A lot of actors on film sets... very often they're not paying attention to the physical world around them. I think through studying art, I've always had that awareness and that's something that I've wanted to bring in to go beyond acting... As a form of expression, they are intrinsically linked.
People think, 'Oh, well how can 'The Hobbit,' which is one book, become three films?' But you can take one line from an appendice and it turns into a whole sequence.
I have a great interest in Victorian musical & cabaret performances and Weimar artists so the references are there, to Cabaret and also All That Jazz and other films where, where there's a kind of (influential German playwright Bertolt) Brecht-ian approach, almost to the character standing outside of himself or, in this case, he's "self-séance-ing."
I'd already started directing short films when we were doing 'Lord of the Rings,' then videogame projects.
I'd already started directing short films when we were doing 'Lord of the Rings,' then videogame projects. So Peter's known that I've been heading towards directing for a long time. But I always thought my first outing would be a couple of people and a digital camera in the back streets of London somewhere!
The difference between the big budget films I've done is the length of time. But in terms of the day-to-day, you're still going on to set, you're getting into character, and you're going and doing your job, so there's absolutely no difference. It's just the structure around it and the length of time. But in terms of budget and money, it doesn't really manifest itself.
I'm in the early stages of a film called 'Freezing Time' about Eadweard Muybridge, the Victorian photographer who was really the forefather of cinema. Digital animators still treat his images like the Bible. He was a very obsessed man.
Second films are, you know, like 'difficult second albums', so it's a tricky position to be in but I think he's made a highly accomplished film.
I'd like to think that we strive in film and theatre to tell great stories, and I believe in the power of storytelling in our culture.
35mm film isn't ticking away so it's subconscious - performances are allowed to breathe in a much more real way I think.
And 'Sex Drugs Rock Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.
It's a really unique situation where you just - you make independent films or you make big blockbuster movies, but it's very rare when all of those ingredients come together, and you can really tell a story that you care about with a character you absolutely love with the people you love making movies with.
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.
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