I think audiences have hit the wall with CGI and special effects. They have seen so many over-the-top events that they can't suspend disbelief.
To engage with art, we have to be willing to be wrong, venture outside our psychic comfort zones, suspend disbelief, and remember that art explores and alters consciousness simultaneously.
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.
Manmohan Desai's films pack a lot of joy and have a child-like quality and you can see the director is having fun, but my movies don't suspend disbelief that much. But it's good to be compared to Manmohan Desai. He was run down by critics in his time.
It's not easy for me as a writer to suspend my disbelief in a fantastical zone. I can do it. But it's more natural for me to write stories that are comic. Or hopefully comic.
The art of movies is to allow the audience to suspend their disbelief. They need to use their imaginations.
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.
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.
Since the eighteenth century the immense expansion of the worlds wealth has come about as a result of a correspondingly immense expansion of credit, which in turn has demanded increasingly stupendous suspensions of disbelief.
The stage is suspension of disbelief. Film is a literal medium.
It never ceases to amaze me that readers who are willing to suspend their disbelief when it comes to the motivation of a vicious serial killer get high and mighty because I have put a coffee shop where there isn't one. Er... it's a novel. I made one up. I'm allowed to make stuff up. I'd go as far as to suggest that I make stuff up for a living.
I'm a great audience. I cry very easily. I suspend disbelief in two seconds.
I want to regard my public as infinitely intelligent, as understanding notions of the suspension of disbelief and as realising all the time that this is not a slice of life, this is openly a film.
