| Harry Blackstone Jr.: "We want to re-educate American audiences to the fact that magic is theater, not a parlor game or children's entertainment, but a legitimate art form based on a science." (Newsweek, Oct. 16, 1978, page 118)
Becky Blaney: "The #1 advice I can give to any woman, or any man, is to capture your personality on stage. Do what you have drive and passion for." (Magic Manuscript, Nov./Dec. 1990, page 50)
Michael Close: "Good dramatic practice dictates that we not talk and move at the same time. If the words are important, stand still. If the action is important, don't talk." (Magic, Sep. 2002, page 57)
Aldo Colombini: "I feel that it's the magician who makes the trick and not the trick that makes the magician." (L&L Publishing, Special Issue #10, Feb. 2000, page 9)
David Copperfield: "I fly because there's a market for it." (Esquire, Apr. 1994, page 92)
Paul Daniels: "Stage fright is not the result of an inferiority complex, it is the result of believing that our possible failure is important... No single show is important enough to end our careers." (Magic, Apr. 2001, page 31)
David Devant: "Sometimes I think that the most successful conjurers are the men, who have given as much thought and labour to the study of human nature, as they have to the study of magic." (The Strand Magazine, Feb. 1921)
Fred Donaldson: "Inside every successful kiddie magician lurks the tolerant but steel-willed soul of a school bus driver." (M-U-M, July 2004, page 14)
Avner Eisenberg: "You thought you could just come and sit...No. You're the audience, and you've got work to do." (Genii, Jan. 1996, page 192)
Celeste Evans: "Problems are perceived rather than real. I am a firm believer in the magic of the mind. You can overcome almost any problem with self confidence and positive action. If you think it, you can do it." (M-U-M, Jan. 1998, page 24)
Uri Geller: "If I'm ever truly validated, I will cease to be interesting." (USA Today, Nov. 18, 1999, section D, page 2)
Tony Giorgio: "I believe that both the neophyte and the accomplished Magician can profit more from studying and thinking about performance than from learning new tricks." (Genii, Apr. 1996, page 476)
Lee Grabel: "There can be only one miracle worker on the stage at a time; any more dilutes the miracles and leaves nothing but a clever trick." (The Magic and Illusion of Lee Grabel, 1986)
Doug Henning: "The important thing in creating wonder is to remember that it's not the item that's important, but the feeling." (Vegetarian Times, Feb. 1985, page 23)
Jean Hugard: "You cannot make an elephant out of a fly by talk, but you can transform a simple trick into an entertaining feat of Magic by proper patter, plot and presentation." (Hugard's Magic Monthly, Mar. 1957, page 546)
Jade: "It's not always the tricks that are so important, it's the presentation and the charisma of the performer that sell the magic to an audience." (M-U-M, Jan. 1998, page 25)
Michael E. Johnson: "Perform magic, not to trick the mind, but to excite the imagination. For those who believe in magic, anything is possible." (San Diego Business Journal, Aug. 11, 1997, page 28)
Rene Lavand: "A moment of anticipatory silence is more valuable than a loud scream or huge applause or standing ovation." (Magic, July 1998, page 59)
Tina Lenert: "To me, the ultimate challenge is to take self expression to the limit without becoming self-indulgent." (Magic, Nov. 1995, page 55)
Robert Lund: "Magic is creating a sense of enchantment, of make-believe, of the wonder-of-it-all in the human mind. It has absolutely nothing to do with the Five of Diamonds, the Ace of Spaces, or Sawing a Lady in Half." (Magic, Apr. 2003, page 54)
Jerry "Chip" MacGregor: "Routine your trick so that it touches the emotions of the people watching you. The more emotional they are toward your magic, the more memorable will be your performance." (The Linking Ring, Apr. 2002, page 53)
Bill Malone: "Never get an ego and think you know it all. If that happens, you will never grow as an entertainer." (The Magic SYMbol, Apr. 2000, page 5)
Davey Marlin-Jones: "I think most magic acts are so busy giving that they never stop to find out what the audience wants to receive." (Magic, Sep. 2002, page 46)
Jeff McBride: "In order for a magician to create a magical experience, he must first have one." (Genii, May 1992, page 458)
Charlie Miller: "All methods are good, usually, but a skillful worker usually doesn't spend lots of time on variations. If you do one good four ace trick that's enough... usually too much for present day audiences." (Hugard's Magic Monthly, Feb. 1959, page 103)
Norm Nielsen: "Perfection is not in the trick but in the performer." (M-U-M, Aug. 2001, page 23)
Darwin Ortiz: "1. Anything that affects the audience matters; 2. Anything that doesn't affect the audience doesn't matter." (Magic, Nov. 1995, page 25)
Richard Osterlind: "Strive to create the strongest magic you can and get to it using the simplest means possible." (Making Real Magic, 2004)
Charles J. Pecor: "It is much better to have your ego bruised in rehearsal than to have it shattered in performance." (The Magic SYMbol, Apr. 2000, page 6)
Marvyn Roy: "First, don't build the act and then look for the market...adapt your product to the needs of the market." (Magic, Mar. 2001, page 27)
Jane Ruth Stuart: "Remember, no matter which method you use, the ultimate defense against exposure is a good performance." (M-U-M, Feb. 1998, page 45)
Mark Wilson: "Get people talking about you and the way you do your magic rather than about the tricks you perform. That will enable you to find your place in magic according to your own individuality." (Mark Wilson's Cyclopedia of Magic, 1995, page 632)
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