all evil.

Television is what we call the long form of storytelling, where we tell stories over thirteen, twenty-two, or twenty-four hours. Miniseries is an eight-hour form of storytelling, and film is a two-hour form. Each and every one of them are important to me, because they're a different modality of storytelling.

Mind your own business.

Strangely enough, I find myself more centered in chaos than in calm, and again I'm not sure whether that's a strength or says something weird about me, but I love a crisis. I'm normally very, very organized in the middle of chaos, and then when I have nothing to focus on, extremely disorganized, and I tend to waste a lot of time.

The funny thing is, the older I get, the less I enjoy talking when I act. I don't like talking anymore. I like behavior. All of the running and gunning, and the fights and the stunts, is just awesome fun.