[Greek] Theater started off and used masks and Kabuki, in the East, they used mask-work. And then, Commedia dell'arte in Italy and then, you know, we're part of an acting tradition and, and performance capture is no different.

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.

Not a day goes by where I'm not reminded of Gollum by some person in the street who asks me to do his voice or wants to talk to me about him. But because 'The Hobbit' has been talked about as a project for many years, I knew that at some point I'd have to reengage with him.

I remember kind of doing early acting and thinking, "God, they don't paint behind the sets." It's a bit of a shame, really - "Oh, what's on the other side of this wall? Oh, you can see the plywood." I was really disappointed. I just thought that these things were real, from watching things as a kid.

The difference between the big budget films I've done is the length of time. But in terms of the day-to-day, you're still going on to set, you're getting into character, and you're going and doing your job, so there's absolutely no difference. It's just the structure around it and the length of time. But in terms of budget and money, it doesn't really manifest itself.

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.