Magic Quotes - Page 72

Touch is the magic wand of intimacy. Love is keeping in touch.

When magic through nerves and reason passes, Imagination, force, and passion will thunder. The portrait of the world is changed.

there’s nothing more powerful than human fear—not magic, not vampire strength. Nothing.

My little self-analysis is that consumer technology is the closest thing we have to magic. You push a button and something happens at your command. The things that get me fired up the most have always been the things that seem the most magical.

When Pixies broke up in 1993, I gave up the drums for the longest time. I hadn't been doing a lot, but I ended up attending a magic convention that initially got me interested. I took classes, bought videos, and practiced relentlessly. I began performing at parties and soon realized that developing an on-stage routine is often tougher than being a musician. I focused my act on magic that incorporated as much science as it did entertainment, which was really satisfying for me.

Dispel, v. It was the way you said, “I have something to tell you.” I could feel the magic drain from the room.

Every movement of the theater by a skilful poet is communicated, as it were, by magic, to the spectators; who weep, tremble, resent, rejoice, and are inflamed with all the variety of passions which actuate the several personages of the drama.

Normally, I do magic on the stage. But I can make magic credible and resonate through a TV screen.

Magic is used in espionage, all the time, for clandestine things. I've got a whole library from a gentleman who was hired by the CIA to create magic technology for the use of anti-terrorism.

In magic, it takes two or three years for me to create a 5-minute illusion for me to get it to the level I want.

I will now make a scorpion appear in Osama bin Laden's pants

I have always been interested in pushing magic forward.

I find revealing the secrets of magic quite reprehensible.

Demonic figures and occult themes have disappeared from modern magic.

Magic has been something I've been really good at since I was really young. The ability has always come easy to me, I'm not sure why.

Magic and new technology have always walked hand in hand - even back in the days of Robert Houdin.

What I've tried to do in my stage magic is to take a trick and give it an emotional hook.

Magic was a thing that, when I did it, it made all the kids go, "Ah, that's cool."

[ Gil Cates] said, "You've got a point of view with your magic. There's this comedy to it, there's drama. You're telling stories with magic."

I'm trying to change theater, in my own way - not just magic. I say that humbly, because I'm learning every single day. I do 15 shows a week, and every single audience I have is like a test screening for you, when you listen and go, "Really? They laughed at that?" All over the stage I have lines, written onstage, that I'm changing every single day.

There were really a bunch of old, old magic hobbyists at the time, some of them who actually had known [Harry] Houdini. You had to be 14 to go to these meetings, and he snuck me in at 12. It was glorious.

When I started doing magic as a kid, my parents had no problem.

I invented magic stuff; it came very easily. Now, I sucked at everything else, but I was good at magic as a kid.

Pippin had an opening number called "Magic to Do," and Jules Fisher, the brilliant lighting designer lit it. Tony Walton did all of the sets. As a kid I thought, "Wow, I'm seeing onstage what a MGM musical would look like live." It was that good, and it was directed by Bob Fosse.

I really wanted to succeed. I wanted to be accepted. I read every magic book that I possibly could, studied every move, and by the time I was 12, they really accepted me, they embraced me.