Paul W. S. Anderson Quotes

Game development is very difficult. Nobody sets out to create a game that's not fun. It's all of the challenges and difficulties that happen throughout development that determine whether a game is a failure or a success. I think playing those thousands of games is the single best and easiest way to learn from my predecessors.

I'm not a big gamer myself. I've (become) increasingly interested in games. And I certainly am passionate about, about storytelling in gaming. And, and the marriage of, you know, immersive characters, with gaming.

I got a call from a mutual friend of ours, Charles King, who's also the executive producer. [Steven Caple Jr and I] had a conversation about it. I read it. We kind of finished each other's sentences when it came to the nuances and personality flaws that the character had, and some stereotypes and things we were trying to stay away from. We agreed on that as well. He just kind of allowed me to run rampant with the ideas. As we paced ourselves through, we developed Turquoise.

Games aren't created by writers rocking up to developers saying 'I have this great game story.' It's about establishing relationships and working hand in hand to create something wonderful.

When we're doing an action game, we make the second level first. We begin making level 1 once everything else is completed.

I think getting something together to showcase your voice is important. You can also watch cartoons and play games and just kinda listen, and try to see how the design of the character matches to the voice.

Providing accurate portrayals of characters is something I want to pay ample attention to. If I don’t stick to that thought, then we’d have to lower the quality or break the balance of the game. Something that goes way off spec could break the entire game.

I'm not the writer who says, "You have to say it exactly as I wrote it," because you don't get good work. You want somebody who's going to bring something interesting to it and really create a character with you. You see that with certain actors.

Bill [Condon] is such a great actor's director. He cares about what you're thinking. And, he's very open. Even though he was pressed for time, and he was doing two movies at once, and all this stuff was happening around him, he would still take time to sit there and talk to you about your scene and your character and what you were going through. That was really a treat.

One of the nice things about being in a band is that you depend on each other for ideas, so it's not all up to me to do everything myself. There's always that fear that you'll run out of stuff. The most difficult part for me is writing lyrics, and that starts to get difficult after you've written, like, 120 songs.

Alan Rickman was such a terrific actor, and that was such a terrific character that he played. And it was a joy to be with him. We used to laugh together because we ran out of reaction shots. They were always - when everything had been done and the children were finished, they would turn the camera around and we'd have to do various reaction shots of amazement or sadness and things. We used to say we'd got to about number 200-and-something and we'd run out of knowing what to do when the camera came around on us. But he was a joy.

With the new game I'm going to be involved from the ground up. I have had story input and the whole thing will have my imprint on it. Even if I don't hands-on do every bit of artwork, I certainly will direct the look of the whole thing.

You know how sometimes department stores have these things where, if you win, you get 10 minutes to go in and take anything you want from the store? That's basically what I'm doing. I'm running in and just trying to grab as many characters as possible before they pull the plug on me.

You're right, we both have been working on these films [Kung Fu Panda] forever and we know these characters so well that literally we will react to the same note in the same way. We will have the same answer most of the time.

The biggest weakness with my game is that I have fun with the galleries. I just love a gallery.

Heat radiated off Henry's face. Salty snot ran down his upper lip. A majestic fart propelled him to the top of Section 12, just at the springing of the stadium's curve. He slapped the sign as if high-fiving a teammate. It gave back a game shudder. He was crusing now, darkness be damned, stripping off his sweatshirt and his long underwear top without breaking stride.

Video games paid for my house. What am I saying? Go ahead and keep playing!

Remember: You'll be left with an empty feeling if you hit the finish line alone. When you run a race as a team, though, you'll discover that much of the reward comes from hitting the tape together. You want to be surrounded not just by cheering onlookers but by a crowd of winners, celebrating as one.

I want to develop every base of my game-stealing bases, hitting, being a better fielder.

We are shocked and saddened by Bob Casale's passing. He not only was integral in DEVO's sound, he worked over twenty years at Mutato, collaborating with me on sixty or seventy films and television shows, not to mention countless commercials and many video games. Bob was instrumental in creating the sound of projects as varied as Rugrats and Wes Anderson's films. He was a great friend. I will miss him greatly.

I was actually really happy with where my game was at. That's probably the most disappointing aspect.

It's easier for me to sit with the producers and the writers and I give them my feelings and my thoughts and what I think I feel like singing about and then they go away and write it.

No game designer ever went wrong by overestimating the narcissism of their players.

Yeah, we've become really good friends. Our characters start dating in the book, and um, yeah, I think we - and we made up little back stories to our characters and little outtakes that we'd bring up to Edgar as a joke, and you know, kind of see different sides of stuff. So yeah, we have a really good time.