I'm a Mac user. I think it depends on how you were brought up, and I was introduced to Apple quite early. They're certainly the best for visual stuff and film-directing.
— Andy Serkis
I think parenting is very different now. We're totally governed by our children!
I think I'd like to be a lion tamer, actually. That - that would provide the most audience entertainment if something went really badly.
What's wonderful about Tolkien and Shakespeare is that they show up your own individual microscope. They're so infinitely vast. You can reinterpret them in so many ways.
I believe that when people experience an event as a community, it can transcend and change people's lives.
'How To Train your Dragon 2' is an amazing film. I think it's an extraordinary film. The animation in it is fantastic.
I had to relearn how to ride a horse like an ape. I had to change how I jumped off and how I gripped them with my thighs and distribute my weight differently.
People will come up to me and try and be secretive and say, 'Can you do the Gollum voice for me?' And I'm like, 'Are you kidding? It's 8:30 in the morning on the Victoria Line.'
My livelihood depends on the art of animators.
Everybody thinks performance capture is about thrashing around and doing a lots of movement, but it's actually about being able to contain and think and be believed in a close-up, as much as anything else.
My natural bent is to have an overabundance of energy, and motion-capture essentializes your every breath, your every move. Seeing yourself through that mask, you realize how far you can pull back and make the performance even more powerful.
I have a company in the U.K., a performance-capture studio. We're looking to push the boundaries of performance-capture technology in film and video games, but also in live theater, using real-time performance capture with actors onstage, and combining that with holographic imagery.
Performance capture, for me, is finding the essence of a performance.
Great actors like Willem Dafoe and Ellen Page and Samuel L. Jackson will go and do a videogame, because they understand that storytelling isn't just necessarily about filmmaking.
I've always been a huge fan of Charles Lawton's performance in 'The Hunchback of Notre Dame,' so somewhere along the line, I've always wanted to play that character.
I'm a shockingly bad sleeper. In bed very late. Awake at the crack of dawn.
There are parts of New Zealand that I absolutely fell in love with that I will miss going back to, but I kind of think that is the part that can continue and will continue on. I don't imagine I'll stop going back to New Zealand, because I feel part of the fabric there, really.
Gollum has a weak personality and isn't able to cope with the power of the ring.
I had a body wax. It's the most painful thing I have ever done in my life. I had every single hair on my body pulled out, and I really bruised.
I had a cat called Dizz, after Dizzy Gillespie.
When you have children, you realize that at the end, it's all about passing on, about handing down.
If it was a great script and a great character, I would love to do a romantic comedy.
Recently I read that half the world or more has read 'The Lord of The Rings,' but then I found out that something like 75 per cent of the world knows the 'Tintin' books.
I have a road bike and a mountain bike, and I tend to use them both a lot. They help you keep your balance and your stamina.
When we, as humans, articulate, our tongues tend to hit the back of the teeth.
Gollum is my picture of Dorian Gray. He will be with me for the rest of life, and I will grow to look more like him as I get older.
I've been on stage and been an actor for many years and used different mediums.
You can't just come up with an idea for a game and stick the drama on top. It all has to be one driving thrust.
Games aren't going to go away. BAFTA's got a category for games as an art form. The Academy should think about that, too.
If you are not moved by the character, no amount of CGI will give you a performance that is emotionally engaging or devastating - what a live-action performance does.
I've done a lot of films that are purely live-action roles, and even if I hadn't come across performance capture as a technology, I think I'd always consider myself a sort of mercurial actor.
Britain has enormous amount of talent, as we've seen from the BAFTAs. It's all here, and it has to be allowed to flourish.
J.J. Abrams is an all-time hero of mine, really lovely to be working with him.
I think acting really helps as a director. It's just no question, because you totally understand the acting process.
Gollum is entirely based on the notion of addiction. The way that the ring pervades him, makes him craving, lustful, depletes him physically, psychologically and mentally.
Put it this way: If I had to go back to 1968 and wear the makeup that John Chambers made for the original 'Planet of the Apes' series, I think I would rather wear a unitard.
Gorillas have a belch vocalization, which is sort of like, 'I'm OK, you're OK.' They do a pig grunt, which is reprimanding. They sing, they laugh, and they hoot, which grows into a chest-beating display.
Gollum was so interesting to me because he's morally ambivalent, and I love the notion of a quest that is to lose something. Not to gain, but to get rid of something.
The thing is, I don't just take roles because they're performance capture.
I want to link together ancient forms of storytelling and the future.
Just being an ape is a workout.
I don't want to play a voice.
Having done a lot of theater, I'm used to sustaining characters over long periods of time.
You don't really think about 3D when you're acting. As a director, you do.
'Macbeth' is an amazing story.
On 'The Avengers,' I've been working closely with Mark Ruffalo.
If James Franco's wearing a costume, and I'm wearing a motion capture suit, we don't act any differently with each other because of what we're wearing. We're embodying our roles.
When I first did 'The Lord of the Rings,' I was acting on the set with the other actors, but then I had to go back and repeat the process on my own to do the physical capture on a motion capture stage.
There's a huge gulf between people who can afford to go to drama school and those who can't.
As soon as you do it, actors realize there is no difference playing a performance-captured role or a live-action role.
