DAVID CAGE

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

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

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.

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?

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.

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.

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.

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

Freedom comes with responsibility.

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

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.

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

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

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.

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

Anybody working on storytelling has my respect.

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

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

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.

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.

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.'

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