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

'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.

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

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

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.

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.

'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.

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

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.'

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 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.

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.

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.

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

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.

Technology must remain a tool. It's a great tool, but technology is the pen to write the book. It's not the book. If you have a great pen, maybe you'll write faster or it will look better, but at the end, you have something to say, or you don't.

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 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.

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.

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

With 'Heavy Rain,' we're creating something that changes many traditional game paradigms.

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?

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

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

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

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.

Not everybody's interested in shooting.

I try not to do traditional games.

'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.

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.

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.

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

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

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

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.

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

Technology is not going to be perceived by different classes of people in the same way.

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

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

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

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

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

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.

'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.

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.

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.

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

We believe that games are a legitimate medium, as legitimate as literature, to talk about very dark and serious things.

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

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.