When you come out of the other end of a long process, working with a character [you realize] this character has really shaped my ideas.

When you come out of the other end of a long process, working with a character [you realize] this character has really shaped my ideas.

Basically we're puppeteers and if you're there and you're in the character, the puppet is going to look good. It's going to breath life and I think once they find out how to trust this system, you just forget about it and just perform, then it's just second nature, it just becomes easy.

The whole chameleon thing about acting. That's why I'm moving towards directing - it's a much more healthy occupation.

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

[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.

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.