A Quote by Helena Bonham Carter
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.
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Every little thing that people know about you as a person impedes your ability to achieve that kind of terrific suspension of disbelief that happens when an audience goes with an actor and character he's playing.
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.
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.
I'm a great audience. I cry very easily. I suspend disbelief in two seconds.
The art of movies is to allow the audience to suspend their disbelief. They need to use their imaginations.
With theatre, we all agree to suspend our disbelief about so many things, but not about race. It's totally OK to have one actor playing five roles - people are willing to believe that. But they won't believe it if there's a black or an Asian kid who has white parents. What does that say about us?
You have to be able to invest in your own creations, to suspend your own disbelief in order to be able to write them. We all have to draw the line somewhere.
The more people know about you, the more face-time you get in the media, the harder your job becomes to create a character in whom people suspend disbelief.
It's a delightful thing to do, to entertain kids. They're a completely different audience because of their total lack of irony. You're always after a total suspension of disbelief, but the only people you can really achieve it with is children.
One of the most difficult things in opera is for people to suspend disbelief.
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.
Everyone knows that a movie is false. But if as filmmakers we give the audience too many reasons to lose the suspension of disbelief, I believe we're working our way down a hole.
When you have a movie about people landing from planet Neptune, you suspend disbelief. I totally get it. But I like doing things that happen in real life.
Suspend for a moment your disbelief and encounter once again the sense of wonder you knew when there was... magic!
Musicals are, by nature, theatrical, meaning poetic, meaning having to move the audience's imagination and create a suspension of disbelief, by which I mean there's no fourth wall.
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.
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