Quotes About Deception

The secret is -- a magician doesn't buy magic. Admire the skill of a magician, but never fall under his spell. She rose and collected our glasses. And I thought of how Barry seduced my mother, his smoked mirrors and hidden trained doves. She never chose him, not really, but she gave him everything. She would always be his, even if he was dead. He had shaped her destiny.

They say time heals all wounds but they're lying

He just didn't want to see how damaged she was. As long as she didn't show him, that was all he asked for. A good show.

It was as if I was blind and she'd told me, sight doesn't matter, it's just as well you can't see.

But she understood, even lies could be true, if you knew how to listen.

Every journalist who is not too stupid or too full of himself to notice what is going on knows that what he does is morally indefensible. He is a kind of confidence man, preying on people's vanity, ignorance, or loneliness, gaining their trust and betraying them without remorse.

We lied to our parents and we lied to each other and we lied to ourselves, so addicted to deception had we become.

EVERY journalist who is not too stupid or too full of himself to notice what is going on knows that what he does is morally indefensible. He is a kind of confidence man, preying on people's vanity, ignorance, or loneliness, gaining their trust and betraying them without remorse. Like

For, of course, at bottom, no subject is naive. Every hoodwinked widow, every deceived lover, every betrayed friend, every subject of writing knows on some level what is in store for him, and remains in the relationship anyway, impelled by something stronger than his reason.

Every hoodwinked widow, every deceived lover, every betrayed friend, every subject of writing knows on some level what is in store for him, and remains in the relationship anyway, impelled by something stronger than his reason.

This empire, unlike any other in the history of the world, has been built primarily through economic manipulation, through cheating, through fraud, through seducing people into our way of life, through the economic hit men. I was very much a part of that.

'Perfect' is about a set-up that looks perfect from the outside - beautiful country house, beautiful wife and mother, everything where it should be - and the deep fissures that, in fact, lie beneath that. 'Perfect' was partly a response to the shock of my first book, 'The Unlikely Pilgrimage Of Harold Fry,' being a success.

If you're an average married couple, you're going to lie to your spouse in one out of every 10 interactions. Now, you may think that's bad. If you're unmarried, that number drops to three.

The theater itself is a lie. Its deaths are mere special effects. Its tales never happened. Even the histories are distorted for dramatic effect. The theater is unnatural, a place of imagination. But the theater tells the audience something true: that the world requires judgments.

A lot of things in films are cheated with the use of camera tricks, so while it may feel unnatural to do, when you look at the result, you realise that it is right.

Watching foreign affairs is sometimes like watching a magician; the eye is drawn to the hand performing the dramatic flourishes, leaving the other hand - the one doing the important job - unnoticed.

In pre-movie days, the business of peddling lies about life was spotty and unorganized. It was carried on by the cheaper magazines, dime novels, the hinterland preachers and whooping politicians.

There are no hard distinctions between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false.

In the Sabs we had to remain in this depressing, unreal world. I didn't like all the devilish boohoo that went with it, to tell you the truth. There was manipulation from outside sources that preferred us to be a certain way. Acting up to that, I felt quite dishonest.

I didn't apply to any colleges - I lied to all my friends and told them I was going to UCSD, because all their parents would be like, 'Mark, where're you going to college?' and I'd just lie 'cause I felt it was unrealistic to be an actor.

In 2004, I wrote 'What We've Lost,' a book about the Bush administration. It sold only reasonably well, in part, I think, because the book was a horrific downer, an unrelenting account of the administration's actions, bungles, deceptions, half-truths, untruths, and downright corruptions.

Facts tend to take the punch out of a good hate rant and are therefore left best unsaid.

Appearances are a glimpse of the unseen.

It's been unsettling to discover that every form of narrative, even one that purports to tell the truth, is a kind of lying.