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Audiences often put themselves at the state of being required to believe some premised settings of actions and characters in the world of fiction, which they would not believe if those things happen in the real world as facts. In Biographia Literaria, Samuel Taylor Coleridge explains that this ‘willing suspension of disbelief' is enough to induce the emotional result, describing the interest and imagination from the inward nature of humans to accept as truth are the premises of a work of fiction, even if they are fantastic or impossible. According to the theory, the suspension of disbelief is the tacit and temporary agreement between audiences and the author that they provisionally suspend their judgment in exchange for the promise of entertainment. Aristotle was the first to point out that in drama there is a paradox; the ‘improbable but possible' tends to be less acceptable to audiences than the ‘impossible but plausible'. Christian Metz says Aristotle defined the plausible as the unity of that which is possible in the eyes of common opinion. By this definition, ‘plausibility' is acceptably conforming to the stylistic conventions to which audiences have been conditioned for drawing the suspension of disbelief of the text. To achieve ‘willing suspension of disbelief' and plausibility is one of most important dramatic conventions to make audiences be familiar with the nature of actions and characters in a drama. And cinema attempts an act of persuasion through the art of storytelling, focusing on the essential area of belief is in human actions and emotions, which basically mean the complex plot and vivid characters to be critical elements of the well-built dramatic structure. People act, react, and interact in ways which are believable. In cases where such interactions do require suspension of disbelief, the normal rules of consistency apply. Therefore, the director and the writer should create a tone for a feature film which so captivates audiences that they are not simply willing, but in fact, eager to believe in the unbelievable, by handling the hints and exposition, and by developing characters who can encourage audiences to feel that the performers act and react on behalf of them.