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  • This week on Scam School, we learn how to lie!

  • You liar!

  • You lying liar who lies!

  • This episode of Scam School brought to you

  • by Go Daddy and Netflix.

  • Go to www.netflix.com/scamschool for your free trial membership.

  • Welcome to the only show that's less honest than your tax

  • returns.

  • Scam School, the only show dedicated

  • to social engineering at the bar and on the street.

  • I'm your host, Brian Brushwood, and this

  • is a subject I have wanted to cover

  • since day one of Scam School.

  • It's finally happening-- we are starting

  • a two-part interview with Clark Freshman, professor of law

  • and expert in facial expressions and lying.

  • Oh my god, you have no idea how excited

  • I am to cover this topic, finally.

  • We are here with none other than Clark Freshman, professor

  • of law and what, lie detection?

  • What's your exact category?

  • Professor of law.

  • We're all professors of law and nothing else.

  • OK, but you are an expert in--

  • Negotiation in lie detection and emotion.

  • And so you're from University of California Hastings, right?

  • Correct.

  • So originally I put out to Twitter,

  • I said, I'm looking for someone who's

  • the best at lie detection, who happens to be maybe

  • in the northern California area.

  • Turns out you're right in our backyard

  • and this worked out so perfect.

  • Tell me about what you do.

  • So what I do is I mostly teach negotiation in law school.

  • And I started studying about a decade

  • ago emotion in negotiation.

  • And then about five six years ago,

  • moved that into telling whether people

  • are lying during negotiation, and telling

  • whether the techniques you're using,

  • the pitches you're using, would actually work.

  • So it's the same thing selling cars,

  • as trying to persuade a judge, as trying

  • to pick up someone in a bar.

  • It's all the same of figuring out

  • where is their traction in what you're saying.

  • What is the first thing we should know in negotiation

  • and figuring out who's lying?

  • Well, a couple places you could start.

  • The first way I would say is become aware

  • of everyone's baseline.

  • Part of that will be the voice.

  • So your voice is relatively loud, and your voice is--

  • I prefer energetic.

  • --relatively fast.

  • My voice is relatively fast.

  • So let's take a look at voice.

  • When you figure out what somebody's baseline is and then

  • we see when they're acting differently

  • from their baseline, that tells us something's going on.

  • Doesn't necessarily mean that they're lying.

  • Could be that they're lying, could

  • be that they're more interested-- we don't know.

  • Face is another one.

  • So yours, a relatively animated face

  • from what I can tell right now.

  • You're now smiling from the lower part of your face,

  • so that is not a hit.

  • So right now you're not sincerely happy.

  • You're acting polite.

  • But there's no movement in the upper part of your-- now

  • you just got some movement in the upper part of your face,

  • so now it's actually moving.

  • So these muscles that push up your cheekbones,

  • these are the ones that reveal there's a sincere smile as

  • opposed to a flight attendant smile

  • if they're smiling like that.

  • Wow.

  • Doesn't mean they're faking it, right?

  • So we live in a society of politeness.

  • So people do these kind of deference

  • smiles, polite smiles.

  • And they're not being fake, they're just not "felt" smiles.

  • That's not "felt" happiness.

  • Just another accessory.

  • And your nod right here.

  • Some people are nodders.

  • Some people are not nodders.

  • Let's suppose we're talking, and you're nodding all along.

  • And then I say something about, god, Sarah Palin, what a bitch,

  • and you stop nodding at that point.

  • And that might tell you, huh, could be a Republican,

  • could be brain dead.

  • We don't now at that point, we just

  • know that there's something different about the Sarah

  • Palin.

  • I talk with my hands, some people don't.

  • I stop talking with my hands, that's a soft spot.

  • We want to investigate that.

  • Why is that?

  • Could be that I'm stopping talking with my hands

  • because I'm having to think harder.

  • Well, that could be because you've

  • asked me something embarrassing.

  • Why did your last relationship end?

  • I'm embarrassed.

  • I'm not lying, but I'm trying to figure out

  • what am I going to share with you.

  • But that is also a clue of deception.

  • It doesn't mean a person is lying.

  • But when they stop talking with their hands as they usually do,

  • soft spot could be that they're lying.

  • We've got voice, we've got talking with their hands,

  • we've got their face, and we've got verbal style.

  • So, so far I said this, so that means

  • that I speak relatively informally.

  • If I started speaking relatively formally,

  • that would be a problem.

  • If you start in the middle of one of your episodes

  • saying, well, whereas this is what you said last time,

  • I'm noticing a certain inconsistency, indeed,

  • a certain postmodern milieu of inconsistency.

  • Then you might think, oh, that's inconsistent with Brian's

  • usual verbal style.

  • Brian sounds smart today.

  • Who is this guy?

  • Right.

  • Who is that guy.

  • Great.

  • So now you changed your voice a little bit there.

  • You're talking more deeply.

  • You just started drinking.

  • So that's a little bit of a clue it's off these five things,

  • but it can also fit within baseline.

  • But for a normal person who has better things

  • to do with their time, when they start reaching for the water,

  • or they cough, or they swallow, this is a sign of arousal.

  • And arousal could be that they're sexually aroused,

  • but it could also be the stress response has kicked in.

  • That's a sign that I'm making the person uncomfortable.

  • If I'm trying to sell you something,

  • I'm trying to get you to take one of my workshops

  • in lie detection and you start doing that, I would think,

  • oh, this person is not so comfortable,

  • let me try something else.

  • Now, the last technique, besides verbal style,

  • is verbal content.

  • Another example of verbal content changing

  • is you stay on topic for all the others,

  • but then for one you start meandering around.

  • It reminds you of something.

  • So let's say the conversation seems

  • to be angling towards a certain direction, and then

  • all of a sudden out of nowhere--

  • You switch.

  • --it takes a side.

  • Yeah.

  • Just a recap, the baseline, the things

  • you've got to pay attention to, there was the voice.

  • Voice was number one we talked about.

  • So we've got the face is the second one,

  • and that becomes very important on its own.

  • We've got verbal style.

  • We've got body movements.

  • And we've got verbal content.

  • Those are the five basic ones that we're looking at.

  • And basically establishing a baseline

  • just means paying attention and making a mental note of what

  • seems to be what they do naturally

  • in all of those five categories?

  • Yes, that's right.

  • And some of them count more than others.

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  • Let's take a look at facial expressions.

  • So facial expressions, much more specific.

  • So there are seven facial expressions

  • that have a universal meaning across cultures.

  • The person I do a lot of research

  • with, Paul Ekman, the person who's

  • the inspiration for TV show Lie to Me,

  • the scientific advisor for it, he said he was in Papua,

  • New Guinea years ago when Papua, New Guinea

  • had no contact with the West.

  • He studied it in blind individuals

  • who've never seen these expressions-- they show up

  • the same.

  • So one of them, for example, the easiest one to learn

  • is contempt.

  • Now contempt is a nightmare.

  • If you're scamming on someone in a bar,

  • they show contempt, just move on.

  • Picture Dick Cheney-- you started to do it right there.

  • It's an asymmetrical smile.

  • It's a smile on one side of your face.

  • You did a subtle expression of contempt right before.

  • And if we slowed it down, that would be exactly what it was.

  • And they're going to do that.

  • They're going to go back and capture it.

  • I hate you guys.

  • That's exactly what it was, you were just slightly moved sense.

  • So this is contempt.

  • OK.

  • Just like that, that's exactly it.

  • Sometimes it's on the left.

  • Sometimes it's on the right.

  • If you look at Dick Cheney, if you look at George Bush--

  • do it all the time.

  • So contempt-- the connotation to me

  • is that it's this sheer hatred for the person,

  • but that's not necessarily what you mean by contempt.

  • Not hatred.

  • Contempt, one extreme could be a sense of moral superiority.

  • So you might be talking to someone in San Francisco,

  • and you say, what do you think of Sarah Palin,

  • and they show contempt.

  • You might be talking to Sarah Palin

  • and say, what do you think of same sex marriage,

  • and she shows contempt.

  • So it can be a moral quality of derision.

  • It can be a sense of being better than.

  • For some people, it's just skepticism.

  • Now what's the difference between disgust and--

  • Contempt is just this very simple muscle.

  • Disgust is pretty complicated.

  • Discuss at its extreme is everything moves

  • towards the middle, like this.

  • Like you smelled something bad?

  • Like you smelled something bad.

  • What's your least favorite food?

  • Brussels sprouts?

  • I actually love vegetables.

  • Love Brussels sprouts, cats?

  • Sour milk, have you ever had sour milk?

  • Oh, yeah.

  • Have you ever had food poisoning?

  • Oh, yeah.

  • I just did it.

  • I did it totally instinctively.

  • So here's the third lesson.

  • You have the soft spots from the deviations from baseline.

  • The expressions at their extreme would be something like this.

  • But people try to conceal them.

  • So often all you'll see is the expression that's slight,

  • as you did with the contempt, it was just

  • a slight something going on.

  • Or it happens very quickly.

  • So you might get disgust, and all you would see

  • is the wrinkling of the nose.

  • But in slow motion, you'd see the whole face was like that

  • and people don't notice it.

  • Because what they're doing is, they're

  • looking in the wrong place.

  • But let's say you're trying to be nice to me.

  • Where are you really looking at on my face?

  • Well, normally, in your eyes.

  • Right, you were looking in my eyes

  • and it's a total waste of your time.

  • Really?

  • Yeah, the eyes are a total waste of your time.

  • On the other hand, the eyebrows, very interesting.

  • So the eyebrows come down and together

  • like that-- that on its own is just interest.

  • When I was talking with your producer,

  • I said something to her and she said

  • would you be willing to do this?

  • And I said no, and she did this.

  • And I couldn't tell, was she angry or was she just thinking,

  • oh shit, what am I going to do instead?

  • So that could just be I'm thinking about it.

  • That's interesting, because suppose

  • you're talking to somebody, he's like, well,

  • what about if we do this?

  • And it could be going to a restaurant,

  • could be going to a certain country for a vacation,

  • could be whatever.

  • And they do that, they're not necessarily angry,

  • but they're having to think about it.

  • If the eyes glare, if the eyes open wide

  • or sometimes they get tighter-- some people

  • do that, the lower eyelids get tight and the eyebrows go down.

  • That can be anger, and you want to notice that.

  • Talking with the pursed lips with that,

  • with the men often when trying to interview women,

  • that can be the involuntary rolling under of the lips.

  • Very hard to do voluntarily.

  • But it's a very reliable sign a person's starting to anger.

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  • All right, so talking about eyes.

  • I was always under the impression

  • that you wanted to look in somebody's eyes

  • to show that you were paying attention to them.

  • And it was like a courtesy thing,

  • like I'm paying attention to you.

  • But I have noticed that when I'm talking,

  • I'm not comfortable talking only into someone's eyes.

  • I make sure to look away as I try to gather my thoughts

  • and then deliver them a piece at a time.

  • But you're saying it's OK to have a conversation

  • and not be looking at someone's eyes?

  • Two different things.

  • So one is politeness-- yes, you do

  • want to be looking at people's eyes in certain cultures.

  • That's where there's a lot of cultural variation.

  • But if you watch videos, if you just

  • watch your friends more aware, you'll

  • notice people do look away a fair amount.

  • Now, when they look away, that turns out to be a clue.

  • It doesn't mean they're lying.

  • It's this big movement, so I just looked up

  • and to the right.

  • Some people would tell you, oh, up and to the right,

  • if he's right-handed he's lying, if he's left-handed

  • he's not lying.

  • That turns out, by a bunch of published studies, not

  • to be true.

  • Thank you for that.

  • Doesn't matter where you look.

  • But here's a big tip.

  • Because I hear that all the time, and that sounds

  • like such pseudo-science to me.

  • Yeah, it's totally pseudo-science.

  • It is true that when you're looking up

  • you're more likely to be retrieving information

  • or trying to gather your thoughts.

  • Some people look down, some people look up,

  • some people look to the side.

  • Let's suppose I say to you a series of questions.

  • So I say, what year were you born?

  • 1975.

  • OK, so you looked up slightly for that.

  • Probably that was just because you're

  • wondering where I'm going with that.

  • Doesn't mean that you're lying.

  • But it does mean that it's a change from baseline--

  • you're thinking about something.

  • So sometimes your birth year, sometimes you

  • think you should know that.

  • If I said, where were you born?

  • Where were you born?

  • Fountain Valley, California.

  • And what's your mother's first name?

  • Victoria.

  • And what's your father's first name?

  • Alan.

  • And what's your mother's middle name?

  • Sue-- wait, are you asking for my mother's maiden name?

  • Where is this headed?

  • Right.

  • Susan.

  • So you get the security clearance.

  • So you were looking up a little bit,

  • and you were trying actually.

  • Your eyes, if we were to roll this back over in slow motion,

  • your eyes started to look up and then

  • you would pull them back down.

  • And I was catching myself.

  • Which is actually more of a soft spot

  • than you're just looking up.

  • Because what that tells me is both

  • that you're having to think, and you're

  • trying not to let me know that you're trying to think.

  • And that's exactly what it is.

  • And it's a little bit weird, because we

  • know the cameras are on and we know

  • that I'm trying to play a certain role as host

  • to the show.

  • But at the same time, I'm also trying to be genuine.

  • And it's creating this weird double bind

  • where I'm trying to be natural, but also

  • trying to be perfectly fake.

  • Right, and so you're moving back and forth.

  • And so for you in this kind of a context,

  • let's suppose that I saw, we'll call it

  • micro-expressions, so very fast, fleeting emotion.

  • Ordinarily I'd have to say, wow, that could

  • be a clue that the person's lying.

  • Why is he showing-- two of the big ones are disgust and fear.

  • But you might be showing fear not because you're

  • afraid that I'll catch you lying,

  • but you're afraid that you'll look bad,

  • or you're afraid that you're not maintaining some image that you

  • want to maintain.

  • So ordinarily that micro-expression,

  • that micro-movement of your eyes, that

  • would be very suspicious.

  • But because I know you're engaging

  • in impression management, no big deal.

  • So simply if you're interviewing somebody for a job--

  • Where they know they're trying to put on their best face.

  • That could be happening all the time.

  • Now, we're out of time for this episode.

  • But don't worry, you'll get the second mind

  • blowing half of Clark's interview, coming up soon.

  • In the meantime, let us know what you like,

  • and more importantly, what you'd like

  • to see in future episodes of Scam School,

  • by posting at the boards at scamschool.tv

  • where you can see all of our episodes

  • right back to episode one.

  • If you want to suggest your favorite bar scam or trick,

  • you can write me directly at brian@revision3.com.

  • If you're doing the Twitter thing,

  • follow the show at twitter.com/scamschool.

  • Or follow me personally at twitter.com/shwood.

  • Coming up soon, we'll have the rest of Clark's interview

  • where he catches me lying in a very personal matter.

  • It's too personal.

  • It's for me to know, not you.

This week on Scam School, we learn how to lie!

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