A Quote by Andy Serkis

The thing is, I don't just take roles because they're performance capture. — © Andy Serkis
The thing is, I don't just take roles because they're performance capture.
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.
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.
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.
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.
Performance capture is a technology, not a genre; it's just another way of recording an actor's performance.
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.
The hardest thing for me was probably the different roles in the Performance Center because when you go to the Performance Center and become a WWE Superstar, you're on a different schedule. But in the indies or in Mexico, you have your time.
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.
In '83, not only was there no such thing as performance motion capture technology, there was no such thing as digital animation. This was the analog era.
You never know when you're taking a job, ever... but you try to take good scripts. That's all you can do as an actor - take the best thing available. Even then, it's not [really] in your control. Certainly not in film and TV, because there are so many other elements. You just have to take control of your own performance.
I would say, when you're playing video games that involve competition against somebody else, you have to be able to understand what's going on and react in the fastest time possible to either - if it's a capture the flag game, capture the flag, if you're trying to take out the other team, take them out. Same thing in basketball.
Performance capture, for me, is finding the essence of a performance.
Live performance has always been my thing. It’s my purpose to master and capture the moment every time I have you connected.
The great thing about performance capture is you can go off, and then, without changing costume, you can become another character.
The first thing you have to do is take everything with a grain of salt. You know, you've gotta just look at the goal, focus on what you gotta do and take one step at a time as a whole, as every performance being that's it, that's one objective, and let's just move forward and work on that.
You know, I'm unable to make those records where you just go in a studio and that's it. I think you can capture so much more on a record than just a particular performance on one day.
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