I suppose the biggest strain was that Hoodwink is a high-octane character and he's up there like all the time. Once he's on his journey there's no let up for the man, so I actually found it a massively exhausting job to keep that level up.

My dad was working abroad, in Iraq, and he was a doctor. We used to go and visit him, in Baghdad, off and on. For the first ten years of my life, we used to go backwards and forwards to Baghdad, so that was quite amazing. I spent a lot of time traveling around the Middle East.

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

You don't go - oh this is a motion capture role, I'm going to employ this method of acting. We don't have anything to hide behind when we're doing this.

Caesar [from the Rise of the Planet of the Apes] was brought up with human beings and because of the drug he had pretty much grown up with his whole life, he felt like an outsider, he felt trapped in an ape's body but he didn't really feel like an ape and that was my way into the character. So he's always had this duality playing him from an infant all the way to now as a fifty-five year old ape.

When you have children, you realize that at the end it's all about passing on, about handing down. The process of letting go, not attachment, but appreciating the beauty and value in the change, the transformation.

We're live in a world that has, in many ways, become desensitized and unable to empathize with other cultures and species. The dangerous part is that we objectify others and have somehow removed ourselves, mentally, from the very planet we inhabit.