Quotes About Immersion

One of the reasons why I think virtual reality, as a narrative format, is never going to go beyond the short-form immersion space is because the bedrock of visual storytelling is the reverse angle. If you can't look into the eyes of the protagonist, you cannot hold people's attention for more than 15 minutes.

You have to realize I like doing big movies that appear on a big screen. So the visuals and the audio have to be of a certain quality before I start to get excited about the thing.

The visuals are equally as important as the music. It's all a complete experience.

I've always said if I had to pinpoint what's more important in a scary movie, the soundscape or the visuals, I'd pick the sound.

The concept and vision of 'Electronic Nature' is to give my fans a fully immersive sensory experience of music, visuals and more.

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.

Making the visuals photo-realistic lets us do things we were never able to do before. The voice acting, the facial expressions, are all that much deeper.

I remember vividly what it's like to read as a 10-year-old - that passionate inhabiting of a book.

As adults, when we attend to something in the world we are vividly conscious of that particular thing, and we shut out the surrounding world. The classic metaphor is that attention is like a spotlight, illuminating one part of the world and leaving the rest in darkness.

Each book is a separate entity for me. When I'm writing it, I enter its world and inhabit its vocabulary. I forget, as it were, that I ever wrote anything else.

I like the idea of the audience absorbing the language and getting to understand it as they journey through the film. It starts off being more obscure, but you get used to it. A 'Clockwork Orange' thing. I read 'Clockwork Orange' without any vocabulary, and I got to understand the words as I went through it. I like that process. It immerses you.

There are biographies, I looked at a lot of photographs of him, I heard his voice over and over and over again. You get in there and get to know the man by all of those pieces of information.

'Taxi Driver' is one of those films that is groundbreaking in how much you're inside this character's head. It uses voice-over in a revolutionary way where the audience is invited as a co-conspirator to the whole story line.

I think it's definitely beneficial for these characters to have good acting voices behind them and it affects the characters in a way that people can feel like they're part of the game and that they know these characters.

I got used to long takes with 'Irreversible' and 'Enter the Void' and also with 'Love.'

With a book, there's no volume to turn up. You're very naked with a book.

There's no reason my films can't work as hard as VR does to hook an audience and never let them go, so I think that that it turns the volume up a little bit on storytelling. The same way when I was doing commercials and then I went and shot 'Go,' and 'Go' has a level of pace that is unlike any of my other movies.

What puts me in the perspective of the power of a song is listening to it at full volume.

I'm a voracious reader, and I love to throw myself into it.

Live with all of your senses.

I want characters I can live for in a setting that makes me feel like I'm there.

I've been with Shakespeare all my life.

Music is such an incredibly affecting part of any movie-going experience, and it just... it shapes your whole experience.

I really do literally put myself into a character's shoes.