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.
Andy SerkisRead
As long as you have the acting chops and the desire to get inside a character, you can play anything.
Interpretation
The quote emphasizes that talent and passion allow anyone to portray any character.
Andy Serkis highlights the importance of both skill and commitment in acting. He suggests that regardless of oneβs background or physical appearance, as long as an actor possesses the necessary talent ('acting chops') and a genuine interest in truly understanding and embodying a character, they can convincingly take on a wide variety of roles, transcending any limitations imposed by stereotypes or expectations.
In practice
In a motivational speech for aspiring actors, this quote can inspire them to pursue their dreams regardless of their background.
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.
The great thing about performance capture is you can go off, and then, without changing costume, you can become another character.
If you are not moved by the character, no amount of CGI will give you a performance that is emotionally engaging or devastating - what a live-action performance does.
But that's not what an actor does. An actor finds things in the moment with a director and other actors that you don't have time to hand-draw or animate with a computer.
People find it hard to get their heads around nominating a computer-generated character, but every time you see Gollum on the screen, that's me who is acting up there - even if it is behind a mass of pixels - and it's my voice you hear.
I don't think anything I've written has been done in under six or eight drafts. Usually it takes me a few years to write a book. 'World's Fair' was an exception. It seemed to be a particularly fluent book as it came. I did it in seven months. I think what happened in that case is that God gave me a bonus book.
Recounting the strange is like telling one's dreams: one can communicate the events of a dream, but not the emotional content, the way that a dream can colour one's entire day.
I write because it is dangerous, a bloody risk, like love, to form the words, to say the words, to touch the source, to be touched, to reveal how vulnerable we are, how transient.
A good director's not sure when he gets on the set what he's going to do.
I want paint to work as flesh... my portraits to be of the people, not like them. Not having a look of the sitter, being them ... As far as I am concerned the paint is the person. I want it to work for me just as flesh does.
And then he danced,-all foreigners excel the serious Angels in the eloquence of pantomime;-he danced, I say, right well, with emphasis, and a'so with good sense-a thing in footing indispensable: he danced without theatrical pretence, not like a ballet-master in the van of his drill'd nymphs, but like a gentleman.
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