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.

On lower budget things you're still working collaboratively, but the investment and your level of creative importance is higher on something like this.

I suppose the biggest strain was that Hoodwink is a high-octane character and he's up there like all the time. Once he's on his journey there's no let up for the man, so I actually found it a massively exhausting job to keep that level up.

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.

The difference between the big budget films I've done is the length of time. But in terms of the day-to-day, you're still going on to set, you're getting into character, and you're going and doing your job, so there's absolutely no difference. It's just the structure around it and the length of time. But in terms of budget and money, it doesn't really manifest itself.

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.

I never felt totally, 100%, patriotically English... I'd seen a lot of the world by an early age - sort of spent a lot of time traveling around Lebanon and I'd seen Babylon, and Damascus, and all sorts of places in the Middle East by the time I was ten. Then we'd return to Ruslip in West London... Done a fair bit of traveling really.