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We are filmmakers, and we are specifically trying to entertain people.

I have a company in the U.K., a performance-capture studio. We're looking to push the boundaries of performance-capture technology in film and video games, but also in live theater, using real-time performance capture with actors onstage, and combining that with holographic imagery.

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.

Then that did very well at the box office, so before you knew it, we were in a string of feature motion pictures. Then they announced that they were going to do some spinoffs of us.

Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.

I remember kind of doing early acting and thinking, 'God, they don't paint behind the sets.' It's a bit of a shame, really - 'Oh, what's on the other side of this wall? Oh, you can see the plywood.' I was really disappointed. I just thought that these things were real, from watching things as a kid.

On the set for 'Beetlejuice,' it was before people would go watch on monitors, and directors would be next to the camera.

That first year at Universal was a big blur and, naturally, I thought they were wasting me. I didn't realize at the time that I was learning my craft and acting more easily in front of the camera.

I've done some effects shots. I've done some compositing. And in 'Just Like Heaven' did a lot of, like, motion control and things like that. But never done, like, computer-generated imagery in action.