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CreativityTranscript
00:00 Hello, thank you very much. Thank you. Welcome to session 8 of the EMC. Good to have you
00:18 all back. I will be introducing this session. My name is Guy Hollingworth and since this
00:23 is undoubtedly the most technologically advanced magic convention there has ever been, I will
00:27 be using my iPad in order to bring you the most up-to-date information from Wikipedia,
00:33 YouTube, tweeting and blogging sites to make sure that you have the most cutting edge at
00:38 real time, although of course not necessarily accurate information about our performers.
00:43 And of course using the iPad in this way also has the advantage that it becomes a legitimate
00:48 tax deduction, which is handy. So, and also, before the end of this session, I will be
00:53 telling you all how your friends can log on to see the final session, session 9, even
00:59 if they haven't registered, so they can see what they've been missing and see the last
01:02 great session that we have got. But to kick things off straight away, we've got a wonderful
01:07 first performer. You saw him doing some beautiful magic yesterday and he is back to perform
01:12 some of his coin magic this evening. Please welcome Miguel Ángel Reya.
01:18 Hello. Okay, I try to explain two techniques, two different techniques, introducing two
01:29 tricks and I try with my English. Four coins, normal box. I try, I'm sorry, I try this coin
01:47 travel inside. Not with this, not this, not this, with this. Because this left hand and
01:55 the other is possible later. Only with a snap of finger the coin is possible disappear and
02:00 travel inside of the box. I can repeat, very clear. With this. Very clear. With the third
02:15 coin I don't use this. I use the table and only with a snap of finger the coin disappear
02:26 and travel inside. And the last one, very clear. Go. Of course, four coins.
02:47 I explain the trick, I try. It's necessary four coins and normal box, Chinese box, but
02:54 it's very important soft inside, soft. For one detail, beautiful detail. The normal,
03:03 the classic move is possible to do this. Attention one and the other, the other three go to my
03:10 left hand. This is the classic move. But I try to do, introducing other moves. I take
03:19 one, two, three. When I take four, don't take, don't take, I forget the coin. When I put
03:28 the left hand, attention one, and I show the coin. One, two, three. One, two, three, four.
03:36 No take. Attention one and the classic palm and I take four and put in the left hand.
03:47 I feel it's better because they introduce the classic move in the other move. One, two,
03:54 three, I'm sorry. And the four coin inside of the left hand very clear. And now I do
04:01 the classic move of caps and balls. You remember the caps and balls of Fred Capps, no? I don't
04:07 remember the original, it's the Senator Grandal or Ireland, I don't remember. But this, what?
04:12 Grandal, it's the Senator Grandal. And then when I take the balls, the cover, I put the
04:19 coin inside of the box. And now it's very important, the inside is soft because the
04:24 coin not sound. And then when I take the coin inside and cover and close the box. And now
04:32 I try to feel, the spectator feel I have four coin. In this moment only three, but I try
04:40 the people feel four coins. And this is the idea. Not with this, not this, never this,
04:48 with this. With the four coin in the left hand, in the other it's possible later. And
04:53 in one moment it's possible to feel the four coin because not this, not this. When I put
04:59 the third coin, not put, only sound. And if the spectator think here three coin, this
05:10 is the four coin. When I put in the left hand, if the spectator feel or think this is the
05:17 four, when I take the other and see three, it's possible to feel the four coin. I try,
05:24 not this, not this, not this, with this. With this in the left hand, is the other, it's
05:29 possible later. And I think it's better for the feel the four coin. Disappear and now
05:36 appear inside. For the second coin I use very beautiful,
05:41 very beautiful idea of Gerry Andrews. It's the evolution French drop. The classic French
05:48 drop is the classic, no, is the French drop, no, classic move, very old move. But the idea
05:56 of Gerry Andrews is incredible because in one second you see the coin in right hand.
06:03 And then, here, no, I don't know. It's possible to see, because the move is, I take the coin
06:17 with the first finger, turn on the hand and now cover the coin with the other finger and
06:27 now the coin drop in the left hand. In the one second the coin take right hand, turn
06:33 on, cover, and the right hand take the coin. And now disappear, classic palm, when I take
06:41 the box, when the move is this, drop the coin of classic and appear inside the second.
06:50 With the third coin is the catapult. The catapult is the idea of Joaquin Navaja, magician from
06:56 Spain and the catapult is half 30 years more or less. And this is the very easy, one coin
07:06 in left hand and three coin in right hand on the table, one, two, three, and now disappear
07:16 and appear in the other side. The catapult is the one, this move, is the family of hand
07:26 being chain or gallop each, but the difference is the hand don't move. It's the stay and
07:33 catapult the coin. And then the position is this. One coin, when they start the finger,
07:45 this finger, the first finger put in the middle of the coin and the second finger put behind
07:54 of the coin. And now when the second finger do this move, this coin catapult. The second
08:04 finger catapult the coin. And in this move you can see three coins in the right hand,
08:14 one coin classic, and when I put three coins, but only two catapult, three coins and the
08:24 four is in the classic path and the situation is the same. It's very easy, but with this
08:29 idea is the traditional idea of Joaquin Navaja, but it's possible the other idea, for example,
08:34 change one coin here, one coin in the left hand, and when I take, and now I change the
08:40 coin. Why? Because I take in the air. This coin go to the lap and then when I go, I take
08:48 this coin in the air and I change. It's good because there is empty hand before and after.
08:57 And it's curiously. Or for example, one travel, the first, and the second, I'm sorry, you
09:08 can see the glass, it's normal glass. And the second. This idea is the same. I take
09:15 the coin in the air. When I put this coin inside of the glass, I palm in and I take
09:22 the coin of catapult in the air. I'm sorry. With an error, no? If the coin is here, I'm
09:29 sorry, but you can see the glass. And now I change the coin. And now you can say the
09:34 travel. Many ideas, for example, travel, is the travel of Paul Harris when don't know,
09:41 when don't show the hand, the travel, the first, yeah? The first, the second, one, two,
09:52 three, two coin. One, two. The third, one, two, three, and now if I take, boom, and travel.
10:01 It's the same. All is the same when I put two coin on the table, catapult, the third,
10:08 and now in one moment three coin here, show the hand, only put two on the table and appear
10:13 the third. One, two, and three. Empty hand, I show, when I take three coin, catapult,
10:19 now four coin. Many possibility. And in this trick, inside of the box two coin, third in
10:29 my left hand, when I put on the table, I do the catapult inside of the box, yeah? Just.
10:39 And now disappear, and three coin. And for the last one, I like this idea, one, two,
10:46 three coins, the box cover the three coin. And now the last one I do the coin vanish
10:54 of John Carney, appearing the encore of Michael Amard. And now I do, in one moment don't take
11:04 the coin and go to the classic part. One, two, disappear, and the coin is here, in classic
11:13 part. And then I take the box, but the coin put on the table. And then cover the coin,
11:22 yeah? Cover the coin, put on the table, cover the coin with the box, and I feel the coin,
11:32 I feel four coin. Show my hand, feel the four coin, and then when I do this, the coin of
11:39 the box confused with other, and it's possible to see four coin. And the move, all move is
11:47 this, one, two, two, two, boom, of course, and the four coin. Yeah?
12:01 The other technique, when I do repeat one trick of the performing the other day, very
12:07 easy, one, two, three, four coin, and one glass. Very clear. I repeat. I try take the
12:19 essence of the one coin, I put with the snap of finger the coin appear. It's possible you
12:27 think the glass have a hole, but no, no, no, no, no, only this for the take one, put, if
12:33 I don't the snap of finger, nothing, only with the snap of finger the coin material appear.
12:40 Yes. I repeat. Two coins, very clear. If I do the snap of finger before the take of the
12:51 essence, through the glass, very clear. And the last one, I try, because I try cover the
12:58 hole. And finish. Yeah? And then, this is the technique, the technique is the, I try
13:15 always introduce the false move inside of the normal move. No? My English is very good.
13:25 And then, this is normal move, introduce the coin, no spectacular, but normal. And then,
13:33 in this move, I put three inside of the glass, but one between glass to finger. One between.
13:44 And then, it's very important palming the glass, because I need open the finger, and
13:51 then I put three coins inside of the glass, continue the move, open the finger, and I
13:58 put the coin between finger to glass. Yeah? And then, three coin inside, open the finger,
14:08 put coin between finger to glass. And then, the move is this. It's interesting because
14:16 I can normal move and show the empty hand, and now I can appear different things. In
14:26 this trick, basically, I do the move, take glass in the other space, I take, and with
14:38 the snap of finger, the coin appear. For me, it's very important, the sound of the glass
14:44 is possible don't like, and I don't like this move, I prefer this move. It's very interesting
14:51 for the ambient, no? It's difficult. And then, three coins. And now, the tension one in right
15:00 hand, no? Classic move. And I put the glass in this position, because it's possible to
15:08 see empty hand, and now in classic right hand, the coin. When I take the glass, I do the
15:17 transfer. It's beautiful because it's possible to see all, and I put here, and normal transfer,
15:25 classic, more or less, transfer, classic, no, no, normal. It's very important, normal,
15:31 always, for me. And then, it's the classic two finger, two finger palm, no? And for me,
15:38 it's very important only to think, take the glass. Only think, take the glass, not transfer.
15:46 I don't never think the transfer, only take the glass, because I think it's better for
15:52 the communication. And then, if I don't have the snap of finger, nothing, I do the ram's
15:58 eye move, I do, and now appear. And I can repeat the technique, one inside, another
16:11 between finger to glass, but because the trick is not boring, I change the effect, but not
16:21 change the fiction. The fiction is the coin through the, go to the, go out, go, where
16:29 are the effect, the glass, but I try, little surprise, but the effect, not boring. And
16:37 now, if I do the snap of finger before, they take off the essence, through the glass, only
16:43 drop, I feel it's better. And the last one, only one coin inside, I take only two coins,
16:51 only two coins, and retention one here, and I show the glass, I put here. If the spectator
16:59 think here three coin, this is the extra coin, with the same number of the effect. I use
17:08 four coin, but now I use, I create the extra coin. This is the same concept of matrix.
17:16 The matrix is the same concept. You stolen one coin, and now this coin is extra coin
17:23 with the same number of coin. And then, if I take two coins, but the spectator think
17:30 three coins, and this is the extra coin. When I put glass in this position, this coin is
17:37 the equal, similar to extra coin. I do the classic with caps and ball of the other tricks,
17:46 the coin go out, and now appear. But the interesting use one extra coin with the same number is
17:57 in this moment, the extra coin disappear. And it's very interesting, but it's the same
18:04 of matrix, the same concept. I put this, and then I put in this position, the extra coin
18:09 disappear, the final effect, goodbye. See you tomorrow. Bye.
18:15 Angel, here, ladies and gentlemen. Fabulous, thank you very much for that, Miguel. If Jeff
18:23 McBride and Chris Power could breed. Barry and Stuart are well known for their highly
18:31 original, very controversial, and sometimes gruesome magic, as I'm sure you well know.
18:37 And they've been extremely successful. If you type in the common names Barry and Stuart
18:42 into the Google search engine, you get literally hundreds and hundreds of results. You also
18:48 get Barry and Stuart Insurance Limited, who are a company in Ireland, offering very reasonable
18:55 motor and home insurance. And they've recently started doing life assurance, which I think
19:00 is quite appropriate. Nice to see that they're branching out. You can take out life insurance
19:04 before you go and see their shows, which might well be a good idea. Anyway, we are delighted
19:10 to have them here to perform some of their classic style of magic. Please welcome, ladies
19:15 and gentlemen, Barry and Stuart. Thank you. Thanks very much. We'd like to now
19:24 teach you a trick. It's the world's coolest party trick that you'll be able to perform
19:30 yourself the next time you're at the world's coolest party. In order to get this party
19:35 off to a flying start, we need to find ourselves the world's coolest party guest. And who better
19:40 a guest to have at the EMC conference than Carmen. If you can come and join us on stage,
19:44 make her feel welcome. She's our first and only party guest. Have a seat right there.
19:49 Now the idea of this trick is to go to a cutlery drawer and go in there and take out the funniest
19:54 of all the cutlery. It's the spoon. Or as we say in Scotland, the speen. The idea of
20:02 this trick is to take the spoon, balance it on the end of your nose, take the speen away,
20:06 and then hopefully the spoon should be balanced on there. Now it sounds like it's quite easy,
20:09 but actually when you try it, it's very difficult. Do you want to just give that a go, Carmen?
20:13 Try that now. Now, there are some rules when you try this.
20:18 You're not allowed to tilt your head. You're not allowed to use any sticky stuff either.
20:21 So no glue, no sperm, no candy floss. And you're not allowed to breathe on it either.
20:27 It's tough. It's really difficult. You can't breathe in either. That won't hold it on there.
20:32 It's really tough. But we found a way to make this work 100% every single time, and it's
20:36 quite a cool trick. Carmen, I just need to ask you a weird question.
20:40 Do you have an allergy to latex? Now don't worry, it's not one of those kind of parties.
20:45 There's a very good reason why I've asked you that. No? Because you see, I'm going to
20:47 give you one of these. This is a latex surgical glove. If you give me back the spoon and place
20:54 the glove on either one of your hands. The other thing that you need to do this trick
21:00 is a cloth. Any sort of cloth will do, but since we're
21:03 at this massive epic event, I've actually brought along with us today the mystical shroud
21:08 of Turin. You can use any cloth you like. The idea is that you hold the cloth up in
21:14 front of your face for a few minutes, blocking your head from your dinner party guests, and
21:19 behind there they can wonder what's going on. A few seconds later, you can remove the
21:23 cloth to show your astounded guests that the spoon's now balanced itself on your nose.
21:28 You can even use optional jazz hands. Wee! And if you find that, like us, you're getting
21:35 a staring ovation, you can impress your friends further by turning your head side to side.
21:41 Barry can even vibrate his peanut head and the spoon will not fall.
21:47 We promised we'd tell you how this works, and this is what you do. In the back of your
21:50 cloth, you secretly sew into it two pockets like this. In this pocket here, there's a
21:56 spoon. That's the spoon you checked, Carmen, but this spoon was switched for a spoon in
22:01 the other pocket. That's the one on Barry's face.
22:05 We said that you weren't allowed to use any sticky stuff to do this, but we just lied
22:09 because we used some solder to solder into the bowl of the spoon a five-inch nail, which
22:14 is what's holding the spoon on to Barry's face. You can see the nail as it protrudes
22:20 into his nostril there. You can see that, Carmen.
22:22 Now, if you'd like to try this trick at home, and everybody should, you need to leave a
22:30 few minutes afterwards to go and to visit the toilet and pull the spoon off. That is
22:34 incredibly painful, but will look exactly like this.
22:40 You see that, Carmen? You can see that?
22:47 Yeah, I see everything.
22:49 Yeah, she sees everything.
22:52 You can see that really is a sharp metal nail coming out of Barry's freaking face there.
22:59 That's how you keep a spoon on your nose.
23:00 Thanks very much.
23:01 Thank you.
23:02 I am so pleased with this invention. This here is the world's first spoon that you can
23:08 use to eat both your soup and your shish kebab at the same time.
23:11 Now, a lot of people, when they see this nail, they think it's soft or it clapped us into
23:14 the spoon or something like that. So, Carmen, you're going to disprove that. Reach up with
23:18 the hand with the glove on. That's right. Touch this nail. You'll see it's a solid nail.
23:22 Go on, touch it. You'll see it's a solid nail. It doesn't collapse. It doesn't bend. It doesn't
23:25 go into the spoon. You could crucify a messiah with this nail.
23:30 And Carmen, for being the world's coolest party guest, you know what? We're going to
23:34 give you this freaky piece of modern art. Look at this. As a souvenir of coming to the
23:39 world's coolest party here at the EMC, which you can take home in this forensic evidence
23:45 bag.
23:46 Thanks very much, everyone.
23:47 Thank you. Thanks, Carmen.
23:56 Barry and Stuart did ask me to make it clear that although they said you should try that
24:00 at home, they're not actually suggesting that you should do so. In fact, it would be a good
24:03 idea if you didn't try that at home. If you do and there are any injuries, then any complaints
24:09 should be addressed to Barry and Stuart, Insurance Limited at Sleeverman Road, County Tipperary,
24:14 or directly to the Financial Services Authority.
24:17 Now then, moving on. If there is one magician who is synonymous with magic online, it must
24:24 be Cyril. He has a YouTube site. There are over nearly 2,000 clips at the moment up of
24:31 Cyril. He has a MySpace page, according to which he's 103 years old, so he's looking
24:38 good on that. He has his own Twitter page and a blog. And there has been enormous interest
24:43 from all of you. The number of questions that have been coming in have been astonishing.
24:47 And he's going to give you an opportunity to ask some of those in just a moment's time.
24:51 But in case any of you have been living on the moon, we've got a short presentation for
24:55 you of Cyril. If we're ready to roll the video, Cyril Takayama.
24:59 Change of life. Can an illusion change an emotion?
25:06 This is so weird. Watch this.
25:11 Can magic change the world? Anything can be real.
25:16 On November 19th, a new kind of magic unravels across Asia.
25:22 Cyril! Watch as Cyril's magic touches hearts and
25:26 transforms lives. A three-part TV event of the year, an all-new
25:32 AXN original production.
25:34 We are TV Magic!
25:37 He was very good. I don't have any explanation.
25:42 He's absolutely brilliant.
25:45 He's truly a master in his own ways.
25:47 One, two, one!
25:49 Cyril, Simply Magic. World premiere, November 19th at 9pm.
25:55 Exclusively on AXN. Be there.
25:58 Ladies and gentlemen, please welcome Cyril Takayama.
26:02 Thank you, everybody. Just so you guys all know, that was from last year.
26:11 That was my new television show, Cyril, Simply Magic, which was the first time
26:16 that I've done my special all in English.
26:19 We just started last year and we're doing season two this year.
26:23 Sorry, guys, that was the wrong video to play, but no problem.
26:26 This is live. Before I continue, guys, I just want to say to the viewers online,
26:32 this has been the most amazing three days of my time.
26:35 I am truly, truly honored to be invited to be one of the 33 speakers here.
26:41 For those who are watching, take advantage of this and appreciate the value of EMC.
26:48 You see, when I was growing up in Magic and I went to Magic conventions
26:52 and there was all these big names there, I had to wait in line.
26:55 I had to wait in line and that did not even guarantee that I was able to talk to them.
27:00 Someone like Max Maven or Stan Allen or Marco, Luis De Matos.
27:06 So guys, take advantage of EMC now and the future.
27:10 It's true, because you get to talk to them personally.
27:15 All right, now having said that, I would like to say that everyone here is an expert
27:21 in what they're talking about.
27:23 I don't see myself, I don't consider myself to be a lecture kind of guy.
27:29 So what I'd like to do today is share with you my experiences
27:35 and hope that hopefully that will help you.
27:38 We're going to do something a little bit different.
27:40 I'm going to open up the forums right now.
27:42 I want everybody watching online, if you have a question that you'd like to pose to me,
27:47 please ask it right now.
27:48 I'm also going to get all the speakers here involved.
27:51 If you think there's a question that's important, read it online.
27:54 Please interrupt me, raise your hand, and I would love to discuss the issues.
28:00 Great, so yesterday one of the questions that I was asked, just to start with,
28:05 was do I incorporate stage magic on television?
28:11 The answer is yes.
28:13 When I did my first national television show in America,
28:16 Them Totally Hidden Extreme Magic, that was the concept.
28:19 We incorporated stuff that was done only on stage and applied it in an everyday situation.
28:25 So just to show you guys what I'm talking about,
28:29 one of the acts that I did for many years, and I still do it to this present day,
28:35 is my money manipulation act.
28:37 The money manipulation act that I did gave me recognition worldwide,
28:43 and I've been doing it for maybe eight years now with my partner Jane.
28:48 Now, it started off me doing this performance in very challenging areas.
28:54 Being in Japan, when I moved to Japan when I was very young,
28:57 there were no theater venues for me to perform magic at.
29:01 So what I would do is when I was hired to or asked to come and perform some magic,
29:07 at even a club or a party, I would bring my full set up.
29:11 I'd be getting ready in the bathroom or in the hallway,
29:15 and I would ask them to play some music.
29:17 And we did a performance.
29:19 The funniest story that I did was we were hired to do this event,
29:25 and it was a really crowded club.
29:27 And me and Jane did the money performance on top of this flat sofa.
29:32 Now, Jane was wearing heels, so it was kind of funny because she was trying to keep her balance.
29:36 It's going to be difficult to explain unless you see it with your own eyes,
29:39 so later, please go to my website, serialmagic.com.
29:43 Go to the video and look up the Paris video that I did.
29:48 You'll see this performance that I've done.
29:50 Now, the point of this conversation is how we were taking something that we incorporated in everyday life,
29:57 the performance, and doing it in an everyday situation.
30:00 And we did it on stage, and later I have some photos to show you of that.
30:04 But for now, what I'd like to show you is in the last special that I did,
30:10 did you have the fountain video queued up?
30:13 Okay, great.
30:14 What I'd like to show you is this act that I have been doing for seven years
30:19 was the closer for my special in Singapore.
30:22 Check this out.
30:23 Can a flip of a card change a life?
30:29 Just to let you guys know--hold on, guys, while you queue that up--
30:32 just to let you know, my last recent special, Serial Simply Magic, unfortunately only aired in Southeast Asia.
30:40 So today, just for you guys, just to online viewers, I'm going to share a very short clip of that.
30:46 Check it out.
30:49 [music]
30:57 [applause]
31:00 [music]
31:03 [applause]
31:06 [music]
31:09 [applause]
31:12 [music]
31:37 [applause]
32:00 Now, that was a clip that I performed for my television show,
32:05 and this was filmed at the world's largest fountain, the Fountain of Wealth.
32:11 Now, just to let you know, what better magic to do at the Fountain of Wealth?
32:16 Make money appear.
32:18 So that was the closer for that routine, which is an example of something that was small
32:23 that ended up really big for me.
32:27 So I think we have some questions coming in right now,
32:30 and that was to answer the ladies' question from yesterday.
32:35 Did you guys see anything?
32:37 Yes, we've had questions coming in already.
32:39 First question is, why don't you market any of your tricks?
32:42 Why don't I market any of my tricks?
32:46 I'm not in the business to be marketing.
32:50 That's not my thing.
32:51 I enjoy performing.
32:53 I just enjoy magic and performing.
32:59 Any other questions, guys?
33:01 Yes, certainly.
33:02 Do you have any tips for warming up an audience when filming your street magic?
33:06 Yes, that's a very good question.
33:09 The difference between television and live performances is that when you're doing live performances,
33:14 you have, whether it's a one-hour performance or a two-hour performance
33:19 or even a 15-minute session, you have time to develop a relationship with your audience.
33:26 With television, you only film about two to three minutes per scene.
33:33 So you don't really develop a relationship with your audience just walking up to them and saying,
33:38 "Hey, let me show you something," and then get straight into it.
33:41 Often what I'll do is to warm them up with maybe two, three other effects
33:48 so that they're really comfortable and they start relaxing and they start enjoying the magic.
33:55 So I would recommend if you do something for people on television to warm them up a little bit.
34:03 Great.
34:04 Another question that's just come in, how do you collaborate with the people who work on your show,
34:09 people like prop makers, designers?
34:11 What's the process there?
34:12 How much input do you have and how do you work with them?
34:16 Okay.
34:18 My team is very important to me, and I think that many people would agree.
34:24 The people that work with me are the people who build a bridge that I walk upon.
34:31 Without them, there would be no bridge and I would not be able to excel forward.
34:35 So I think when you find people to work with, it's really important that you find people
34:42 that you're really comfortable working with, people that you like,
34:46 and people that you can essentially even get into a fight with, somebody that will challenge you.
34:51 You don't want to be working with people who always say yes to you,
34:54 because then you'll never know what is good and what is bad.
34:58 Cyril?
34:59 Yes.
35:00 In fact, I just goaded a friend of yours to come in from the lounge area to stick his head on camera
35:06 so someone can get a look at what one member of your team is like.
35:10 Yes.
35:11 Ladies and gentlemen, I would like to introduce you to one of my longest friends in town.
35:17 Come on.
35:19 Mr. Rico De La Vega. Enrico De La Vega.
35:27 Enrico De La Vega has been part of, I would have to say, 90% of my career in magic.
35:35 Rico and I started at the Magic Castle together.
35:38 He was a junior and I was a junior.
35:40 He is also the executive producer and creator of Them, Totally Hidden Extreme Magic,
35:48 and MTV's Room 401.
35:51 He flies to Japan quite often to help me with my live shows and all the magic that you may have seen.
35:59 Most of the magic that you may have seen, trust me, he's right there next to me
36:03 and he helps me structure everything.
36:06 Thank you, Rico.
36:09 Great. A couple more just come in.
36:11 How long do you rehearse a trick for your TV shows for?
36:16 It varies.
36:19 When we're on production, often it doesn't allow you to do full-on rehearsals.
36:25 A lot of times it's just going to the venue of the day of.
36:29 There's lots of challenges that occur.
36:32 Sometimes you don't get to rehearse at all.
36:34 I try to visualize everything in my mind because if you can imagine things happening in your head,
36:40 visual training, I advise all of you guys, before you do anything,
36:44 whether it's on stage or close-up or whether it's television work, do an image training.
36:50 Just think it through your head.
36:52 Think what's going to happen from one point to the next point and have the goal in mind
36:57 and try to look at it from above.
37:01 That's how I get through it.
37:04 Do we have a few more questions?
37:06 Well, they keep on coming in, so we can have as many as you'd like.
37:09 I only have ten more minutes or less then.
37:11 What I'd like to do is to share a little bit about the live work that I do.
37:16 Now, this question was discussed--
37:18 the topic was discussed during the television panel.
37:21 We talked about doing magic on television and then them coming to see my show live
37:27 and then discovering that they don't get to see anything that I've done on television.
37:32 So what I have incorporated into my live show in the past several years
37:37 is to actually do the effects that I'm doing on television live in theater.
37:43 Take a look at this first slide.
37:49 Oh, it's there. Okay.
37:51 This is me on stage.
37:54 I come out and the poster's rolled up.
37:56 People have no idea what I'm about to do.
37:58 The second they see those hamburgers, the whole crowd--
38:03 it's amazing, guys.
38:05 The whole crowd rose. Let's go to the next photo.
38:08 Now, you can't just do it exactly the way you did it on television.
38:11 So what you do on TV, you add a new element to it.
38:16 This is the poster actually being examined in the audience.
38:19 Then if you see the next photo, you'll see that it's being put on a very thin wall.
38:24 It's elevated by chains.
38:25 We show back and front that there's nobody behind.
38:28 It's the same poster that was examined.
38:30 And the next photo, the hamburger appearing.
38:33 This is the moment.
38:35 This is my most exciting moment because that's what--
38:39 The next photo.
38:41 I go straight into the audience and ask, "Who wants it?"
38:45 Guess what? Everybody's raising their hands.
38:47 It's an amazing moment.
38:49 That burger is hot, and he's actually taking a bite out of it.
38:52 It's a gift for the kid.
38:54 I put it in--I autograph a doggy bag, a box,
38:57 and I give it away to the kid to take home.
39:00 That's an example of taking material from TV to the stage.
39:05 All right, let's take a look at another photo of my live show.
39:09 Okay, so this is the money routine that I was talking to you guys about.
39:13 Can we go to the next photo there?
39:16 That's my partner Jane on the right.
39:18 And again, this is an act that I developed over the seven years.
39:23 And once I had my opportunity to take it on stage, you have to glamorize everything.
39:27 You have to improve on the production value.
39:30 You have to put a story behind it.
39:32 So this is an example of some of the things that I'm doing.
39:35 Let's go to the next slide.
39:37 Yep, that's the ending of the money routine.
39:39 It rains money from the ceilings.
39:41 It's really cool because on my money note, it says my name.
39:44 It's got my picture. It's got my website.
39:46 People dash to the front of the stage.
39:49 They take it home. They take it home as a souvenir.
39:51 So, yeah, that's been really exciting.
39:53 Let's go to the next slide.
39:56 Audience interaction.
39:59 Audience interaction is very important to me.
40:02 I don't like doing a performance and everybody just staring at the stage like it's a big television tub.
40:07 I always make it a point to go out into the audience.
40:10 This is me picking up a kid.
40:12 I use a wireless camera, and it's projected, and everybody wants to be part of the magic.
40:18 In this next photo, you'll see that I did a routine with a kid.
40:23 You see his mother on the left-hand side with a toilet plunge on her head and a toilet brush.
40:29 But using kids is also very important because for me, when I'm doing performances,
40:38 I've done performances where I never pulled up any kids.
40:40 I only use adults, and they feel like they're left out.
40:44 So, guys, if you do magic on stage, make sure that you involve everyone, even if it's a small part.
40:50 In this particular situation, this child was very nervous to be on stage.
40:56 But when you pull up a kid on stage, it's also very important that if you use them in part of the show,
41:04 and, you know, like in this case, he was supposed to put the toilet plunge on his head,
41:08 but he was too embarrassed or he felt like I was embarrassing him.
41:12 It's really important to empower the kid at the very end.
41:16 In this case, I gave him a magic marker.
41:19 Rico had this idea where I give him a magic marker at the end, and I give it to him, and I explain,
41:25 "Do you know why I'm giving you this black magic marker?"
41:29 Next slide, please.
41:31 Oh, no, it's not in here. Sorry.
41:33 I ask, "Do you understand why I'm giving you this black magic marker?"
41:37 He would say, "I don't know."
41:39 And I would explain, "Because you are now a star."
41:42 When the show ends, everybody in this audience is going to ask you for an autograph,
41:47 and that's what you sign with.
41:49 So that's what happened to everyone that--
41:52 Every show, I had my staff go out, and we had this T-shirt, a blank T-shirt,
41:56 and every show that we did, this kid autographed it.
41:59 And it was amazing because they were filming--I don't have it here today,
42:02 but they were filming all this--filming the kid autographing all these people.
42:06 So always empower the kids.
42:08 Next slide, please.
42:11 This is some of the stage productions that I do.
42:15 Just wanted to tell you guys, if you're going to create a routine,
42:18 stick with what you're comfortable and familiar with.
42:21 For me, I've been in Japan for nearly 20 years,
42:24 so I took the illusions and material that I did,
42:28 and I put a storyline behind being in Asia.
42:32 Next slide, please.
42:34 Some people ask, "Do I do illusions in the show?"
42:38 The answer is, "Big illusions."
42:40 Have a look at the next slide.
42:42 Yes, I do that, too.
42:44 But again, it's very important to incorporate all kinds of material in your show.
42:47 Don't just do close-up magic from the beginning to the very end.
42:50 Don't just do card magic throughout the whole show.
42:53 For me, I encourage you to try to have a variation.
42:57 If you eat a meal, you don't want to eat the same dish over and over and over
43:00 over the course of an hour.
43:03 So give them a taste of something different throughout the show.
43:06 Next slide, please.
43:08 Ah, yes, this is me being DeVoe in the show.
43:13 Next slide, please.
43:15 Also, know your environment.
43:18 I did the water torture cell, and I made it very dark and heavy,
43:24 and I did it to a family audience in Japan,
43:28 and it did not play well.
43:30 So big toys, big stunts doesn't necessarily mean that
43:34 that's what the audience is going to like.
43:38 My fans who came and saw my show wrote to me after and said,
43:41 "We really did not enjoy that performance."
43:43 So if you travel to different parts of the world,
43:46 and if you want to be adaptable,
43:48 try to make sure that you always know your environment.
43:52 Next slide, please.
43:56 This is me again doing television material at the end of my show.
44:01 This is the backwards lean known from the Matrix movie,
44:06 and this is my audience.
44:09 Just wanted to share that with you.
44:11 Can we go to the next slide, please?
44:13 And we were talking about team.
44:15 This is a picture of me and my team,
44:17 the people who make my show possible.
44:20 People, please, treat your team well,
44:23 because they are the ones that will put you to where you need to get to.
44:28 With that said, thank you very much.
44:30 This has been a slide presentation.
44:32 Do we have some questions?
44:35 We do have a few more questions,
44:37 but we're getting towards the end of the session,
44:39 so we might add some of those in at the end with the question and answers,
44:42 if that's okay.
44:43 That would be great.
44:44 Ladies and gentlemen, Cyril Takeyama.
44:46 Thank you, Cyril.
44:47 Thank you, guys.
44:50 Thank you.
44:53 Thank you, sir.
44:54 Thank you.
44:55 That was a wonderful opportunity to get some firsthand information
44:58 about what it's like to be a real star.
45:01 Now, our next performer,
45:03 funny enough, according to the schedule that I had been emailed,
45:06 the next performer was going to be Carlos Vaquera.
45:09 But obviously I was out of sync there.
45:12 But I think I've worked out why he's not performing today.
45:14 Carlos, I don't know if you can come over here,
45:17 because I found this this morning.
45:19 According to the Texas Tribune,
45:21 Carlos Vaquera is actually currently in the Hughes unit
45:26 of the Texas Penitentiary,
45:28 serving three years for deadly conduct discharge of a firearm.
45:32 So obviously that's why he couldn't be with us today.
45:35 But never mind.
45:36 We found a substitute, someone who's stepped in,
45:39 and in fact coincidentally more or less matches the same description as Carlos.
45:44 In fact, he's frequently been mistaken for Carlos
45:47 because of his very similar appearance and performance style.
45:52 He's also a sex symbol,
45:54 and I assume so judging by the number of chats we've received
45:57 asking him to take his pants off again.
45:59 Anyway, seriously, his talk has for me been one of the highlights so far.
46:06 So please welcome Richard Wiseman.
46:09 Thank you.
46:12 Thank you very much.
46:14 Thank you for that lovely introduction there by Guy.
46:17 And it's very odd actually, Guy and I, we're rarely together
46:20 because we're actually, we're brothers, separated at birth.
46:23 So that shows the impact of nurture.
46:25 So anyway, it's a pleasure to be here.
46:27 I'm going to do, because this is a technology-based conference,
46:30 I'm going to be talking about iPhone apps
46:33 and how to develop them and some of the lessons learned from when I developed mine.
46:37 And in order to do that, I'm going to ask James
46:39 if you could come out and play the part of a spectator for me.
46:42 Just while James is doing that,
46:44 I should point out that this is an interactive conference.
46:46 You have been watching us, but also via some of your webcams,
46:49 we have been watching you.
46:51 And I just would like to say that Neil Robertson from Ohio, that's disgusting.
46:56 It's not big, and it's not clever,
46:59 and it's probably illegal, even in Ohio.
47:03 So James, hello.
47:05 Hello.
47:06 James Freeman here.
47:07 We've never met before?
47:08 No.
47:09 Okay.
47:10 So this is, I'll demonstrate Telepath, which is my little iPhone app here,
47:13 and then I'll talk about it.
47:15 So if we have a camera here, this is how it works.
47:18 If I can show it up to the camera.
47:21 Can we see the camera shot?
47:23 That's great. Right.
47:24 So hopefully, if I hold it up here, I'll just press the top one here,
47:27 and you'll see four numbers come up onto the screen.
47:30 James, if you can look at those four numbers, choose one, okay?
47:33 I'll get rid of those there.
47:35 What number have you chosen?
47:37 Number two.
47:38 Okay, form a mental image for number two in your mind.
47:40 Have you got it?
47:41 Zoom it into the iPhone.
47:43 Confident? Okay, turn over the iPhone, have a look, show it to the camera.
47:46 Fantastic, show it to the camera there.
47:48 You can see that, a number two on there.
47:50 Brilliant.
47:51 Now I know what you're thinking, and really,
47:53 it's a little bit of sympathy applause there in the room,
47:57 but you're thinking he just got lucky.
48:00 But no, I'm going to repeat it a second time.
48:03 So here we go, here are the four numbers up here.
48:06 I'll have a look at those again, choose one.
48:09 Fantastic. Which one have you chosen this time?
48:11 Number one.
48:12 Number one, okay, zoom it into the iPhone.
48:14 Turn over the iPhone, show everyone.
48:16 Oh, my goodness, there it is, a number one on the iPhone there.
48:19 Okay, fantastic.
48:22 So this is an app developed, I think, called Telepath.
48:26 The first little thing that's fairly obvious about developing apps,
48:28 which is don't develop what's already out there.
48:31 So when I looked at what was out there,
48:33 there were lots of ones where you queue the smartphone one way or another.
48:36 So you say name a card, and they say four of diamonds,
48:38 and you go, "Hold on a second, I'll just open the application,"
48:41 and then something happens.
48:43 Well, it isn't that.
48:44 If you haven't worked out the method, it's a time-based multiple out.
48:48 So if I didn't put the phone down onto the ground,
48:51 then here's the four numbers.
48:54 I hope you can see this. There we are.
48:55 I'll give this a shake.
48:58 This is what's happening face down on the iPhone.
49:01 Obviously, you don't see this normally because it's on the table.
49:03 It's simply rotating round all four numbers.
49:06 There's number one, there's number two.
49:09 And when I get to the one which James has chosen,
49:12 he picks up the iPhone, and that movement, although the audio carries on,
49:16 the visuals freeze, and so it'll freeze on his number.
49:20 If you have got telepath, and you want a little performance tip,
49:23 some people reach for the iPhone too quickly.
49:26 So if that was going on, and James, if you were to reach too quickly,
49:29 if you go for it, if you just take that arm here,
49:32 and it's a very smooth motion of just breaking the elbow clean there.
49:36 So that's a little tip for you.
49:38 Thank you very much.
49:41 So that's the method.
49:44 When I first came up with this, I thought it would be really easy to perform,
49:48 and so I didn't have any cues in there.
49:51 There were several cues about the turn.
49:52 I'll talk about the transition of the numbers.
49:54 Initially, you just counted in your head 10 seconds,
49:58 and then you just turned over at the right time.
50:00 And as performers, we're used to multitasking,
50:02 and so that was a fairly straightforward thing to do.
50:05 I'll give this to anyone who perhaps isn't used to performing like that,
50:08 because it's an absolute nightmare.
50:10 And so we have to add in sound cues.
50:12 So there's a little sparkle on the soundtrack that tells you that that's the moment to turn it over,
50:16 and then we send people out with it into bars, and they couldn't hear the soundtrack.
50:20 So actually, there's a vibrate, so you can put your hand next to it,
50:23 and then you can feel it through the bar.
50:25 And then people came back and said, "Well, it's fine,
50:28 but people aren't really impressed with the kind of one-to-four thing."
50:31 So we sort of skinned it and added several other options.
50:34 One of them is you can say, "Oh, we're going to go on a date tonight."
50:37 We can go to the cinema, we can go here, we can go there, which would you like?
50:40 And suddenly the thing's got functionality.
50:42 So those are the sorts of things.
50:44 Also, this notion, which I think is absolutely key,
50:48 which is simply trial the thing.
50:51 Give it to people.
50:52 And the question is one of investment, not monetary investment.
50:55 These things don't cost anything at all.
50:57 The investment, same as YouTube, is time.
51:00 Are they prepared to put in their valuable time to get this effect?
51:05 So how much time do they need to put in?
51:07 Because a bit like YouTube, you need to minimise that.
51:09 That's what Marco was talking about yesterday.
51:11 They're only going to be there for a few seconds.
51:13 Do you give them--not bang for their buck, but bang for their time?
51:17 The upside is that now, with this sort of thing and YouTube,
51:20 we've got a platform to get out there in a way that you wouldn't have had even five years ago,
51:25 and there are kind of real financial benefits to that.
51:27 So just a few thoughts on developing iPhone magic and on telepath.
51:32 Thank you very much.
51:34 Richard Wiseman, ladies and gentlemen.
51:36 Thank you very much, Richard. Thank you.