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 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.

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.

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

I'd like to think that we strive in film and theatre to tell great stories, and I believe in the power of storytelling in our culture.

My belief about performance capture is that it's a technology which allows actors to play extraordinary characters. But from an acting perspective, I've never drawn a distinction between playing a conventional, live action character and playing a role in a performance capture suit. And from a purely acting point-of-view, I don't believe there should be a special Oscar category because I think it sort of muddies the waters in a way.

Working from home is so, so hard because I want to be present for them and yet there's so much to do work-wise. That's the biggest challenge for me.