 Peggy 18. Quantic Dream and Motion Capture, it's a long story that started on Nomad Soul back in 1997. At the time, Motion Capture was extremely experimental to say the least. It was a technology coming from hospitals, basically, and from science. I thought, I love this technology. I mean, having characters that move like real human beings is fascinating. I thought, we need to own this. We need to have it at the studio because we want to experiment and play with it. So for Fire Night, we acquired Motion Capture Studio and started playing with it and trying to break it. We did motion capture with dogs. We did motion capture with cable stunts and with crazy, crazy things. I was super excited to be part of the video game. It's not something I'd ever done before. The last thing I did, I did, I think, Richard the Lionheart. And then we went over to have all of the photos done on my face so they could get as much detail. So I saw the room where all the concept art and all of the worlds they were building and the different levels. And my mind was blown and I was really, really excited to be part of it. I think it's definitely the art form of the 21st century. When I thought of a video game, I didn't really think of anything greater than a very plunky script supporting basically fights. That's what it was. But I kind of had an inkling from the beginning that this was different territory because even the script that they gave me for the casting was deeply human stuff. So I already knew that there was something different about it. Why did you leave him, Ethan? Why? Wasn't it enough losing Jason? Heavy Rain was very important regarding our approach to actors. On Fahrenheit, the characters were kind of patchwork and the result was probably the result of three or four different people. One person doing the facial animation, the body animation, the voice. On Heavy Rain, we said, OK, let's find actors who will have the right look, the right voice, the right personality, the right talent for the roles. And it was the first time we were doing this and I think it was one of the first times in the industry where someone was trying this. He was watching a common way of tracks going by. I was really excited. I like new stuff. I really enjoy where technology and creativity meet. And in Heavy Rain and in what David was trying to do, that was a real pleasure. It was pretty quick that I cottoned on that this was something that was different. Back then, very few actors had done motion capture before. And we were all learning. We were really fortunate because we found with our actors, people who were generally interested and curious and ready to experiment. The actor playing Ethan Morris especially because he had a very intense role. It was very challenging and very difficult. He had some very intense scenes. He opened my eyes on how far we could go with motion capture. I remember there was this scene where the character is supposed to cut his fingers. The performance that he delivered on stage is something I still remember. It was more than 10 years ago. I mean any actor will say, well, you don't have to cut your own finger off to know how it feels like to cut your own finger off, right? But on top of that, there's the stakes that the character is working under. There's the what has happened before. So it was incredibly emotionally heightened. It was mind-bending and so cool to do. What's interesting is this. I had no idea how this was going to turn out or work out. I can see stuff, I imagine, but it's not my world. I'm not an animator. And I think the best thing about it is I feel in a weird way like I'm almost a kind of small version of video gaming royalty because this was such a big project. What I love about it now, you know, this many years on is I feel like I've been immortalised in a brilliant way. And when I told my daughter I'm in a video game, just the cheese-discovering video game, her mouth was like, Oh.