But I think there's something wonderful and extraordinary about climbing on your own and just that kind of relationship to the environment. I'm very addicted to the mountains. You know, so, I do like that solitude.

I love the whole kind of notion of transformation for me is (what) excites me about not only acting, but storytelling. I love, I love that notion of a slightly larger-than-life artistic truth, you know, magnifying real emotional truth (or) finding something about human condition (which), you wouldn't necessarily think you can learn from characters such as Kong or Gollum, but actually they are, you know, these huge amplifications of a human psyche and I suppose those kind of roles have always attracted me definitely.

(The) process of acting is no different to conventional screen acting, in that it's providing a perfect interface between the director and the performer. So there's no sort of long way around a viral committee of animators.

I play saxophone, I play tenor sax.

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.

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.

In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.