Quotes About Immersion

Make acting seem real and as if it weren't acting. Just make it real.

People always ask me, 'I don't know how you could watch that, how that affects you,' and I just tell them, 'I went through it in real life, so it's like pilots watching a 'Top Gun' movie or cyclists watching a bicycle movie,' something like that.

I always try to stay in the moment, in real life and in acting.

I think it's important to play real people.

I have realised that when you start thinking like the person you are playing, it gets easy to emote.

Always played all of the race games on everything from the PlayStation to the Xbox and PS2, and as advanced as PCs are now, it's amazing how realistic they can make the experience.

I try not to do scenes a certain way, because then I become conscious of it, and it dosen't come off as realistic. I try to make it so that I'm not really aware of what I'm doing.

'Indigo Prophecy' already brought a lot of new features to the traditional adventure genre, including the Action system, MultiView, Bending Stories, etc. 'Heavy Rain' will include features like advanced physics and AI, realistic characters and living environments.

The 'FIFA' games are getting more and more realistic. You can see it from one year to the next. Whenever I play on the console I try to be influenced by my own experience.

My whole deal when I do accents or dialects is I gotta fool the locals. If I fool the locals then I've done my job.

You don't really get the full grasp of something until you see it for yourself.

Experiencing this film in 2-D is only getting about 20 percent of the experience of 'Gravity.'

When you get a role, you completely lose yourself in it. That's one of the great things about acting - letting yourself go.

I see it in a lot of period pieces where everybody is standing and talking, in a stilted, archaic way, instead of being loose in the world. So, I try to do a little bit of research, just so that I can feel like I'm grounded, but then I try to bring as much of my human understanding that I can, under the filter of it being 1865.

I'm as guilty as anyone else of listening to music track by track.

There's no such thing as a minor lapse of awareness. You're either present with what is--right here, right now--or you're someplace else.

Ever since I was young, 14 or 15, I wondered if you could write a book that combined the visceral thrill of watching a movie with the total immersion you feel when you're inside a good book. And I had some success as a screenwriter before I began writing books.

I love sitting through long things. I mean, 'Gone With the Wind' I will sit through; I love sitting somewhere for four hours, for anything. I love being on a train. I love sitting down for four hours. I think it's the most wonderful thing to be able to sit somewhere and concentrate on something for more than two hours.

The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid... but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.

One of the wonderful things about going to a small college is you can get into everything.

I did a show called 'Wonderland' a few years back, and I was fortunate enough to spend a full-on two weeks - I'm talking 13-15 hours a day - with the doctors and patients at Bellevue in New York. That served me well for 'Durham County.'

I didn't find it that hard to channel the animalistic side of 'The Woman', I studied animals like apes and wolves, and researched how to throw off my feminine ways and just went out into the woods for a few days to learn how my body would feel if I had to do what she had to do.

When Beverly and I got together in 1992, and I moved to be with her in the little round house she'd built in the middle of 20 acres of woods near Amity, I found myself immersed in a natural setting that I responded to with all my being.

As a filmmaker, I believe in trying to make movies that invite the audience to be part of the film; in other words, there are some films where I'm just a spectator and am simply observing from the front seat. What I try to do is draw the audience into the film and have them participate in what's happening onscreen.