The great thing about performance capture is you can go off, and then, without changing costume, you can become another character.
Andy SerkisRead
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.
Interpretation
The role of an actor is crucial in performance capture, overshadowing the contribution of animators.
Andy Serkis emphasizes the importance of the actor in performance capture roles, suggesting that the authenticity and emotion of the character come primarily from the actor's performance rather than the animation or input of a team of animators. This highlights the unique contribution that actors make in bringing characters to life in a digital medium, showcasing their talent and creative input as foundational to the resulting performance.
In practice
In discussions about the impact of technology on acting, this quote can illustrate the importance of the actor's craft.
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.
As long as you have the acting chops and the desire to get inside a character, you can play anything.
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.
Writing is a way of talking without being interrupted.
I always wanted to make a three-record set. 'Sign o' the Times' was originally supposed to be a triple album, but it ended up as a double.
I read a great deal of science fiction with consummate pleasure between, say, the ages of 12 and 16. Then I got away from it. In my mid- to late 20s, I started trying to write it.
Museums and bookstores should feel, I think, like vacant lots - places where the demands on us are our own demands, where the spirit can find exercise in unsupervised play.
I used to think that animation was about moving stuff. In order to make it really great, you bounce it, squash it, stretch it, make the eyes go big. But, as time went on, I started loving animating a character who had a kind of burning passion in her heart. Suddenly, animation became for me not so much about moving stuff as it was about moving the audience.
Over time, I have come to see the work of literature less as narrating the world than "seeing the world with words." From the moment he begins to use words like colors in a painting, a writer can begin to see how wondrous and surprising the world is, and he breaks the bones of language to find his own voice. For this he needs paper, a pen, and the optimism of a child looking at the world for the first time.
Subscribe for the occasional hand-picked quote. No noise.