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."

I expect at some point I'll probably want to go back on stage and do some theater, because I've not done theater in 10 years.

For me, I've never drawn a distinction between live-action acting and performance-capture acting. It is purely a technology.

People think, 'Oh, well how can 'The Hobbit,' which is one book, become three films?' But you can take one line from an appendice and it turns into a whole sequence.

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.

At the moment, my trajectory isn't to think about acting. I'm absolutely devoted to The Imaginarium, our projects and directing. And watching and enabling other actors do their thing in our studio is hugely rewarding. I expect at some point I'll probably want to go back on stage and do some theater, because I've not done theater in 10 years.

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.