Acting is acting, as far as I'm concerned and, you know, how you manifest it is, at the end of the day, not the point. It's how it affects the story & how it affects the audience. And if people are hungry to be told stories, using, using this form then there's a reason for that.

That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.

When I first was offered the role on Rise [of the Planet of the Apes], I always played Caesar as a human being within ape skin.

I think we can be very narrow-minded in this country; you see something that someone's done and immediately want them to do the same thing again - but if they don't, they're criticised for not doing the same thing again, but if they do they're just repeating themselves.

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.

For film and games, there is now a fantastic method of actors portraying characters which don't necessarily look like themselves. And yet you've still got the heart and soul of the performance.

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.