Andy Serkis Men Quotations

When you have children, you realize that at the end it's all about passing on, about handing down. The process of letting go, not attachment, but appreciating the beauty and value in the change, the transformation.

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.

When you start to do research into gorillas or any kind of apes, if you're going to play them, that's one of the biggest misconceptions. And when I did Kong, you're not doing gorilla movements, you're not doing ape movements, you're looking for a personality. It's like saying okay I'm going to do human movements.

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.

There are no rhymes or reason, actually. Having said that, you know, cause there are people who are absolutely single-minded about their process and they can still come up with great work. But (what) I enjoy and it's the same, I suppose, as I became more of a family man, I enjoy, I enjoy an atmosphere where it, you know, doesn't have to be about conflict to get good results.

I think he (director, Peter Jackson) was originally going to have Kong kill Lumpy. Instead he gave me a role who finally gets devoured by computer graphics ? I don't know whether that is a comment or not.

Working with and collaborating with and for Peter Jackson was an incredible experience because he is such a phenomenal filmmaker.

I think I'd like to be a lion tamer, actually. That - that would provide the most audience entertainment if something went really badly.

People used to say, 'Andy Serkis lent his movements to Gollum,' and now they say, 'Andy Serkis played Caesar.' That's a significant leap.

Hoodwink is a product of his environment. He grew up in Belfast, he was part of the UDA and he fought for what he believed in - or was brainwashed into believing - because of the people that surrounded him.

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

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.

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.