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

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.

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

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.

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?

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.

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

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

Choices are a very important part of our lives.

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

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

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

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.

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

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

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

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.

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.

'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.

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.

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

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

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

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