Create Emotion/Transcript

This is the transcript of "Create Emotion," part of The Making of Heavy Rain.
== Transcript ==
(An ESRB logo appears, followed by the PlayStation logo and a spoiler warning. An Origami Murder Bird appears on a white background, and black ink runs down to reveal the phrases "THE MAKING OF HEAVY RAIN" and "CREATE EMOTION.")
(Video footage of Guillaume de Fondaumière plays. The caption "Co-CEO, Executive Producer Guillaume de Fondaumière" appears.)
Guillaume de Fondaumière: Heavy Rain is a very dark thriller. It's an experience that I think for the first time is going to put gamers into very different emotional states.
(Video footage from "Father and Son" and "The Park" plays.)
Fondaumière: We're offering subject matters that are usually found in films and books. But I can think of any game I've played in the past that would only scratch the surface of the different emotional aspects of this game that we are dealing with. It's a very deep story. It really touches, I think, on the emotional fiber of all mature audiences. And I think that makes it a rather unique experience.
(Video footage of Caroline Marchal plays. The caption "Lead Gameplay Caroline Marchal" appears.)
Caroline Marchal: We call it "interactive drama".
(Video footage from various chapters plays.)
Marchal: The game is really story-driven but the player can change it. So it's a game because every choice is made by the player.
(Video footage from "Nathaniel" plays.)
Blake: For Christ's sakes, shoot!
(In one panel, Norman shoots Nathaniel, while in another, Nathaniel is talked down.)
Fondaumière: It's really the first time that we're on such a level of performance for characters.
(Video footage from "Prologue," "Sleazy Place," "On the Loose," and "The Shark" plays.)
Fondaumière: I think that it's going to demonstrate, I hope, that emotion is the key to any entertainment form, and that by obtaining such a strong acting performance you can raise the whole quality of the experience and therefore the quality of your game.
(Video footage from "Welcome, Norman" plays.)
Grace: For God's sake, how hard is it to keep your eye on a child in the park? Why did you leave him, Ethan? Why? Wasn't it enough losing Jason? I'm sorry... That's not what I meant to say. I miss him so much...
(Video footage of David Cage plays. The caption "Writer and Director David Cage" appears.)
David Cage: We spent about a year doing casting sessions in the UK, in London and in Paris to try to find really the best actors for the main roles.
(Video footage from Jacqui Ainsley, Pascal Langdale and Leon Ockenden's audition tapes plays, followed by footage from Sam Douglas, Christian Erickson and Norman Stokle's audition tapes. This is then followed by footage from Paul Bandey, Antony Hickling and Patricia Davidson's audition tapes.)
Cage: And that was really important because we were not just looking for someone's face or his voice, but we were basically looking for the full actor because then their face is scanned with a 3D scanner, so it's really their face in the game.
(Footage of Jacqui Ainsley being photographed is shown, followed by photographs of her compared to renders of Madison Paige's facial expressions. Renders of Lauren Winter and Adrian Baker are shown.) 
Cage: We recreate the body exactly of the same size and the same height and everything. And then they come on set to shoot the motion capture animations.
(Footage of Jacqui Ainsley in a motion capture suit is shown, followed by footage of Pascal Langdale recording facial animations. Footage of Jacqui Ainsley and Sam Douglas recording an action sequence is shown.)
Cage: So we do all the walks, all the interactions, all the dialogues, pretty much everything is shot.
Fondaumière: Here, what we want is to use the system in a way that would give us the possibility to have actors truly play like if they were on a movie set.
(Footage of Pascal Langdale and David Cage reading from the game's script is shown.)
Fondaumière: So they spent a lot of time with David Cage, the director, and Steve Kniebihly, the assistant director, to make sure that when they come on stage, they know what they have to do.
(Footage of David Cage and Leon Ockenden reading from the script for "Nathaniel" is shown, compared to footage from the finished scene.)
Leon Ockenden: (in character as Norman) You're not gonna kill the Anti-Christ with a revolver, Nathaniel. He's much too powerful for that.
David Cage: (in character as Blake) Anti-Christ my ass! Get that gun out of my face!
Ockenden: (in character as Norman) Lieutenant Blake is gonna leave our planet right now and return to the Realm of Shadows. Creature of darkness, I do beseech you to return to the Realm of Shadows...
(Footage of David Cage reviewing the script with members of the cast is shown.)
Cage: We have a full script. And we spent days and days and months just rehearsing with them to make sure they fully understand the story and their character, and they can deliver the performance we expect from them. You know, very often in games you need good performances for cutscenes, sometimes for dialogues. But here it's different because we really needed this level of quality in the performance pretty much in all the game.
(Video footage of Pascal Langdale plays, followed by footage from "Welcome, Norman," "The Shrink," and "Paparazzi".)
Pascal Langdale: You have to absolutely know -- and not just know it, you have to know it backwards and forwards. Because the way that it's done when you get to one of these choices and you have those moments, you have to know all of them very well because you have to get to that point and then go to one, get to that point and then go to another.
(Footage from "On the Loose" plays, showing Ethan's decision to either kiss or not kiss Madison.)
Langdale: Or maybe just do all three in a row and they're all very different, but the points of departure are the same. So preparing for that was really quite intense because again, I was working in an imaginary world.
(Video footage of Leon Ockenden plays, followed by footage from "Crime Scene" and "Kick Off Meeting".)
Ockenden: To prepare myself for this particular role, I went to -- there's an institute called IGAP, and it's an institute of analytical psychologists. And I went to a few seminars, specifically to do with forensics and forensic psychology.
(Video footage of David Cage plays, followed by footage from "Father and Son".)
Cage: If you don't relate to the character and you don't feel empathy for them, if you don't believe in what they say and how they feel, then the whole experience will just fall apart. I mean, it doesn't mean anything.
(Video footage of Thierry Prudhomme plays. The caption "Lead Characters Thierry Prudhomme" appears.)
Thierry Prudhomme: As lead artist, the first and foremost part of my job is to create a character from an actor.
(A photograph of Sam Douglas is shown, compared to a render of Scott Shelby. Untextured renders of Scott's head are shown.)
Prudhomme: We make a copy of the actor, but also give him as much personality as possible through the design. It means that we use the existing actor as a basis, and then we try to make the character fit his part in the game.
(Video footage of Sam Douglas looking at photos of Leland White's model plays.)
Sam Douglas: The quality... fucking wonderful, man. Shit, I'm glad I'm not me. I wouldn't want to meet me.
(Footage of Scott's loading screen is shown.)
Prudhomme: Technologically speaking, we focused on very specific areas. We worked very hard on how to develop characters in a way never done before.
(Video footage of Ronan Marchalot plays. The caption "Lead Engine Ronan Marchalot" appears.)
Ronan Marchalot: We put a lot of work into our engine having the best character rendering imaginable. For instance, we made very realistic effects for rain and tears on characters' faces. Our main aim was to set a new benchmark, in terms of character rendering. And I believe that this is one of the main differences between Heavy Rain and other games.
(Footage of Ethan's walking animation is shown.)
Clement Castanier: A thing we had before, he's just lifting his head a bit at the end of the animation. So this is something that we changed to make the loop even more discreet, so we don't see the repetition. This is a way to give control of the character to the player.
(Video footage of Castanier plays. The caption "Lead Animator Clement Castanier" appears.)
Castanier: And this is also a way to introduce some behavior that are not mechanical, that are not loops. We break the cycle, we are including something that moves completely outside of any loop. It's random, it's dynamic.
(Footage from "Sleepless Night" plays.)
Castanier: If the player leaves the character alone for three seconds, the character is going to take a new pose. It won't stand in its basic, regular pose.
(Footage of Jacqui Ainsley in a motion capture suit, performing Madison's idle animations, is shown, followed by footage of Sam Douglas recording Scott's idle facial expressions.)
Castanier: Each character is going to choose some attitude, some behavior. And this is a detail that really brings a lot of detail on "who's the character" and "what is he thinking about".
(Video footage of Thierry Prudhomme plays.)
Prudhomme: Another aspect of our job is to create facial animation, to really give life to the character. It's a moment when we truly work with the actors. Shooting facial mocap in order to give life to the character's face, to make it talk and act in accordance with the situation.
(Footage of Pascal Langdale recording Ethan's facial expressions in "Prologue" is shown compared to footage from the finished scene.) 
Jason and Shaun: Dad!
Ethan: Hey, take it easy, you're gonna knock me over! So, this is your big day, huh?
Jason: Am I grown up now?
Ethan: Hmm, ten years old. That's not exactly grown up, but you're getting there.
(Footage of Sam Douglas recording Scott's facial expressions in "The Old Warehouse" is shown compared to footage from the finished scene.)
Scott: It wasn't bravery... It was love.
(Video footage of David Cage is shown.)
Cage: Telling stories, you know, this is probably one of the oldest human activities. Since language exists and writing exists, people tell stories and people like stories to be told.
(The Heavy Rain logo appears, followed by the tagline "How far will you go to save someone you love?". The PlayStation 3 logo appears, followed by the Sony logo and a copyright notice.)
Category:Transcripts