” Most of the actors that do play apes have told me that it’s been one of the most profound things they’ve done, because you have to be so honest with yourself. “


” And then I got to go to Singapore and play with some orangutans, and the mom was letting me hold the baby. They just look at you with these big eyes, so sweet and open. Like the soul is right there – it almost scares you, you know? “


” And then you have the orangutans. There’s a softness, and kindness, and there’s almost this glint of humor that lies behind everything that they do. There’s this old-soul sort of wisdom. And with that comes this cool, unhurried, decisive, linear way of moving through space. “


” It’s funny, because you want to make it different, but when I start building a character I do the same thing with each of them, which is start with a blank canvas. It’s like painting a picture. “


” The amazing thing about motion capture is everything translates. Your slightest emotions translate through the suit and into the character. “


” Once you cross that social conditioning threshold that holds us back, we all become animals. Instantly. “


” When I work with actors, we try to tune the instrument so that you can feel things and allow those emotions to wash through you. You allow the fear to happen, and then you react and you listen without trying to get too absorbed into the actual end mark that you’re supposed to hit. “



All 7 Terry Notary Quotes about You in picture


Most of the actors that do play apes have told me that it
And then I got to go to Singapore and play with some orangutans, and the mom was letting me hold the baby. They just look at you with these big eyes, so sweet and open. Like the soul is right there - it almost scares you, you know?


And then you have the orangutans. There
It
The amazing thing about motion capture is everything translates. Your slightest emotions translate through the suit and into the character.
Once you cross that social conditioning threshold that holds us back, we all become animals. Instantly.
When I work with actors, we try to tune the instrument so that you can feel things and allow those emotions to wash through you. You allow the fear to happen, and then you react and you listen without trying to get too absorbed into the actual end mark that you
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