Quotes About Immersive

We're trending towards the holodeck. Eventually we'll have a system that's indistinguishable from reality.

I'm convinced people are bored of generic travel

What I'm calling for is a radically different way of thinking about our world. Instead of running from it, we need to rush into it. And instead of just hanging around the fringes of our culture, we need to be right smack dab in the middle of it.

I've always dreamed of having a year-round haunted house.

With 'Heavy Rain,' we're creating something that changes many traditional game paradigms.

I haven't come to the theater to hear about other people's probelms. I've come to be taken out of myself, and, preferably, not put back again.

You know what I love about Haruki Murakami's books? He's so easy to read. You get three pages in and you have to finish the whole thing.

I love reading books that you can't put down, and they just take you over for a night or a weekend.

What I love is finding immersive jobs. I've always wanted a challenge.

Woods are not like other spaces. To begin with, they are cubic. Their trees surround you, loom over you, press in from all sides. Woods choke off views & leave you muddled & without bearings. They make you feel small & confused & vulnerable, like a small child lost in a crowd of strange legs. Stand in a desert or prairie & you know you are in a big space. Stand in the woods and you only sense it. They are vast, featureless nowhere. And they are alive.

To live in such a place was, for Isabel, to hold to her ear all day a shell of the sea of the past. This vague eternal rumor kept her imagination awake.

Some years ago, I read Thomas Carlyle's history of the French Revolution, and I was very taken by the way he told the story, and it seemed as though I was right in the middle of things. And it took me a while to figure out how he achieved that effect, and one of the ways was to write it in the present tense.

In a VR setting, you tilt your head up, and you really have the vertigo and the sense that it goes up to infinity, and it's like you're in New York City or Dubai, and you're looking up at a giant skyscraper. You have a sense of awe.

In 'The Bourne Identity,' I wanted to give the audience the feeling of being in the car with Jason Bourne, not just watching him drive but be in the car with him, and 'The Wall' is the continuation of that immersive filmmaking style. Where you're trapped behind the wall with Aaron Taylor-Johnson - for better or worse, you're trapped there with him.

Although 'L.A. Confidential' is a long movie, there's never a moment when you think, 'I'm loving this... but when's dinner?' Each time I see it, I discover something I hadn't noticed before. It has a tremendous skill in developing all the subplots.

For me, it shouldn't just be a live show: it should be an experience. It should be some kind of crazy, tribal, exhausting experience.

The point about melody and beat and lyric is that they exist to engage you in a very particular way. They want to occupy your attention.

I think a lot of kids feel alone and slightly isolated and in their own world.

When you come into my pieces, it's not an intellectual experience, it's a physical experience. It's coming at your body. There's light, there's sound, the lights in some pieces are going on and off. There's loud roaring sound happening.

I've always tried to make movies that pull the audience out of their seats... I want audiences to be transported.

Theatre has so many competitors, it's no longer enough to see and hear a play. You want to be able to touch and smell it, too.

This country should be enjoyed through the senses.

Books don't need batteries.

If you live around dummies and fake blood for six months, it becomes a part of you. It's fake blood, but sometimes I still feel the real scent of blood, so it's more mentally collapsing, not only physical.