Zitat des Tages von Andy Serkis:
Originally when I went off to work on 'The Lord of The Rings' I got a call from my agent saying that I was just going to do a voice. But I couldn't really approach it like that. To get Gollum's voice I had to play the character.
When I first did 'The Lord of the Rings,' I was acting on the set with the other actors, but then I had to go back and repeat the process on my own to do the physical capture on a motion capture stage.
I've always been a huge fan of Charles Lawton's performance in 'The Hunchback of Notre Dame,' so somewhere along the line, I've always wanted to play that character.
Gorillas are still wild creatures. That's made very clear when you observe them in nature. They charge and perform other displays that are terrifying by design. But they don't attack unless they feel threatened.
People think, 'Oh, well how can 'The Hobbit,' which is one book, become three films?' But you can take one line from an appendice and it turns into a whole sequence.
It has been great portraying Gollum, but it will be great to see my face on screen for a change.
When I played Gollum in 'Lord of the Rings,' if I was climbing up the side of a mountain, which I physically did, you know, I was on every single occasion swimming through streams, all of that, that wasn't captured. That was filmed on 35 millimeter, and for certain of those shots, it was rotoscoped and painted over.
If you are not moved by the character, no amount of CGI will give you a performance that is emotionally engaging or devastating - what a live-action performance does.
When you have children, you realize that at the end, it's all about passing on, about handing down.
For me, I've never drawn a distinction between live-action acting and performance-capture acting. It is purely a technology.
I had a cat called Dizz, after Dizzy Gillespie.
Before I became an actor, I was a visual artist, and I've always hankered for the storytelling behind the camera.
Over the years, people have asked me, 'Do you think there should be a separate category for acting in the digital realm? Or hybrid sort of awards for digital characters?' and so on. And I've always really maintained that I don't believe so.
My take is that acting is acting. A performance is a performance. With performance capture, if you don't get the performance on the day, you can't enhance the performance.
My natural bent is to have an overabundance of energy, and motion-capture essentializes your every breath, your every move. Seeing yourself through that mask, you realize how far you can pull back and make the performance even more powerful.
I understand why people went nuts for 'The Artist.' We use words so much, it's nice to be able to explore a different way of communication, to be able to express silently what someone - or something - is thinking or feeling.
For film and games, there is now a fantastic method of actors portraying characters which don't necessarily look like themselves. And yet you've still got the heart and soul of the performance.
J.J. Abrams and I met, and we just had this incredible kind of vibe between us.
When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
Acting is a sort of pressure cooker that allows the fizz to come out the top. God knows what I'd be like if I didn't have that.
More and more good actors are now transmigrating into the videogame space and playing roles there because it's where my generation of kids get stories from.
Be magnificent. Life's short. Get out there. You can do it. Everyone can do it. Everyone.
Actors' performances in films are enhanced in a million different ways, down to the choice of camera shot by the director - whether it's in slow motion or whether it's quick cut - or... the choice of music behind the close-up or the costume that you're wearing or the makeup.
I'm a shockingly bad sleeper. In bed very late. Awake at the crack of dawn.
I've always been really in touch with my primal instincts. In my profession, you have to be.
And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.
The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid... but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.
On 'The Avengers,' I've been working closely with Mark Ruffalo.
Gollum has a weak personality and isn't able to cope with the power of the ring.
I'm quite contrary. If people agree on something, I tend to gravitate the other way by my nature. I don't like to be told what to do. I think it goes back to school. I like to do things I want to do and I really don't like doing what I don't want to do.
The fact of the matter is I have done so many parts.
'Macbeth' is an amazing story.
My dad was working abroad, in Iraq, and he was a doctor. We used to go and visit him, in Baghdad, off and on. For the first ten years of my life, we used to go backwards and forwards to Baghdad, so that was quite amazing. I spent a lot of time traveling around the Middle East.
People will come up to me and try and be secretive and say, 'Can you do the Gollum voice for me?' And I'm like, 'Are you kidding? It's 8:30 in the morning on the Victoria Line.'
You don't really think about 3D when you're acting. As a director, you do.
Performance capture is a tool that young actors will need in the next 10, 20 years. It's on the increase, as you say. It's not going away.