'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.

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.