"Actually, believe it or not, I have not done that much performance capture before. The closest I came was as the Silver Surfer in the
sequel, but I did wear a full costume that looked like the Silver Surfer every day.
They put a few reference dots on me so they could put a CG enhancement over me later, but I was in a costume every day, so I’ve never really worn the leotard with dots on it that you’ve seen in behind-the-scenes photos. But I think that with the digital and computer technology, and its advancements over the years, that technology has taken us to a place where we can do things on film we could never do before! But I don’t want to lose the art of practical effects and make-up.
That’s an art, and there’s a magic that happens with that that I never want to go away. And a lot of our geeky sci-fi fanboys are on the same page with us on that one. What I think – where digital enhancements come in handy is when it’s used in concert with practical effects. A character like the Abe Sapien make-up, where my eyes were blinking, that was digitised.
Or the Silver Surfer, where it was a make-up as a base and they used a coating over me to make me more shiny and other-worldly and give me that magical coating.
That's where I'm at with
. I start the day with a prosthetic make-up over my face and a suit on my body, but the eyes were wide-set and far enough away from my own eyes that they had to make those artificial. So there are these eyes that are glued into my mask that just look forward all day, and in post-production they do make them look around and blink on the right cue.
They listen to my voice, they listen – they watch the tilt of my head, the gesture of my hand, and they get the eyes to follow and enhance it. So it’s a great merit of technology and I’m all for it, you can do so much more now."