What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

I'm in the early stages of a film called 'Freezing Time' about Eadweard Muybridge, the Victorian photographer who was really the forefather of cinema. Digital animators still treat his images like the Bible. He was a very obsessed man.

There is always that potential in the same way - Roddy McDowall ended up playing Cornelius to Caesar [in the Planet of the Apes]. Two different characters. That's the joy of the craft. Bring it on I say.

(The) process of acting is no different to conventional screen acting, in that it's providing a perfect interface between the director and the performer. So there's no sort of long way around a viral committee of animators.

Performance capture is a genre of acting which is not going to go away, it's going to proliferate more and more. I'm passionate about it, and I love it. It's the most liberating tool an actor has, because you are not limited by your own physicality, look, or color of your eyes.

I love the whole kind of notion of transformation for me is (what) excites me about not only acting, but storytelling. I love, I love that notion of a slightly larger-than-life artistic truth, you know, magnifying real emotional truth (or) finding something about human condition (which), you wouldn't necessarily think you can learn from characters such as Kong or Gollum, but actually they are, you know, these huge amplifications of a human psyche and I suppose those kind of roles have always attracted me definitely.

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.