More and more good actors are now transmigrating into the videogame space and playing roles there because it's where my generation of kids get stories from.

When you start to do research into gorillas or any kind of apes, if you're going to play them, that's one of the biggest misconceptions. And when I did Kong, you're not doing gorilla movements, you're not doing ape movements, you're looking for a personality. It's like saying okay I'm going to do human movements.

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.

You don't go - oh this is a motion capture role, I'm going to employ this method of acting. We don't have anything to hide behind when we're doing this.

The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.

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.

Gorilla tourism is vital to Rwanda's economy: It's the third highest source of income.