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.

I'm quite contrary. If people agree on something, I tend to gravitate the other way by my nature. I don't like to be told what to do. I think it goes back to school. I like to do things I want to do and I really don't like doing what I don't want to do.

I do listen to myself sometimes and think, 'Is my moral compass so easily swayed by the characters I play, or is it me growing as a human being?'

I'd like to think that we strive in film and theatre to tell great stories, and I believe in the power of storytelling in our culture.

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.

People are mystified by it and so they kind of think, the acting community thinks they're gonna be replaced by CG characters and animators think they're gonna be replaced by performance capture (and) a lot of directors, particularly European directors, who have no experience of it.

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.

That's what I think is the biggest challenge, is just being still and learning how to just be present in that stillness and not over do it, not over act.

I think there will always be a particular generation of actors who think that they're going to be replaced by robots. But certainly the emerging actors understand that that's part of the craft.