Peter Elliott(II)
- Actor
- Additional Crew
- Special Effects
Peter Elliott is widely recognised as the most experienced and influential creature movement director in the film industry. With a career spanning over four decades, he has worked on more than fifty films and three hundred commercials, pioneering techniques in SFX costumes, puppeteering, and creature performance. His expertise has shaped the way filmmakers bring non-human characters to life, and many of the methods he developed remain industry standards today.
His film career dates back to Greystoke: The Legend of Tarzan, Lord of the Apes (1984), the first film to feature a group of realistic animals as central characters. Peter conducted extensive research at London Zoo, observing the movements and behaviour of apes. Recognising the potential of his work, Warner Brothers put the film on hold for two years, retaining Peter alone and appointing him Head of Research and Development.
He was flown to the U.S.A. to collaborate with one of America's leading primatologists, studying a colony of chimpanzees at the University of Oklahoma. Dr. Fouts was working on Project Washoe, a chimpanzee that could understand and use sign language. Rather than teaching chimps to understand humans, Peter chose to learn how to communicate in 'chimp'.
When Greystoke: The Legend of Tarzan, Lord of the Apes (1984) returned to production under director Hugh Hudson, Peter was given full control over finding and casting actors to play the apes. He worked with the art department to design a suitable rehearsal space, training the actors to form a complex and entirely realistic troupe of apes. Collaborating closely with Rick Baker, he tested suits and components to ensure the best possible performances. During filming, he portrayed Silverbeard, Tarzan's adopted ape father, while also overseeing all movement and behaviour.
These were pioneering days in SFX costume and creature performance. Peter, working alongside some of the best designers in the world, transformed special effects makeup and costume techniques in ways that continue to influence the industry today.
Peter's next major project was Quest for Fire (1981), directed by Jean-Jacques Annaud. Once again, his dedication to research and attention to detail created an anthropologically convincing portrayal of early humans. He instructed the cast on likely behavioural traits, movement codes, and social interactions, further cementing his reputation as a leader in the field.
Since then, Peter has applied his unique style of acting and choreography to a diverse range of productions. Whether bringing realism to Gorillas in the Mist (1988), portraying early hominids in Missing Link (1988), crafting strange and wonderful aliens for The Hitchhiker's Guide to the Galaxy (2005), or creating complex character-driven creatures in Where the Wild Things Are (2009), his ability to bring life to these creations is legendary.
His work spans multiple genres, from horror films like The Hallow (2015) and The Nun (2018) to reconstruction documentaries such as Lucy, the Human Chimp (2021). More recently, his innovative puppeteering and creature performance coordination were showcased in The Legend of Ochi (2025).
A key aspect of Peter's success is his involvement in every stage of the process. From troubleshooting problems during script development to storyboarding, casting, training performers, coordinating stunts, choreography, acting, directing, post-production, and dubbing, he ensures every element aligns to achieve the highest possible standard. Peter's unique and holistic method continues to shape the film industry's evolving approach to creature performance today
His film career dates back to Greystoke: The Legend of Tarzan, Lord of the Apes (1984), the first film to feature a group of realistic animals as central characters. Peter conducted extensive research at London Zoo, observing the movements and behaviour of apes. Recognising the potential of his work, Warner Brothers put the film on hold for two years, retaining Peter alone and appointing him Head of Research and Development.
He was flown to the U.S.A. to collaborate with one of America's leading primatologists, studying a colony of chimpanzees at the University of Oklahoma. Dr. Fouts was working on Project Washoe, a chimpanzee that could understand and use sign language. Rather than teaching chimps to understand humans, Peter chose to learn how to communicate in 'chimp'.
When Greystoke: The Legend of Tarzan, Lord of the Apes (1984) returned to production under director Hugh Hudson, Peter was given full control over finding and casting actors to play the apes. He worked with the art department to design a suitable rehearsal space, training the actors to form a complex and entirely realistic troupe of apes. Collaborating closely with Rick Baker, he tested suits and components to ensure the best possible performances. During filming, he portrayed Silverbeard, Tarzan's adopted ape father, while also overseeing all movement and behaviour.
These were pioneering days in SFX costume and creature performance. Peter, working alongside some of the best designers in the world, transformed special effects makeup and costume techniques in ways that continue to influence the industry today.
Peter's next major project was Quest for Fire (1981), directed by Jean-Jacques Annaud. Once again, his dedication to research and attention to detail created an anthropologically convincing portrayal of early humans. He instructed the cast on likely behavioural traits, movement codes, and social interactions, further cementing his reputation as a leader in the field.
Since then, Peter has applied his unique style of acting and choreography to a diverse range of productions. Whether bringing realism to Gorillas in the Mist (1988), portraying early hominids in Missing Link (1988), crafting strange and wonderful aliens for The Hitchhiker's Guide to the Galaxy (2005), or creating complex character-driven creatures in Where the Wild Things Are (2009), his ability to bring life to these creations is legendary.
His work spans multiple genres, from horror films like The Hallow (2015) and The Nun (2018) to reconstruction documentaries such as Lucy, the Human Chimp (2021). More recently, his innovative puppeteering and creature performance coordination were showcased in The Legend of Ochi (2025).
A key aspect of Peter's success is his involvement in every stage of the process. From troubleshooting problems during script development to storyboarding, casting, training performers, coordinating stunts, choreography, acting, directing, post-production, and dubbing, he ensures every element aligns to achieve the highest possible standard. Peter's unique and holistic method continues to shape the film industry's evolving approach to creature performance today
