Tim Schafer Quotes

If my performance touches someone or helps someone understand themselves a little better or gives them a laugh, I feel like I gave them something. I want to touch people's lives and bring them along with me.

We're moved by emotions and characters and stories. We love that.

I really just enjoy listening to talk [to John Hurt and Charlotte Rampling]... not even about acting or anything. It's interesting because I felt really connected to all these people very easily. They're all very open emotionally, like we're in the scene together, so you never feel like anyone's acting.

Throughout the Zelda series I've always tried to make players feel like they are in a kind of miniature garden. So, this time also, my challenge was how to make people feel comfortable and sometimes very scared at the same time. That is the big challenge.

I love to entertain, I love to make people laugh, cry, and move them, perhaps moving them in their lives.

If you are writing a story and trying to draw an audience to come and hear you tell it, it's got to in some way relate to them. Who wants to come and hear about your specific problems? It's not therapy - it's supposed to be a communal piece of entertainment.

When I look back at many of the moments of wonder, awe, or terror that I've got from science fiction, it's often been because I've been put in the head of one of the characters.

Sometimes we need to step back and understand the power of video games. 'Dear Esther' does just that. Through visuals, audio, and narration, this title weaves a story around the player as they explore different areas in the game.

Game designers are obsessed with emotion. How do we create the emotions that we want gamers to feel, and how can we really make it this intense, emotional experience?

I am not interested in entertaining people. I think being an actor provides an opportunity to give people an experience they can connect to, reflect on, learn from, laugh at.

I want people to laugh and cry, not just sit and stare at the TV.

I think what I'm trying to do is create moments of recognition. To try to detonate some kind of feeling or understanding of lived experience.

I think there's just so many people in the world that don't feel understood, and when you hear a song and you go, 'Oh, that song understands me,' that's an amazing feeling. I get it when I listen to the radio... That's a beautiful part of music.

When an audience comes to one of my concerts, I hope they'll see themselves, somewhere, in one of the songs.

My goal as a puzzle designer is to create a meaningful experience for the player, not just 'I solved it.'

I love films, I love the way they make me feel.

It would be hard to play a character you don't like - for me anyway - or can't find something in them to like.

That's the power of fiction, that it can take the collective and make it personal.

You don't really want to talk about 'Duke' in terms of, how many levels are there, how many guns does it have, how many monsters… It's got everything it needs in terms of that, but it's always been about the experience.

To me, it's important to try and make an emotional connection with the audience.

When I read, I don't need a character to look like me, act like me, or think like me. I don't need to have my heart broken. I don't need to be surprised or amused or challenged, and I don't need to swoon.

Each game we make, we like to introduce an emotion that is rarely experienced by gamers in the console game industry.

My goal with 'Beyond' is really to create a strong sense of empathy between the player and Jodie Holmes.

We're growing into an entertainment medium as opposed to 'We make games. We make Mario jump.' We no longer have to focus so hard on the technical hurdles and can ask, as a player, why am I doing this? Why am I making these choices? Games that don't have that strong foundation stumble.

I'm always amazed at how records can make you feel like somebody else understands you.