Andy Serkis, Star in a Movie Medium That Doesn't Need Stars

The Dawn of the Planet of the Apes actor deserves acclaim, but motion-capture technology's great power lies in anonymity.
20th Century Fox

Andy Serkis doesn’t look like a movie star. Wide-eyed and round-faced, the actor somehow seems both boyish and worn. In Hollywood, guys like him become character actors, not leading men.

Yet Serkis’s face is everywhere this month. He’s Caesar in the box-office dominator Dawn of the Planet of the Apes, the cover boy for Wired UK, the toast of the talk-show rounds (where we learned he’s the crush of a female gorilla), and the subject of many, many adulatory interviews and profiles. This is all typical for the lead of a major summer blockbuster, yes. But for an actor who is barely recognizable in his own movie thanks to performance-capture technology, the attention is unprecedented.

Performance-capture has a long history of being considered a second-tier kind of acting—or worse, a mere variety of animation. The Oscars have yet to award any actor in the medium, which is also called motion-capture (colloquially, "mocap"), and the Alliance of Motion Picture & Television Producers still doesn’t cover performance-capture actors under its master contract, allowing studios to treat their roles as what Variety terms “lower-paying background work.”

So it’s about time Hollywood caught on to the starmaking possibilities of performance-capture. The process, which involves recording live movement and then layering computer-generated animation on top, would seem attractive for awards-chasing actors. Prosthetics, facial hair, face paint, masks, black-and-white, cross-dressing, sunglasses, drastic weight gain or weight loss—changing how you look is a tried-and-true route to acclaim. John Hurt remained obscure to American audiences before he wore 15 separate facial prosthetics and took home an Oscar for The Elephant Man. And Charlize Theron was a virtual unknown before she put on 30 extra pounds and a set of prosthetic teeth for Monster, for which she won Best Actress. 

Serkis, whose resume includes playing some of the least likely critical favorites of all time—Gollum, King Kong, and Godzilla—seems like an ideal spokesman for motion-capture if it wants high-brow cred. For his third outing as an ape Serkis is already being likened to Marlon Brando and primed for an Oscar run. “It’s all to do with performance,” he recently told The Telegraph, “Caesar and all the other computer generated characters I have ever played are driven by one thing and that is acting. Audiences want to be moved by acting, not by a visual effect.”

But it’s worth keeping in mind that performance-capture is bigger than Andy Serkis’s most exceptional role as an ape. The singular focus on him in some ways clashes with the collaborative, chameleonic spirit of motion-capture, a field that has a long and glorious tradition of eschewing thespian concerns entirely.

Wired UK’s profile proclaims that “No actor has performed as many leading roles in a performance-capture suit as Serkis.” That’s not quite right, if you look outside of the movie theater. For 20 years, largely unknown actors have played lead roles in video games—some of those actors racking up huge numbers of such roles over their careers. While the “cinematics,” or interstitial movie-like sequences between gameplay require actorly emotional chops, most of the work is in the in-game action, where gestures are broken down into GIF-like bytes.

This can lead to some absurd areas of expertise for performers. Reuben Langdon, an actor who first donned the mocap suit in 1996 (for Resident Evil: Code Veronica), specializes in death. A day of work for him can include pantomiming expiration about 200 times, dying by a variety of virtual weapons, for a variety of virtual camera angles, and as a variety of virtual characters. “I’ve done dramatic deaths, having them cough and choke, getting shot in the leg, the slow agony—I feel I’ve done every death possible,” he says. The trailer for the video-game cult hit The Last of Us stars one of his many deaths in its final sequence.

But there are more distinctive jobs for video-game motion-capture performers as well. Langdon’s most famous role, the cult anime demonslayer Dante (in Devil May Cry 3 and 4 and the franchise’s spinoff manga film), had him hanging in the air while shooting guns and slashing swords, flirting with hot animated chicks, and cracking well-timed jokes.

While video games now occasionally feature renowned actors, historically they’ve cast based on who could play a star, not be one. The gaming market often hires a few performance-capture actors to play multiple roles for the latest installment, reserving the rights to keep them in the dark about what those roles are, or what game they’re for.

Most movie stars cannot sustain the physical feats required by often-outlandish performance-capture roles, or the usual 10-hour workdays. Even stuntmen have a hard time: For the video game The Bourne Conspiracy, for instance, Langdon and actor Richard Dorton both played Jason Bourne’s body, while the face and voice were provided by two separate actors. This technique, called “Frankensteining,” is said to be a relic of old technology. But the actors I spoke with assured me the Frankenstein trick is very much alive today, though applied in secret when well-known actors leave set.

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Katie Kilkenny is an editorial fellow with The Atlantic​.

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