Be magnificent. Life’s short. Get out there. You can do it. Everyone can do it. Everyone.

— Andy Serkis

The most contentment Andy Serkis quotes to discover and learn by heart

My first job when I got my equity card was acting in 14 plays back-to-back.

Playing that many roles, you look for ways of differentiating the characters physically, which goes hand in hand with understanding them psychologically.

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I play saxophone, I play tenor sax.

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I don't see a difference between playing a performance capture role and a live action role, they're just characters to me at the end of the day and I'm an actor who wants to explore those characters in fantastically written scripts. The only caveat is a good story is a good character.

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Gorillas are still wild creatures. That's made very clear when you observe them in nature. They charge and perform other displays that are terrifying by design. But they don't attack unless they feel threatened.

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Every age has its storytelling form, and video gaming is a huge part of our culture. You can ignore or embrace video games and imbue them with the best artistic quality. People are enthralled with video games in the same way as other people love the cinema or theatre.

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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.

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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.

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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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Animators do amazing working translating and interpolating the characters [in the Planet of the apes], the facial performances. What we're creating on set - if you don't get it on the day, in the moment, on set, in front of the camera, with the director and the actors. The emotional content of the scene and the acting choices.

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Performance capture is a tool that young actors will need in the next 10, 20 years. It's on the increase, as you say. It's not going away.

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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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The whole chameleon thing about acting.

That's why I'm moving towards directing - it's a much more healthy occupation.

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About Andy Serkis

Quotes 118 sayings
Profession Film actor
Birthday April 20, 1964

Performance capture is a technology, not a genre;

it's just another way of recording an actor's performance.

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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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[Greek] Theater started off and used masks and Kabuki, in the East, they used mask-work. And then, Commedia dell'arte in Italy and then, you know, we're part of an acting tradition and, and performance capture is no different.

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Not a day goes by where I'm not reminded of Gollum by some person in the street who asks me to do his voice or wants to talk to me about him. But because 'The Hobbit' has been talked about as a project for many years, I knew that at some point I'd have to reengage with him.

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What I'm saying is people like Hoodwink are not kind of evil villains, they're part of humanity. We can choose to disassociate ourselves from them and we can choose to pretend they're not there, but they are. We're all together in this.

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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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It's a different rhythm than most movies.

For a lot of the actors, you're 12,000 miles away from home. It becomes a way of life - getting up at five in the morning, shooting every day, day in day out, for 270 days. The new cast playing the dwarves were carrying incredibly heavy weights in their suits, they sat through hours of make-up every day. So it's quite challenging from a stamina point of view.

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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.

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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?'

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Second films are, you know, like 'difficult second albums', so it's a tricky position to be in but I think he's made a highly accomplished film.

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I love acting and certainly won't give it up, but it's part of a bigger canvas for me now.

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That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.

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I've done a fair amount of that stuff.

.. when we did 'Lord of the Rings' the transformation sequence from Smeagol to Gollum was a 19-hour make-up job. You have to have a kind of zen button that you press and allow the mind to be focused in a certain way.

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I believe that when people experience an event as a community it can transcend and change people's lives.

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I love playing real characters... if they're not around anymore it's helpful because you won't get sued! But there's so much research involved and I love that part of the process.

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In the same way 'Lord of the Rings' was an interpretation of the book, 'The Hobbit' is being treated the same way. It will be faithfully represented with a fresh interpretation.

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Acting is a sort of pressure cooker that allows the fizz to come out the top.

God knows what I'd be like if I didn't have that.

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Playing a character in a video game is different to other performances because your character can't lead the audience of players in one direction.

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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.

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I think even back as far as 'Lord of the Rings,' there was always the chance that 'The Hobbit' would be made, even way back then. Of course at that point, Peter Jackson didn't probably think at that point that he'd be directing it.

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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.

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The learning curve is 'The Hobbit' is being shot in 3D.

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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.

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There is always that potential in the same way - Roddy McDowall ended up playing Cornelius to Caesar [in the Planet of the Apes]. Two different characters. That's the joy of the craft. Bring it on I say.

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What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

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I remember once, I read in a horoscope, because I'm an Aries, I read this terrible thing, which really affected me, which said, "You will never be original. You will always be an interpreter." (Laughs) I thought, "Oh my God." You know, I had to live with that on my back for [all my life].

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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.

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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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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.

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There's this whole grey area seemingly every time it's talked about animators and who takes ultimate responsibility for the characters [of the Planet of the apes] but without question and I'll go down saying this year after year, these characters are authored by what we do on set. They are not authored by animators.

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On lower budget things you're still working collaboratively, but the investment and your level of creative importance is higher on something like this.

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In a personal way, to do with family and the father-son relationship, in a kind of artistic way with regard to him being an art student. I also studied the visual arts at Lancaster University. I then decided to become an actor as he was becoming a musician. And then as an actor/performer, we have similar sort of interests - music hall and that whole world. So, there's a lot that I felt connected with.

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After 'Kong,' my knuckles have never recovered because I had to wear very heavy weights on my forearms and around my hips and ankles to get the sense of size and scale of the movement of the character You are telling your body that you are these things and that you're feeling these thoughts and that you're experiencing these experiences.

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My belief about performance capture is that it's a technology which allows actors to play extraordinary characters. But from an acting perspective, I've never drawn a distinction between playing a conventional, live action character and playing a role in a performance capture suit. And from a purely acting point-of-view, I don't believe there should be a special Oscar category because I think it sort of muddies the waters in a way.

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I've always thought of acting as a tool to change society.

I watch a lot of actors and I see panic in their eyes because they don't know why they act and I know why I act. Whether I'm a good or a bad actor, I know why I do it.

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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.

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For me, I've never drawn a distinction between live-action acting and performance-capture acting. It is purely a technology.

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