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, first of all, reading and discovering what the common perception is and then trying to figure out... well, how does your life cross over into that character, or what's an angle on this that might challenge the status quo? It's just a great journey as well as an education. You're constantly being educated - it's like I'm back at school and making up for lost time.

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.

I have a great interest in Victorian musical & cabaret performances and Weimar artists so the references are there, to Cabaret and also All That Jazz and other films where, where there's a kind of (influential German playwright Bertolt) Brecht-ian approach, almost to the character standing outside of himself or, in this case, he's "self-séance-ing."

Gorillas are still wild creatures. That's made very clear when you observe them in nature. They charge and perform other displays that are terrifying by design. But they don't attack unless they feel threatened.

Mountaineering has always been a huge hobby of mine.

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.