This was absolutely, really needed because we were doing really badly this year.

Every single frame has got something going on in the background; in many ways, it's an embarrassment of riches. I guess some of the New York scenes, especially in the third act when Kong is back. Some of that rampage stuff, with the people running down the street and all the shop signs and all the neon that just goes on for miles. Those big aerial shots in New York that completely faithfully re-create New York at the time. That's pretty special stuff.

Of course the computer animators take a lot of the credit for what's going on, but with Peter's help I really fleshed out the character.

Of course the computer animators take a lot of the credit for what's going on, but with Peter's help I really fleshed out the character,

My agent told me they were casting for the voice of Gollum. I hadn't read The Lord of the Rings, but I read the script and realized what an amazing role it was. I developed a voice for the audition tape, then met Peter Jackson and Fran Walsh at the auditions and fell in love with them both.

When I first came out to New Zealand for principal photography, the focus was on voicing Gollum. But Peter wanted Gollum to be the most interactive digital character ever made for a movie, with a combination of live action and digital animation.