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.

I'm working from home a lot. That's very unusual because I'm away a lot, sometimes working on the other side of the world for long periods of time. So, it's hard to manage in the sense that I want to be the best dad I can be but it's almost harder when you have your kids outside the door.

Basically we're puppeteers and if you're there and you're in the character, the puppet is going to look good. It's going to breath life and I think once they find out how to trust this system, you just forget about it and just perform, then it's just second nature, it just becomes easy.

My take is that acting is acting. A performance is a performance. With performance capture, if you don't get the performance on the day, you can't enhance the performance.

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.

There are no rhymes or reason, actually. Having said that, you know, cause there are people who are absolutely single-minded about their process and they can still come up with great work. But (what) I enjoy and it's the same, I suppose, as I became more of a family man, I enjoy, I enjoy an atmosphere where it, you know, doesn't have to be about conflict to get good results.

Acting is acting, as far as I'm concerned and, you know, how you manifest it is, at the end of the day, not the point. It's how it affects the story & how it affects the audience. And if people are hungry to be told stories, using, using this form then there's a reason for that.