A Quote by Will Gluck
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.
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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?
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.
Whenever you're writing a book or creating a movie or a game, your first task is to get the reader to suspend disbelief, to buy into the logic and boundaries of your world, even though those boundaries might include things like dragons and magic.
One of the reasons wrestling works is because it allows people to suspend their disbelief. They may know it's not real, but if it's done well enough, they get sucked into it emotionally. And that's why they watch.
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.
One of the most difficult things in opera is for people to suspend disbelief.
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.
What I thought was so great about Rise [of the Planet of the Apes ] was that it wasn't a retelling; it was an entering of the universe at a different point. So it's Planet of the Apes. We already know the ending. There's no mystery in that! It becomes Planet of the Apes. So it's not about what is at the end; it's about how did we get there? And that enabled something that was totally fresh, which was an ape-point-of-view movie.
No one thinks Las Vegas is real; it is illusion, but visitors willingly suspend disbelief and pretend.
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.
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.
'Bellyache' is totally fictional. I like writing about things that aren't real. The song is about not trusting anyone and then putting trust in yourself and realizing that you don't know what you are doing, either. Or realizing that things you do with a group of people that you think are cool in the moment are ultimately all on you.
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.
Real life's nasty. It's cruel. It doesn't care about heroes and happy endings and the way things should be. In real life, bad things happen. People die. Fights are lost. Evil often wins.
There’s something really powerful about groups and shared experiences. People might be skeptical about their ability to change if they’re by themselves, but a group will convince them to suspend disbelief. A community creates belief.
The things that scare me are real life situations. Real life is much more scary than anything you can put on the movie screen. Which is why I get very upset when people try to blame the movies for the violence in this world. I'm like 'Are you kidding me?'. There is more violence in a four hour period on CNN than any movie I have in my massive collection.
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