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

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

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

Choices are a very important part of our lives.

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

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.

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

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.

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.

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

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.

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.

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

'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.

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.

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.

Anybody working on storytelling has my respect.

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

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

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.

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

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

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.

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.

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.

I've always felt that 'game over' is a state of failure more for the game designer than from the player.

When you really love someone, you try to tell the truth.

When we talk about technology, often, we talk about the fact that it's going to be cool; it's going to do all these things for us. But at the same time, technology will deeply change our societies.

When you try to create something different, there is always a mix of enthusiasm and skepticism, and I think this is fair.

I don't pretend that 'Heavy Rain' will be a revolution, and I don't know if people will love it or hate it. All I can say is that it is definitely going to be different.

Game Over is a very frustrating game convention. In short, it means, 'If you were not good enough or did not play the game the way the designer intended you to play, you should play again until you do it right.' What kind of story could a writer tell where the characters could play the same scene ten times until the outcome is right?

I've been playing video games since I was 10 years old, and I think it's important to play games if you want to design them yourself.