Nolan North Quotes

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'm there to tailor something very precisely and something very subtly to dialogue and the actor's energy. I'm there to bring out something that isn't spoken. 'King's Speech' is the perfect film to do it.

In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.

I know a lot of games have been going to the facial capture. And movies like 'TinTin' are using it, as well.

If anything, game development is even more of a team effort than making a movie, so for individuals to get credit for making a game is absolutely insane.

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.

The fuss that actors began making about the difficulty of shifting to sound struck me as perfectly foolish.

You make sure that there's a structure that's interesting for them to play on top of, then do temp versions and try it on the film. By the time the players come to the recording session, I've found what works. So I'm not wasting their time.

More than just music, the splash of water or a lone footstep can put you in the moment. Sound is just another tool in the developer's toolbox to draw the player further into the game.

The biggest challenge has been simulating a tornado with wind machines and dirt and debris. Right when you walk on the set, you feel the energy of a tornado. But the hardest thing is trying to get dialogue out in all of that.

Games are another place to find work, not only the voice stuff but in the motion capture stuff. It's exciting work.

In 'Uncharted,' we do the scenes the same way you would do a film or television show. The motion capture - the performance-capture process - is what makes such a difference for this franchise. So I don't approach it any differently. The other actors and I go in and rehearse scenes together, and then we go in the next day and perform.

Some people focus more on sonics. Some people focus more on story. I focus on both sonics and story.

In video games and animation, you find that the toughest things to make different are the things that aren't words: grunts, groans, gasps.

A recording of a performance is a recording of a performance. It's not the performance.

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.

In film, we sculpt time, we sculpt behaviour and we sculpt light.

Animated films are so precisely engineered - right down to forming lines of dialogue with words pulled from several different takes - how do you translate that spontaneity from the live-action to the digital realm?

For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.

No, I'm at full height, I'm in the studio, I can actually catch actors by the eye, it's fantastic.

On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.

I've always been a bit of a sound freak in the movies I've done.

I love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.

There was a time when all the actors were saying, 'We should get residuals on videogames.' I just kept going, 'You don't have any idea what goes into making a game, do you?'

I can tell you, if you shoot in the rain you're going to have a lot of voice ADR to do after the movie and voice looping, stuff like that.