Because the ending here is quite closed.

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Rupert Wyatt:Theres so much we could do.

Im speculating when I tell you all this, because I dont know yet.

The ideas that Ive had… all sorts for this.Full Metal Jacketwith apes.

Ive thought about it!

This film relies a lot on performance capture.

Its a bit like talking about hammer-generated architecture.

You have to understand that its a tool thats used by craftsmen to create images.

I mean, hes got an incredibly expressive face as well.

DL:I think thats the key.

We were still using those beats and those changes to drive the digital character.

Is there an emotion that is more difficult than the others to portray?

And Rupert touched on the eyebrows as well.

RW:Youd have to ask the studio that question!

Put it this way, it would be a very different film if it wasnt him.

Youre looking at two very different characters.

Its a totally different story.

Its a Che Guevara story.

We had theatre actors, we had stunt performers, trained gymnasts that were all playing different apes.

Its all about casting the right actor for the right role.

And we didnt have motion control, so we had to do it through manual control to match it.

Now thats really time consuming, and its a frigging headache.

Its the same performance, because theyve just captured the performance in the previous take.

The downside of it, basically, is that you lose something in the human performance.

Hes not got something to bounce off.

So it was never quite as good.

If the digital chimp is only this big, he can only cover up so much.

And painting back somebodys face can be problematic, it can be really difficult.

RW:No, not with me anyway.

Interestingly, the two big films that Fox have put out this year have both been 2D.X-Mens the same.

So Im not sure.

Personally Im not a massive fan of 3D.

Id like to think that this film didnt need it.

DL:I love stereo films, except for when I hate them.

Its so easy to do poorly.

RW:It takes them hours to change a lens in 3D, or something crazy like that.

Its five minutes to change a lens normally.

RW:No, not really.

Only insofar as its such a different film.

And if you set that story on an alien planet, youre distancing people from that, potentially.

Although, interestingly, he was very faithful to the Pierre Boulle novel.

It just so happened that maybe the modern audience didnt embrace that so much.

Tim Roth was great, I thought.

It actually started the whole idea of reboots.

Rupert, whats the state of play with theAnimal Farmfilm that you and Andy Serkis have been talking about?

RW:Nothing as yet.

We talked about it on set quite a lot.

We havent really got to a stage where weve started to visualise it.

Andy did some work and sent it to me.

But we havent started writing a script… we havent got the rights!

DL:I havent yet, no.

Im really excited to, though.

So Im fascinated, and Im looking forward to that.

This chimp that had this ability and this preference to walk upright.

Hes quite a sad character.

This is after hed been brought up in a human household.

Did you adhere to the research there, or depart from it in presenting that physical change?

There are certain things that can grow from gene therapy.

We explored that, but we didnt want to give it away.

DL:We did one subtle thing at the very end, before he speaks the final line.

We made his larynx more prominent, only in a couple of shots.

We really tried to ground it in chimpanzee movement as much as possible.

RW:Hes terrific.

And I think the studio, fortunately for me, took that gamble with him.

And hes very canny.

So he supported that all the way through his performance.

He always underplays, he always plays in a very understated fashion.

Thats a real gift.

Gentlemen, thank you very much!