A Quote by Andy Serkis
Performance capture is a technology, not a genre; it's just another way of recording an actor's performance.
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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.
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.
It's really up to the acting community to be willing to be educated about what performance capture is in order to fully appreciate it as acting. It's not a type of acting, but rather the use of technology to harness an actor's performance and translate it into an ape, another animal, or an avatar of some kind.
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.
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.
For me, some of the happiest moments on a live-action film are the awkward moments. One actor says something to another actor. They didn't expect that performance from that actor; that affects their return performance.
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.
Performance for another in no way signals the inferiority of the performer to the one for whom the performance is intended.
Performance capture, for me, is finding the essence of a performance.
Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.
What's fantastic is that there's a real growing appreciation for performance-capture technology as a tool for acting.
It is much more difficult to measure non-performance than performance. Performance stands out like a ton of diamonds. Non-performance can almost always be explained away
You need 10,000 hours to figure out how to be good at something and I agree with that to a certain extent. It's like everything you do to lead up to a great recording or great performance is everything you've done in the past and you can't just, it's rare that someone wakes up in a void and goes and wakes up and makes the most brilliant recording or performance.
Performance capture is a genre of acting which is not going to go away, it's going to proliferate more and more. I'm passionate about it, and I love it. It's the most liberating tool an actor has, because you are not limited by your own physicality, look, or color of your eyes.
In some of the greatest recordings ever made, the performance is a part of the recording. Dylan's 'Rainy Day Women No. 12 and 35' is all about the esthetic of that performance. You can hear the room.
Sometimes the work can get in the way and you give a less-good performance, and sometimes it doesn't and you can really get to the heart of something. And all the other stuff is just interesting and adds another layer to your performance. It helps you find the reality. Because you're not just playing yourself, you know? That would be kind of boring.
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