A Quote by Jo Johnson

Suspension of disbelief is a necessary ingredient in all storytelling. So it has been with the government's narrative that it is delivering Brexit. — © Jo Johnson
Suspension of disbelief is a necessary ingredient in all storytelling. So it has been with the government's narrative that it is delivering Brexit.
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.
The Government has boxed itself in by trying to codge together this weird fake Brexit in the hope of committing people to somehow delivering on the referendum result.
What do you know? Haven't you heard of suspension of disbelief?
I guess love is the real suspension of disbelief.
The stage is suspension of disbelief. Film is a literal medium.
Why suspend the habeas corpus in insurrections and rebellions? Examine the history of England. See how few of the cases of the suspension of the habeas corpus law have been worthy of that suspension. They have been either real treasons, wherein the parties might as well have been charged at once, or sham plots, where it was shameful they should ever have been suspected. Yet for the few cases wherein the suspension of the habeas corpus has done real good, that operation is now become habitual and the minds of the nation almost prepared to live under its constant suspension.
It is now life and not art that requires the willing suspension of disbelief.
I'm not a moron, but science fiction to me requires a suspension of disbelief and honest curiosity or fascination in that kind of bullshit. I've just never been able to make that jump, really. I like things to be more organic.
That willing suspension of disbelief for the moment, which constitutes poetic faith.
The more you can create that magic bubble, that suspension of disbelief, for a while, the better.
Those who write need that "willing suspension of disbelief ", as Coleridge called it.
Cinema, which demands suspension of disbelief, is an increasingly naive proposition.
[Science fiction is] that class of prose narrative treating of a situation that could not arise in the world we know, but which is hypothesised on the basis of some innovation in science or technology, or pseudo-science or pseudo-technology, whether human or extra-terrestrial in origin. It is distinguished from pure fantasy by its need to achieve verisimilitude and win the 'willing suspension of disbelief' through scientific plausibility.
Suspension of disbelief and that whole question is part of the heart of the 'Leaves of Grass'movie.
I'm not a media personality, I'm an actress. I want to protect that thing: the suspension of disbelief. The rest of it is just distraction.
I'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.
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