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.

Yeah, I mean, climbing's always been a massive hobby of mine up until, kind of, recent times when I've had family, but no, it's been a driving passion in my life and, uh, I've always wanted to climb the Matterhorn. It was the mountain that, sort of, inspired me to climb, as a youngster. So, it was great to be able to get to do it.

As long as you have the acting chops and the desire to get inside a character, you can play anything.

That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.

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.

When you start to do research into gorillas or any kind of apes, if you're going to play them, that's one of the biggest misconceptions. And when I did Kong, you're not doing gorilla movements, you're not doing ape movements, you're looking for a personality. It's like saying okay I'm going to do human movements.

The whole chameleon thing about acting. That's why I'm moving towards directing - it's a much more healthy occupation.