Andy Serkis Quotes
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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.
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I wanted to be a painter, really, when I was growing up as a kid. It was one thing that really took a grip on me.
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There's a huge gulf between people who can afford to go to drama school and those who can't.
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I think I'd like to be a lion tamer, actually. That - that would provide the most audience entertainment if something went really badly.
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I had a cat called Dizz, after Dizzy Gillespie.
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I think the actors in 'Greystoke' were amazing. They had a really good performance coach called Peter Elliott who's, of his time, one of the greatest simian performance coaches for actors.
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Gollum's never really gone too far away from me because he's indelibly kind of printed into my DNA now, I think.
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I would love to direct an 'Apes' movie. It would be in the spirit of where I'm going with my career - avatars played by actors to say something about the human condition.
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I can get on with all different sorts of people, and I never feel homesick, particularly, or I've never felt kind of patriotic towards any one country.
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You'll very rarely find that you can enhance a performance to give it a real emotional centre and truth... after the fact.
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Looking back, when I was Gollum, I suppose I did break the mold to a certain extent. I'm proud, and very thrilled, to be a part of that.
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My very, very first moment on set on 'Lord of the Rings' in 2000 was me in a lycra suit, six and a half thousand feet up on a mountain in New Zealand, standing in front of 250 crew who were all wondering what I was doing - myself included.
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I think that Gollum is really the character who is a very human character, and he's very flawed, like most humans are, and has good and bad sides.
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More and more good actors are now transmigrating into the videogame space and playing roles there because it's where my generation of kids get stories from.
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Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.
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The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid... but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.
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I am a bit evangelical, I know, but performance-capture is still misunderstood.
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I think I have a lot of internal energy, which does need to come out.
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I'd already started directing short films when we were doing 'Lord of the Rings,' then videogame projects.
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I'm in the early stages of a film called 'Freezing Time' about Eadweard Muybridge, the Victorian photographer who was really the forefather of cinema. Digital animators still treat his images like the Bible. He was a very obsessed man.
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I understand why people went nuts for 'The Artist.' We use words so much, it's nice to be able to explore a different way of communication, to be able to express silently what someone - or something - is thinking or feeling.
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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.
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In performance capture roles, it's not a committee of animators that author the role, it's the actor. I think that's a significant thing for people to understand.
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Before I became an actor, I was a visual artist, and I've always hankered for the storytelling behind the camera.