Quotes of All Topics . Occasions . Authors
Dai Vernon, the greatest sleight of hand figure in the history of the art, rarely performed. But he invented magic and had an enormous influence on the whole range of sleight of hand. And so often the magic he was doing was to fool other magicians.
Well, I had an immense respect for Cirque du Soleil when I first say them in the '80s on a television show and just thought, you know, this group is really reinventing the circus, as you know. Because there wasn't three rings. There were no animals.
Wonder is very necessary in life. When we're little kids, we're filled with wonder for the world - it's fascinating and miraculous. A lot of people lose that. They become cynical and jaded, especially in modern day society. Magic renews that wonder.
I don't put a girl in a box and clap my hands three times, and she's gone. I get in the box, and I vanish, and I reappear at the other side of the stage. That way, people don't think, 'That's a great illusion.' They think, 'Doug's a great magician.'
HAIL HERMES! Mr. Lantiere has created something very special for all of us who love the history of mystery. The Magicician's Wand book opens doors to the past where we have an opportunity to explore the deeper meanings, myths and symbols of our art.
Dai Vernon, the greatest sleight of hand figure in the history of the art, rarely performed. But he invented magic and had an enormous influence on the whole range of sleight of hand. And so often, the magic he was doing was to fool other magicians.
Paranormal phenomena have a habit of going away whenever they are tested under rigorous conditions. This is why the $1,000,000 reward of James Randi, offered to anyone who can demonstrate a paranormal effect under proper scientific controls, is safe.
Long experience has taught me that the crux of my fortunes is whether I can radiate good will toward my audience. There is only one way to do it and that is to feel it. You can fool the eyes and minds of the audience, but you cannot fool their hearts.
I don't take myself seriously all the time; I have to do quirky things, such as helping football teams, moving the ball away from McAllister's foot, getting into The Sun and The Star - because, you know, I like sensationalism, it's a part of what I do.
For me, it's about risk taking, taking things in new directions. Because every single time, no matter how much you learn, you can never say, "Okay, I did the hardest thing I ever did. I'm prepared now. Now it's going to be easy." Of course it's not easy.
People come up to me on the street and make some little joke - like they'll say, 'Excuse me, sir, what time is it?' And I'll say, you know, '5:15,' and they'll say, 'Hey! Made you talk!' And that's merely a way of saying, 'I know your work and I like you.'
Maybe the the luxury of not having acting be my only profession is that I can be more selective about what I choose to be in. I've been really lucky in terms of film projects with people, terrific actors and also writers and directors that I really respect.
Thinking clearly and effectively is the greatest asset of any human being. We are constantly reminded that the one superiority that man has over other animals is the ability to think. It is primarily our ability to think that sets us apart from other animals.
I think we can really use magic in a way never attempted before to inspire these children, help rally their self-confidence and even help them develop social skills. This is a national effort, not just here in Las Vegas. I know we can give them a true passion.
In real life, the most important decision you ever make is, where does reality leave off and make-believe begin? If you make a mistake about that, you're dead. You know, you're out on the street corner. You think there's no bus coming. You step out, you're dead.
I don't think you can say something is or isn't magic. That's what was cool about Houdini, because he was a magician who had a magic show, but he was also an escape artist, and they kind of, over time, blended together. They both kind of enhance each other, I think.
We didn't have a whole lot of money when I was growing up either. I would always ask for magic books or magic tricks for my birthday or for Christmas and the rest of the year I either had to mow lawns or find part time jobs to help supplement the cost of doing magic.
My mother encouraged it so much. She was so supportive. Even if as a kid, I would do the dumbest trick, which now that I look back on some things, she would love it, she would say that's amazing, or if I'd make the ugliest drawing, she would hang it up. She was amazing.
Only for you, children of doctrine and learning, have we written this work. Examine this book, ponder the meaning we have dispersed in various places and gathered again; what we have concealed in one place we have disclosed in another, that it may be understood by your wisdom.
[Producers] took me to Chicago at 18 to star in a show that ran for almost a year. And that's when my parents said, "Okay, I guess you can quit Fordham." Of course, when that show closed, as you can imagine, I came to New York and starved for years, but it's never an easy road.
The conjuror or con man is a very good provider of information. He supplies lots of data, by inference or direct statement, but it's false data. Scientists aren't used to that scenario. An electron or a galaxy is not capricious, nor deceptive; but a human can be either or both.
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.
For me, I was watching Gene Kelly, Fred Astaire, Orson Welles, Victor Fleming movies, and I said, "I want to tell stories like that. I want to move people like that. But I'm good at magic, so what am I going to do?" So I started using magic for the right reasons - to get the girl.
Wonder is a very subtle, precious emotion, often lost in the gross hustle and bustle of modern life. When we feel wonder, we are immediately reminded of the purity and innocence of our childhood. Then, everything was magical and mysterious. Magic should help us relive that wonder.
Science is a search for basic truths about the Universe, a search which develops statements that appear to describe how the Universe works, but which are subject to correction, revision, adjustment, or even outright rejection, upon the presentation of better or conflicting evidence.
To make magic credible on screen is always very difficult. The story is the most important thing. That is what should win. If sacrifices or compromises are made, it's usually for story. Story in magic is very, very important to me. That's what I've really championed through my career.
Night and day a picture of the showcase of the Lame Novelty Company and its gambling content would seem to appear before my eyes. Then I realized that I could not rest content and continue practising to become a magician until I knew what those gambling gimmicks in that showcase click.
One of my inspirations, Harry Houdini, remains an icon of the art because he defied our primal fears. His demonstrations in the early 20th century, especially his escape from the Chinese water torture cell, represented triumph over suffocation, drowning, disorientation and helplessness.
When the time came to say, "Mom, I want to do this as a job," it was brutal. She was really against it. There were screaming matches. Some people are shut down by that and get defeated by it, and other people are empowered by the negativity. My father kind of encouraged me through that.
Escapology has one thing going for it that probably made Harry Houdini such a superstar in his day and a legend in the present. Everyone wants to escape from something. Taxes, contracts, illness, work, the multitude of burdens that we chafe under are shadows from which we want to escape.
I had a point of view, which was different. I looked at magic as theater, as storytelling, and I tried to have an approach that was different from what they were doing. "How can I move people and really get them to dream with a card trick, with coin magic, or even a piece of stage magic?"
When I was a kid, people wanted to be an astronaut. Today, kids want to be famous, and that's totally the wrong approach. You have to have authenticity in what you're doing. You have to really care about the core message of what you're saying, and then everything else will fall into place.
I have mentally overcome situations most of you would be terrified to ever attempt: heights, fire, needles, spiders, snakes, angry monkeys, being shot, being hit by a car, going blind - you name it, I have been in a situation where I have had to mentally overcome my inherent fears to do my job.
I came up with the term 'mindfreak' because I didn't like the word 'magician.' I felt like I wanted to coin a term that would be basically the reaction to my art. It would be a mindfreak and so that's why I came up with that. But, many people say I'm really a student of humanity and psychology.
I have a bunch of islands in the Bahamas that we made into this amazing, magical place. And we have these birds; they're trained to do certain things on the island, which is awesome. These toucans had a baby toucan, and the baby toucan, every hour that you'd look at this toucan, he would change.
I put my life in danger every time I do some of these demonstrations, whether it's in the audience hanging upside down or on the stage. We now have a lot of dangerous stunts where anything can go wrong. In fact, I have fallen two stories and landed on the stage, so I am well aware of the dangers.
Later, when I was at Caesar's Palace, and [Joe and Gil Cates] were trying to get me to have opening acts for the show, they gave me a list of people, and Rosie O'Donnell was one of them. I said, "I don't really need any opening acts. I have funny stuff in the show, and I do a lot of comedy and stuff."
To obfuscate the reconstruction of the effect - when a magician is fooled by another magician doing magic. In my career that's not been the major passion, but it's been the passion of a number of my mentors. The crowning achievement for them would be to create magic good enough to fool other magicians.
Science is best defined as a careful, disciplined, logical search for knowledge about any and all aspects of the universe, obtained by examination of the best available evidence and always subject to correction and improvement upon discovery of better evidence. What's left is magic. And it doesn't work.
Oprah is signed on to help, and a lot of celebrity friends have agreed to help me raise money for Make-A-Wish. We want to make the world a better place for innocent children. I cried my heart out when my father died from cancer. I wish I was smarter, wiser like a doctor, to save these children from dying.
I've always taken a lot of cues from comedy minds. The guy that discovered me in the very beginning was Joseph Cates. Joe and Gil Cates were the Cates brothers. Gil produced the Oscars for many years. Joe produced a lot of comedy specials, Steve Martin specials, and he discovered me, this 18-year-old kid.
There are people who try to figure things out. Often, magic is presented in a way that sets up a challenge that I actually find kind of appalling. You know, "I'm clever, I can do something, and you don't know what it is." And that instills in the audience the idea that, "Yes, I do. You're not that clever."
For the most part, magic secrets are available on a level that's overwhelming and frightening, and they are very accessible if you do the tiniest bit of digging. But, that said, there's a certain group of individuals, in which I am included, who are very tight about secrets and don't share them with anyone.
I do think deception... There's something kind of odd about tricking people for a living, but ultimately, it's a remarkably honest profession, when you think about it. If you violate that code, and you say you're not using camera tricks, and then you do, I actually think that's a kind of serious moral issue.
One of the most gratifying things I get as an artist is when people watch me do these different demonstrations, and they in some way feel empowered by what I'm doing so they can confront their own fears. Maybe it's the fear of getting in an elevator; maybe it's the fear of going on a plane and seeing the world.
There are somewhere between 20,000 and 30,000 working magic professionals in the world, and since we debuted our Magic Kit, we have sold over 1 million. So it's for people who have a strong interest, but be it for one trick or a lifetime, we will be there for them. We will guide them so they don't waste their money.
Like in comedy, you know the names of the people who steal things that others work really hard on. It really sucks. And, in magic, it's not just the hard work of getting the words and attitude and point of view right; you're taking an actual invention, making something over three or four years, and somebody can just take it.
What is important, and I think celebrities should do, is show your children when they are young is that wealth is not important. I took my children when they where young to Brazil, to the shanty towns with children begging. Ever since that day, I have had no problems with my children, if I buy them anything they are grateful.
From the very beginning, I studied acting, directing, lighting, dance and movement. I didn't rely on just the magic to take place. It's a shame that a lot of magicians just rely on the trick itself and they have no other abilities. They get away with the wonder factor, and I don't think that's enough. It's great, but it's not enough.
Everyone was talking about having airplanes disappear. And I said, "Wait, wait, wait. That's what you like? I'd tell you a story about something like my girlfriend leaving me, and the magic was really hard. The airplane thing was comparatively easy, and people liked that thing?" I realized at that moment, the power of the simple idea.