Terry Notary Quotes

I am a bit evangelical, I know, but performance-capture is still misunderstood.

Performance capture is a tool that young actors will need in the next 10, 20 years. It's on the increase, as you say. It's not going away.

Shane McMahon did his own mo-cap. Did you guys know that? He went and did his own mo-cap. He didn't want somebody doing his moves. Shane did his own mo-cap.

Performance capture, for me, is finding the essence of a performance.

For film and games, there is now a fantastic method of actors portraying characters which don't necessarily look like themselves. And yet you've still got the heart and soul of the performance.

I spent a lot of time on my own working out the physical vocabulary for how Gollum moved. As I say, I drew on a lot of Tolkein's descriptions of how he moves, but also the conceptual artist sketches.

What we do sometimes when we're in the sessions recording the dialogue is we'll set up a video camera and we'll video the whole session. So then the animator, if he wants, can draw upon those tapes to pull expressions, mouth shapes, maybe some gesturing that happens.

You have to always physicalize, when you do animation recording. Otherwise, you won't get the performance right.

The great thing about performance capture is you can go off, and then, without changing costume, you can become another character.

Motion capture is amazing. I prefer it. You wear a 'Power Ranger'-esque suit, you have tape balls on you, you have 60 cameras around you capturing your every movement and there's no hair, no makeup.

People used to say, 'Andy Serkis lent his movements to Gollum,' and now they say, 'Andy Serkis played Caesar.' That's a significant leap.

If you look at the character of Sadness, they really nailed my eyebrows.

When you are shooting traditional motion capture, it's a big footprint on set. There are, like, 16 cameras that are needed and constraints over the lighting.

Motion capture has become very specialized but also still just a tool of filmmaking.

Everybody thinks performance capture is about thrashing around and doing a lots of movement, but it's actually about being able to contain and think and be believed in a close-up, as much as anything else.

Originally, I thought, 'Gollum's such a fantastic character, why are you doing him CG? Surely you need to be able to humanise him as much as possible - he's so full of pathos and real emotion.'

In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.

As soon as you do it, actors realize there is no difference playing a performance-captured role or a live-action role.

All the time that I'm acting with an animated character, I'm looking at a tennis ball or sticky tape or an eyeline or a man in a green suit. There's no real environment, just this electric green that's blaring into your brain.

When Tim and I first discussed the part in 2003, he told me, 'I'd love for you to play five Oompas.' But five Oompas quickly turned into 165 - and they're not computerized; I did each one individually myself.

One day, I was taken into a room with 25 animators, all working on Sadness. They asked me a lot of questions, and they got something of the way I move into the character.

I would love to do some motion capture work just to be able to challenge myself.

And because performing for a game involves real acting. The way they create a game is very similar now to how they create a film. I've always wanted to stretch my acting skills, and the timing being what it is, I couldn't say no.

Animators have to live life 24 times as long as we do - every 24 frames of a second.

I love animated movies in general. I like making them.