Usual Suspects Film Quotes

[It] could be argued that the favorite sin of Satan would not be vanity, as described in 'Devil's Advocate', or even unbelief in the existence of the devil, as described in 'The Usual Suspects,' but the imagining of a generic, Christless God. The very essence of the Christian faith centers on the identity of Jesus Christ as God's only begotten Son, who alone is the source of salvation and author of faith (Acts 4:12). So it stands to reason that Satan's favorite sin is the belief in a God without Jesus, because that is a god without atonement or redemption and that is what populates hell in the name of heaven.

But the slice-of-life novel is really not so much a world apart as an interlude - like the conference or the film set, the holiday hotel or the voyage by sea or air. You enter it, you live there for a while, you leave again. Perhaps it will alter you; usually it will not. I suspect that the book which takes you into a world apart must also _trouble_ you, at least a little. And the troubling stays with you, like the grit in the oyster, and afterwards you are changed.

To be sure, like the rest of race, whiteness is a fiction, what in the jargon of the academy is termed a social construct, an agreed-on myth that has empirical grit because of its effect, not its essence. But whiteness goes even one better: it is a category of identity that is most useful when its very existence is denied. That’s its twisted genius. Whiteness embodies Charles Baudelaire’s admonition that “the loveliest trick of the Devil is to persuade you that he does not exist.” Or, as an alter ego of the character Keyser Söze says in the film The Usual Suspects, “The greatest trick the devil ever played was to convince the world that he didn’t exist.” The Devil. Racism. Another metaphor. Same difference.

Or, as an alter ego of the character Keyser Söze says in the film The Usual Suspects, “The greatest trick the devil ever played was to convince the world that he didn’t exist.” The Devil. Racism. Another metaphor. Same difference.

Burroughs and Gysin had now extended cut-ups beyond tapes and collage and into the realm of personal relations. Burroughs now suspected that the entire fabric of reality was illusory and that someone, or something, was running the universe like a soundstage, with banks of tape recorders and film projectors. He was determined to find where the control words and images were coined. He was using cut-ups in an attempt to backtrack the word lines to find out where and when the conditioning had taken place, and more importantly, who was responsible. Suspicion fell on Time magazine’s enormous newspaper clipping morgue and the files of the FBI and the CIA. But they were more likely to be the source material for control, not the masters of it. However, with the aid of a great deal of majoun, Bill had finally determined that everybody was in fact an agent for a giant trust of insects from another galaxy, though, as usual with Burroughs, it is hard to tell how literally he meant this. However, he was certainly convinced that everyone was an agent for control and that the only way to find out who they really were was to cut them up.

Whiteness embodies Charles Baudelaire’s admonition that “the loveliest trick of the Devil is to persuade you that he does not exist.” Or, as an alter ego of the character Keyser Söze says in the film The Usual Suspects, “The greatest trick the devil ever played was to convince the world that he didn’t exist.

John List was the inspiration for the elusive, enigmatic character of Keyser Soze in the 1995 film “The Usual Suspects,” starring Kevin Spacey.

But whiteness goes even one better: it is a category of identity that is most useful when its very existence is denied. That’s its twisted genius. Whiteness embodies Charles Baudelaire’s admonition that “the loveliest trick of the Devil is to persuade you that he does not exist.” Or, as an alter ego of the character Keyser Söze says in the film The Usual Suspects, “The greatest trick the devil ever played was to convince the world that he didn’t exist.” The Devil. Racism. Another metaphor. Same difference.

Whiteness embodies Charles Baudelaire’s admonition that “the loveliest trick of the Devil is to persuade you that he does not exist.” Or, as an alter ego of the character Keyser Söze says in the film The Usual Suspects, “The greatest trick the devil ever played was to convince the world that he didn’t exist.” The Devil. Racism. Another metaphor. Same difference.

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