A Quote by Tom Mison
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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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.
Regarding pushing the form, ideas interest me more than form. I think you can write a very subversive play in a three-act structure. The content makes the play. I feel the form is simply dressing, because ultimately, you want to communicate to the audience, and sometimes the best way to do that is to present a provocative idea in a format that is comfortable for them to receive. Then the idea will come through directly, right in solar plexus. After all, I want to make a living as an artist, and that means speaking to the audience in a form they can understand.
I think that scientific persons of the future will scoff at scientific persons of the present. They will scoff because scientific persons of the present thought so many important things were superstitious.
I think if you're too embroiled in the need to relate too closely to the character, then you start to judge the character for the audience rather than to present it to the audience for their enjoyment and them to mull over the questions that the characters present.
You're in a movie, so you have to think about how something plays. It's not like you're thinking about how an audience is going to react. You're trying to present the story. You're trying to illuminate the lives of these people in the story. So I'm thinking about how my behavior as this character best illuminates what's going on with them in this moment in time. I always say it's sort of the director's job. People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.
For children, childhood is timeless. It is always the present. Everything is in the present tense. Of course, they have memories. Of course, time shifts a little for them and Christmas comes round in the end. But they don't feel it. Today is what they feel, and when they say 'When I grow up,' there is always an edge of disbelief - how could they ever be other than what they are?
You think you're safe. Until you see a picture like that. And then you know you'll always be a slave to the present because the present is more powerful than the past, no matter how long ago the present happened.
Third, consider the insistency of an idea. The insistency of a past idea with reference to the present is a quantity which is less, the further back that past idea is, and rises to infinity as the past idea is brought up into coincidence with the present.
We must abandon completely the notion of blaming the past for any kind of situation we're in and reverse our thinking and see that the past always flows back from the present. That now is the creative point of life. So you see it's like the idea of forgiving somebody, you change the meaning of the past by doing that...Also, watch the flow of music. The melody as its expressed is changed by notes that come later. Just as the meaning of a sentence...you wait till later to find out what the sentence means...The present is always changing the past.
I'm not trying to amass people in the streets. I just want them to be more aware. So many Americans, for one reason or another, they watch the news and it doesn't really give them the idea of the world. Or they don't read or travel. They have no idea that America is part of the world and not the world itself. And so anything from the travel stories I tell, that's what I'm trying to get across.
I've often hesitated in beginning a project because I've thought, 'It'll never turn out to be even remotely like the good idea I have as I start.' I could just 'feel' how good it could be. but I decided that, for the present, I would create the best way I know how and accept the ambiguities.
You must find a way to express your ideas and compel your audience to react through the idea itself, and then figuring out what the best representative of that idea may be, and bringing it to life.
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.
No man dares to condemn the Christian faith today, because the Christian faith has not been tried. Not until men get rid of the thought that it is a poor machine, an expedient for saving them from suffering and pain; not until they get the grand idea of it as the great power of God present in and through the lives of men; not until then does Christianity enter upon its true trial and become ready to show what it can do.
WHEN reading my present treatise, bear in mind that by "faith" we do not understand merely that which is uttered with the lips, but also that which is apprehended by the soul, the conviction that the object [of belief] is exactly as it is apprehended. If, as regards real or supposed truths, you content yourself with giving utterance to them in words, without apprehending them or believing in them, especially if you do not seek real truth, you have a very easy task as, in fact, you will find many ignorant people professing articles of faith without connecting any idea with them.
I think the idea of fact-checking, I think the idea that you come up through a system where you know how to cover night cops, and then you go on, and you go on to various beats, including writing obituaries, and you get names right, you know how to spell them, really has some advantages to it.
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