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.

At the moment, my trajectory isn't to think about acting. I'm absolutely devoted to The Imaginarium, our projects and directing. And watching and enabling other actors do their thing in our studio is hugely rewarding. I expect at some point I'll probably want to go back on stage and do some theater, because I've not done theater in 10 years.

There are no rhymes or reason, actually. Having said that, you know, cause there are people who are absolutely single-minded about their process and they can still come up with great work. But (what) I enjoy and it's the same, I suppose, as I became more of a family man, I enjoy, I enjoy an atmosphere where it, you know, doesn't have to be about conflict to get good results.

Everybody thinks performance capture is about thrashing around and doing a lots of movement, but it's actually about being able to contain and think and be believed in a close-up, as much as anything else.

[Greek] Theater started off and used masks and Kabuki, in the East, they used mask-work. And then, Commedia dell'arte in Italy and then, you know, we're part of an acting tradition and, and performance capture is no different.

(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.

Second films are, you know, like 'difficult second albums', so it's a tricky position to be in but I think he's made a highly accomplished film.