Patrick Mouratoglou Quotes

I've always seen my movies in particular as being an immersive experience. I mean, with the technology at my disposal, I've always tried to make them as immersive an experience as possible.

The visceral experience of seeing a movie in three dimensions, coming at you in the theater, is obviously here to stay, because it is a unique experience. I think that kind of format is only appropriate for some genres, but I'm all for it.

With a lot of films, people are sitting on the outside looking in, but I want the audience to get a bit more intimately involved with what's going on, so that they maybe can experience it a little bit more intensely.

A 65-ft.-wide screen and 500 people reacting to the movie, there is nothing like that experience.

When I set out to make 'Bourne Identity,' my main goal for the franchise was to create something where it feels like you're in the action. You're not just passively watching it from far away. That's something that I have constantly aspired to do - even in 'Swingers,' to feel like you're Jon Favreau; you're not just watching him.

In virtual reality, it's more about capturing and creating worlds that people are inhabiting. You really are a creator in the way the audience lives within the world that you are building.

Sometimes you see films, not just science fiction films, where you get the sense that if the camera were to pan just to the left or the right, all of a sudden you'd be seeing light stands and crew standing around. But with 'Blade Runner,' the beauty of it is that it felt like a real, breathing city.

Here was opportunity to make an audience walk and move, be sociable in a way never dreamed of by the rigors of cinema-watching, in circumstances where many different perspectives could be brought to bear on a series of phenomena associated with the topics under consideration. Yet all the time it was a subjective creation under the auspices of light and sound, dealing with a large slice of cinema's vocabulary.

[With theater] you draw the audience into the room as best you can, and in film, you can draw them into the room, you can draw them outside into the desert, you can take them out into the ocean, you can do all these amazing things.

Movie theatre gives a soulful experience.

I've tried to learn something from other players and how they are really focused on the Grand Slams. I couldn't do that in the past.

I've had good results on clay during my junior years and I enjoy playing on clay to the opposite of what many media can say.

I'm not a really firm believer in theatre that is 'about anything.' I don't think theatre can be about anything other than the people who show up and the value that they hold.

I love Broadway. I love live performing. It's really spiritual when you can get to interact with people, and they actually affect how your show goes.

It certainly makes a game better to have voice commands because it can alter how the game is played.

I just want my music to involve an audience in what's taking place onscreen.

You go to the movies to be transported. That's the responsibility of filmmakers and the people that hire the filmmakers - to try and find new dreams we can all share together.

I've done many rallies and it's been super-charged, highly charged. People are very receptive.

There's something about a live theater performance: You can't fake it.

In a live setting, the audience is trapped and can't leave. That really makes the audience be with you and laugh more because you're there.

If a film or any piece of work doesn't entertain, it fails - and that is using the word entertain literally, meaning it holds you there and you become absorbed by it so that you don't walk away and get bored and so on.

You turn the computer into the storyteller and the player into the audience, like in the old days when the storyteller would actually respond to the audience, rather than just having the audience respond to the storyteller. I had an enormous amount of fun, actually, working on that.

I have a great respect for the moviegoing experience. It's such a unique thing. You're not getting up and walking around the house or flipping channels during the dull parts. You're in a dark space, and the movie fills most of your field of vision. You're surrounded by sound, and the colors are deeply saturated, and faces are fifteen feet high. If it's done well, you're really going to feel some big emotions or have some big belly laughs.

The computer is designed to mimic reality. And in an animated world, in my perspective, that's the worst thing to do. I want people to walk into a movie theater and be transported to a different world.

It was important to me to make a film where I don't show the past but where the spectators can see the past.