And 'Sex Drugs Rock Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

What I'm saying is people like Hoodwink are not kind of evil villains, they're part of humanity. We can choose to disassociate ourselves from them and we can choose to pretend they're not there, but they are. We're all together in this.

it's a weird thing with acting and it happens to a lot of actors, not just myself - it's like you're giving off an I really need to be loved today vibe. My worst moment recently is I fell asleep on the tube in London on the Victoria line 8:30 in the morning and I woke up and there were about five people with iPhones taking pictures.

What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

In 'Tintin,' it's like a live-action role. You're living and breathing and making decisions for that character from page 1 to page 120, the whole emotional arc. In an animated movie, it's a committee decision. There are 50 people creating that character. You're responsible for a small part.

Animators do amazing working translating and interpolating the characters [in the Planet of the apes], the facial performances. What we're creating on set - if you don't get it on the day, in the moment, on set, in front of the camera, with the director and the actors. The emotional content of the scene and the acting choices.

I'd already started directing short films when we were doing 'Lord of the Rings,' then videogame projects. So Peter's known that I've been heading towards directing for a long time. But I always thought my first outing would be a couple of people and a digital camera in the back streets of London somewhere!