I had to relearn how to ride a horse like an ape. I had to change how I jumped off and how I gripped them with my thighs and distribute my weight differently.

— Andy Serkis

“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.”

— Andy Serkis

As I started to research gorillas, I began to understand that they're all totally individual and idiosyncratic, and they have their own personalities.

— Andy Serkis

“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.”

— Andy Serkis

“I would love to direct an 'Apes' movie. It would be in the spirit of where I'm going with my career - avatars played by actors to say something about the human condition.”

— Andy Serkis

“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.”

— Andy Serkis

If James Franco's wearing a costume, and I'm wearing a motion capture suit, we don't act any differently with each other because of what we're wearing. We're embodying our roles.

— Andy Serkis

“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.”

— Andy Serkis

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.

— Andy Serkis

“Over the years, people have asked me, 'Do you think there should be a separate category for acting in the digital realm? Or hybrid sort of awards for digital characters?' and so on. And I've always really maintained that I don't believe so.”

— Andy Serkis

“People will come up to me and try and be secretive and say, 'Can you do the Gollum voice for me?' And I'm like, 'Are you kidding? It's 8:30 in the morning on the Victoria Line.'”

— Andy Serkis

“The fact of the matter is that an actor, if I'm playing a performance capture role and you're playing a live action role and we're having a scene together, there's no difference in our acting processes.”

— Andy Serkis

There are parts of New Zealand that I absolutely fell in love with that I will miss going back to, but I kind of think that is the part that can continue and will continue on. I don't imagine I'll stop going back to New Zealand, because I feel part of the fabric there, really.

— Andy Serkis

I mean, in many ways, you know, I felt very connected to Ian (Dury) on, on a lot of levels. I mean, politically, & sort of, socially, our, kind of, social backgrounds are quite similar in many ways, as well as our kind of artistic endeavors. So there were many, many things that sort of chimed in for me, and kind of made me feel very instinctive about playing him, and, and although, there was sort of a certain amount of impression involved, actually, there's a lot of myself in the role.

— Andy Serkis

“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.”

— Andy Serkis

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.

— Andy Serkis

“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.”

— Andy Serkis

“I love, first of all, reading and discovering what the common perception is and then trying to figure out ... well, how does your life cross over into that character, or what's an angle on this that might challenge the status quo? It's just a great journey as well as an education. You're constantly being educated - it's like I'm back at school and making up for lost time.”

— Andy Serkis

“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.”

— Andy Serkis

“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.”

— Andy Serkis

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