That's what I think is the biggest challenge, is just being still and learning how to just be present in that stillness and not over do it, not over act.

I have a great interest in Victorian musical & cabaret performances and Weimar artists so the references are there, to Cabaret and also All That Jazz and other films where, where there's a kind of (influential German playwright Bertolt) Brecht-ian approach, almost to the character standing outside of himself or, in this case, he's "self-séance-ing."

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 love acting and certainly won't give it up, but it's part of a bigger canvas for me now.

I'd like to think that we strive in film and theatre to tell great stories, and I believe in the power of storytelling in our culture.

For me, I've never drawn a distinction between live-action acting and performance-capture acting. It is purely a technology.

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.