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.

Performance capture is a technology, not a genre; it's just another way of recording an actor's performance.

I think even back as far as 'Lord of the Rings,' there was always the chance that 'The Hobbit' would be made, even way back then. Of course at that point, Peter Jackson didn't probably think at that point that he'd be directing it.

Not a day goes by where I'm not reminded of Gollum by some person in the street who asks me to do his voice or wants to talk to me about him. But because 'The Hobbit' has been talked about as a project for many years, I knew that at some point I'd have to reengage with him.

Where as you go into playing something like Ulysses [on Black Panther], you go - I'm going to have this haircut and this cloth, you draw from different stimulus.

My agent told me they were casting for the voice of Gollum. I hadnt read The Lord of the Rings, but I read the script and realized what an amazing role it was. I developed a voice for the audition tape, then met Peter Jackson and Fran Walsh at the auditions and fell in love with them both.

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."