A Quote by Michael Wolff

Indeed, Rusbridger has finessed for the Guardian a certain willing suspension of disbelief and is able to credibly maintain conceits and moral standards to which his own behaviour hardly conforms.
That willing suspension of disbelief for the moment, which constitutes poetic faith.
The moral absolutes rest upon God's character. The moral commands He has given to men are an expression of His character. Men as created in His image are to live by choice on the basis of what God is. The standards of morality are determined by what conforms to His character, while those things which do not conform are immoral.
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.
It is now life and not art that requires the willing suspension of disbelief.
Those who write need that "willing suspension of disbelief ", as Coleridge called it.
I'm a very skeptical guy: my willing suspension of disbelief doesn't go very far when I'm reading other people's SF, and it goes even less far when I'm writing my own.
I prefer to think of faith, as Coleridge says of poetry, not as the taking up of belief but as "the willing suspension of disbelief". . . a willingness to be open, to explore, to investigate.
We've suspended the willing suspension of disbelief. We have given up that relationship, that almost hypnotic engagement, with the characters up on the screen.
A performer may be taken in by his own act, convinced at the moment that the impression of reality which he fosters is the one and only reality. In such cases we have a sense in which the performer comes to be his own audience; he comes to be performer and observer of the same show. Presumably he introcepts or incorporates the standards he attempts to maintain in the presence of others so that even in their absence his conscience requires him to act in a socially proper way.
Cinema, which demands suspension of disbelief, is an increasingly naive proposition.
The generation of atmosphere, the aura of the uncanny, is one of the most important secrets of magic. It contributes to the willing suspension of disbelief, the feeling that, within the circle, or in the presence of the magical shrine, anything may happen.
There should be a name for this, for the process whereby one knows one is being yanked and concedes it has been done successfully - that one is grateful to have been spun. In the theater, it is called the willing suspension of disbelief. That's what allows the play to make an impact on the audience: they have to be able to make believe that what's happening on the stage is really happening. Maybe to a degree it is a requirement for all political participation, all effective political communication, too.
When you are able to maintain your own highest standards of integrity - regardless of what others may do - you are destined for greatness.
Great artistic talent in any direction... is hardly inherent to the man. It comes and goes; it is often possessed only for a short phase in his life; it hardly ever colors his character as a whole and has nothing to do with the moral and intellectual stuff of the mind and soul. Many great artists, perhaps most great artists, have been poor fellows indeed, whom to know was to despise.
Rusbridger's curious success, especially for a temperamentally remote figure, has been to give a reasonable face to the Guardian's quite quixotic mission.
You’re a guardian angel now.”.... I’m your guardian angel,” he said. “I get my very own guardian angel? What, exactly, is your job description?” “Guard your body.” His smile tipped higher. “I take my job seriously, which means I’m going to need to get acquainted with the subject matter on a personal level.
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