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When you're a writer, you talk about things that move you, that you feel really deep inside you that's something that moves you, and you hope it'll move people, too.

With 'Detroit,' we realized that we wanted to create an experience that could be meaningful.

Choices are a very important part of our lives.

We, as individuals, are defined by the choices we make. Some of our decisions can have very significant consequences and totally change the courses of our lives.

As a storyteller, I've always been fascinated with the idea of recreating this notion of choices in fiction. My dream was to put the audience in the shoes of the main protagonists, let them make their own decisions, and by doing so, let them tell their own stories.

I believe that interactive storytelling can be what cinema was in the 20th century: an art that deeply changes its time.

I broke pretty much every rule of classic game design and tried to invent new ones.

The right way to enjoy 'Heavy Rain' is really to make one thing because it's going to be your story. It's going to be unique to you. It's really the story you decided to write.

'Heavy Rain' was my baby, my reason to live, and my oxygen for four years. And seeing the successful release of the game has been the most extraordinary reward I could have dreamt of, after years of working in the dark.

Some media used to talk about video games only to say how violent or addictive they could be. With 'Heavy Rain,' they talked about the story of the game and the emotions they felt while playing.

Photography was inspired by painting, cinema by theatre and photography, I don't believe that any new art form was ever created from scratch.

The first movies were made by technicians building their own cameras. Movies became an art when technicians worked on the technique and artists took care of the content.

When you believe games can only be toys for kids and that you are successful at doing this, why would you look further and take risks exploring new directions?

Every time you try to create an experience with a character who doesn't use a gun, doesn't drive a car, doesn't jump off platforms, doesn't solve puzzles, you are taking a risk.

Stop making the same games about shooting something and driving; try something else. There is a market for that.

Innovation is a big risk. It can also be a big reward - but a big punishment if you fail.

We're not going to just duplicate 'Heavy Rain,' because we are passionate about innovation and discovery, so we're trying to discover new ground and see how we can move from 'Heavy Rain' and create something even more immersive.

I approach video games the same way I approach theatre, filmmaking, poetry, or painting. I wish more people would take that point of view. It would help the industry to move on.

We want to keep developing original games in the genre we pioneered but also expand our audience by being present on all platforms.

Our goal is to develop our studio as a global, multifranchise company while remaining an independent studio.

QTE is a very strange thing... it really depends on what you expect from your game experience.

In a movie, you're just passive; you're just watching a story that is told to you. But in games, I saw that you could be the main protagonist: you could be in the shoes of the hero and make the decisions.

Not everybody's interested in shooting.

I wish more people would be allowed to take risks and try new things and new ideas because new ideas are what this industry desperately needs. I mean, how many shooters can you make?

I think it's a mistake to limit ourselves to a certain audience when we could reach everybody.

My goal is for 'Heavy Rain' to leave an imprint in you and change a little bit of who you are and how you see things. Maybe the key characters and key moments will leave a trace in you. If you don't have this ambition as a video-game creator, then maybe you should do something else, because this is what creation and art is about.

I try to get better at what I'm doing, game after game.

When I started, I wanted probably to make games that were inspired by films that I liked.

I think the difference between 'Heavy Rain' and 'Beyond' is that 'Heavy Rain' still had a lot of references to films. Especially in the mood, and it was a dark thriller... where, in 'Beyond,' we tried to create something truly original and doesn't refer to anything.

Working on 'Beyond,' I try to give an explanation to death that's different from the explanation religions have to give. So I made up my own story around all this and how life and death and souls work.

Stories are emotional journey where we can project ourselves emotionally in another space.

I don't differentiate game design and script; it is one and only document. I think that one of the biggest problem with storytelling in games is that people tend to separate story and interactivity. Both should be conceived as one entity, each using the other.

For me, influences really come from everywhere: literature, comics, movies, anime, Internet, science, real-life situations. In fact, I think that writing is just about living.

Most games end up with quite caricature scripts because they are just here to serve the game-play mechanics but not to trigger any emotional response.

If you played 'Heavy Rain,' there are very few cutscenes and very few moments where you don't have control.

If we keep making things based on violence and platform jumping, you don't need Ellen Page to do this, to be honest. It would be a waste of time and a waste of money.

Technology remains a tool: you can have the best tool in the world, but if you have nothing to say, it will remain an empty experience.

The thing is, the better the hardware, the more time we spend to improve the visuals to take advantage of the hardware.

Some people are shocked when a game evokes real-world issues. But this platform is about becoming the characters, not just seeing them from the outside, like in a film.

I disagree that injecting emotion into a game comes at the expense of the playing experience.

I love unusual games, games that dare to be different and that are not based on violent actions.

People trying new ideas are a blessing for gamers and in the industry in general.

'Papo & Yo' is an incredibly emotional experience. It shows that video games can talk about anything, even the most personal and sensitive matters.

I am afraid I am totally hermetic to social games in general.

The concept of 'Heavy Rain' is to offer real-life situations with real characters. There are no supernatural elements in the story.

'Indigo Prophecy' already brought a lot of new features to the traditional adventure genre, including the Action system, MultiView, Bending Stories, etc. 'Heavy Rain' will include features like advanced physics and AI, realistic characters and living environments.

We want to continue to explore new possibilities regarding interface and interaction. We experiment different solutions to make interface an important component for immersion rather than just a remote control.

I personally believe that more and more players think that 10 hours is the right kind of play time for a game.

We want to satisfy our fans, but we want to surprise them, too. That's our challenge.

Each time you buy a used game, this is money that doesn't go into the pocket of the people that took the risk to create this, to finance it, to develop it.

Freedom comes with responsibility.

I'm not fighting for the right to do whatever we want without any restriction. We need to be careful of the fact that we also make games for kids and teenagers.

I'm not a big fan of free to play. And this is just me, but when I buy something, I don't like the idea that I start playing for free, but each time I want to do something a little more interesting or progress, I have to pay. I'd rather pay up front.

I often say that buying 'Heavy Rain' is a political act.

If you ask me what genre 'Beyond' is, it's really difficult for me to answer.

'Heavy Rain' was really close to a dark thriller, like 'Se7en.' 'Beyond' is different in terms of tone.

I try not to do traditional games.

Anybody working on storytelling has my respect.

I play a lot of games. I love indie games.

'Heavy Rain' responded to a period of my life, things I strongly believed in, things I wanted to suggest or experiment with. I'm really happy with the overall feedback; the reception was a success.

The videogame industry is really weird because it's an industry that's highly conservative. People see the technology evolving every month, but when we talk about concepts, what people really want is for things to remain the same.

My goal with 'Beyond' is really to create a strong sense of empathy between the player and Jodie Holmes.

I never write with constraints, which I don't know if it is a good thing or a bad thing.

Playing with light is something that is very important, especially when you want cinematography in your game.

Life is sometimes you're happy, sometimes you're sad, sometimes you're in love, sometimes you fight, and that's a life.

What we believe at Quantic Dream is that there is a space for adult games: meaningful experiences for a mature audience.

We believe that we can use interactivity to create meaningful games. Games with emotions and virtual actors telling you something. Resonating with you as a human being, giving you food for thought. We don't need to deliver messages or whatever, just need to create a moment in time that will leave an imprint in your mind.

Games are quite shy at talking about different things. Most are about facing hordes of monsters or saving the world or whatever; few games actually talk about the real world, about real people, about their relationship, their emotions, their feelings.

I wish that there were more games having the courage to talk about more subversive topics. Talking about politics, sexuality, human relationships.

I hope that there will be more and more games that will have something to say and become a little bit more meaningful.

If 'Heavy Rain' is a huge commercial success, it will show everybody in the industry that the world is sick of first-person shooters, that people are ready for an adult gaming experience. If we fail, it will say, 'Please keep making the same old stuff.'

When I started crediting myself as writer and director, I saw that as a political act.

I'm not a frustrated movie director: I'm not making games because I can't make movies.

I'm inspired by film-makers such as Ridley Scott, David Fincher, Orson Welles.

Quantic Dream is a very special company in the sense that we do a lot of things that wouldn't make any sense in any other company.

Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.

On 'Heavy Rain,' the game started with something that happened to me when I lost my son, my six-year-old boy, in a mall. I was so scared. I was curious to see if I could create that impression, that fear, in a game, an interactive experience.

'Detroit' started based on a book called 'The Singularity is Near' by Ray Kurzweil, which is about this idea that one day there could be machines that are more intelligent than we are.

There are many different ways of telling an interactive story, I think. I don't think there's a right one and a wrong one. There are different games telling different types of stories in different ways.

There are different games for different people and different expectations. Sometimes you want a great story, and sometimes you don't. I don't believe we should have stories in every single game. Sometimes it doesn't matter.

'Heavy Rain' is really 'Fahrenheit' with more experience, more maturity, and probably a better vision and understanding of how this type of experience can be created.

'Fahrenheit' was a very difficult product to sell to publishers initially because no-one believed in storytelling or emotion.

I love games like 'Flower,' for example - I thought this was amazing. It's great, it's new, it's different, and it's invented something that didn't exist before.

I don't think that photorealism is required to offer emotions. You can have very abstract characters and renderings offering the same type of emotions - look at Pixar movies: they're not photorealistic; they're stylised, and it doesn't prevent emotion from happening.

We called 'Heavy Rain' an interactive drama, for whatever that's worth.

'Heavy Rain' is a cousin of the 'Choose Your Own Adventure' books.

When you want some subtle emotions, you need some subtle vehicles for emotion.

Getting the player emotionally involved is the holy grail. We try to make players forget they're playing a game. We want them to live the experience and suspend disbelief.

Cinema became what it is today when technology allowed movie directors and actors to develop emotion. You can see into the eyes of the actors and know when they are going to cry.

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