A Quote by William Friedkin
The art of movies is to allow the audience to suspend their disbelief. They need to use their imaginations.
Related Quotes
When it comes to acting, people talk about the suspension of disbelief that you ask of the audience. Before that starts, you have to, as an actor, suspend your own disbelief.
Theatre's great. It's such an act of faith. It's a wonderful art form where you suspend disbelief for a couple of hours. It's a lovely art form because the actors and the audience are alive and in the room at the same time together. That's why I love the theatre.
I'm a great audience. I cry very easily. I suspend disbelief in two seconds.
To engage with art, we have to be willing to be wrong, venture outside our psychic comfort zones, suspend disbelief, and remember that art explores and alters consciousness simultaneously.
It wasn't just about doing tricks. It's about taking an audience to another place, a special place, so they can really suspend their disbelief. Its about amazing the audience as well as moving them.
In listening to stories we tend to suspend disbelief in order to be entertained, whereas in evaluating statistics we generally have an opposite inclination to suspend belief in order not to be beguiled.
It's absurd to think of 'Pride and Prejudice,' this classic, beloved book, beset with a zombie uprising. The goal is to make you suspend your disbelief enough to allow you to get lost in the story and believe what you're reading for a while.
Whenever you're writing a book or creating a movie or a game, your first task is to get the reader/audience/player to suspend disbelief, to buy into the logic and boundaries of your world, even though those boundaries might include things like dragons and magic. To do that, you need long threads - of history and culture.
If you believe in Cinderella, and if you can suspend your disbelief at midnight, then you can believe in the interdisciplinary midnight, the 'in-betweens,' and become fortunately entangled, moving from art to science.
You can't really do a big character in an action film; you're already suspending your disbelief in the action, then to suspend your disbelief in the character is too much.
Palin, Limbaugh, Glenn Beck and others have made an art form of convincing far too many Americans to suspend their disbelief, and they have severely damaged the ability of our country to have serious discussions about serious challenges.
Manmohan Desai's films pack a lot of joy and have a child-like quality and you can see the director is having fun, but my movies don't suspend disbelief that much. But it's good to be compared to Manmohan Desai. He was run down by critics in his time.
I let the audience use their imaginations. Can I help it if they misconstrue my suggestions?
As a child, I was just never that interested in the lives of my favourite actors, like Cary Grant. I do wonder whether knowing too much about someone's personal life interrupts an audience's ability to suspend disbelief, to really invest in the characters. My preference would always be that people engage with the work.
One of the most difficult things in opera is for people to suspend disbelief.
I always like to have faith that an audience will suspend their disbelief, if you present it to them in the right way. I find it peculiar when people scoff at one bold idea, and yet they'll then turn over and watch a man travel through time in a police phone box. I think it's just how you present the idea.
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