talkmagic.co.uk

Yeah, Derren's stage shows are off the chain. I was fortunate enough to see him do his thing live in Manchester in May and there's a good reason he's where he is.

The first question you need to ask yourself is what is the theme of the show and.or, what is the claim you are making that qualifies and supports what you demonstrate? Once you know these answers then finding the opener should be relatively easy; you simply find the effect that states by way of action "this is what I do!"

For some years now I've opened with Jermay's "Dangerous Opener" because it sells the idea of both, how we make decisions but likewise, how we are guided by our intuition. Similarly, I'll use Rick Maue's "Intersection" because it reveals the very same idea and thus, supports the claim or theme made within the show and my own character.

Some have mentioned the TOD which I have always saved as an encore bit because it is so potentially potent and too, it helps to bring things full circle within the act given that I use Luke's "Touching on Hoy" as part of the opening 10 minutes of the show, typically -- I guess you could call it an NLP technique because of how I use the one as an "anchor" that sustains the latter, but that's just theory, who knows?

Thing is, what I use might not be right for you, your style or theme/claims. That is why YOU must experiment with routines and ideas that seem to work well for you.

One opener I used for years was Eddie Joseph's PREMONITION which went through several evolutions. Nonetheless, it's a decent opener. Another course of travel would be to rely on the proven -- the Annemann (I think it was) Magician vs. Mentalist routine or a similar spin-off; the idea being to distance yourself from being a magician doing corny TRICKS and bad one-liners.

Given the fact that you still want to be a magician however, why don't you just open with the Blackstone Bird Cage and claim you've psychically teleported it somewhere

I'm in a good mood now because not only have I bought a new leather Add-a-Number wallet (any tips for using this by the way? I'm still worried that a spectator might "open" it), but also because I have narrowed down my search for an opener:


1. It should not involve a quick reveal.
2. It should involve only one person.
3. It should involve money if possible... because money gets people interested.
4. Because of the potential of loosing money, it should be an effect that is 100% foolproof; so don't use Thought Tunnel or similar effects.

How about Al Koran Medallion, its an excellent effect and also very strong but you could use this as an opener. It involves a coin/medallion, one person, its 100% foolproof if you use the right lingustic and it doesnt have a quick reveal.

My advice for learning excellent lingustic techniques check out Kenton Knepper Wonder Words.

This link is the great Al Koran performing Al Koran Medallion on The Ed Sullivan Show

http://www.metacafe.com/watch/223380/al ... ivan_show/

Hope this helps

Dan Roberts

"Content is unavailable"






By the way, by coincidence I bought "Collared" today, which is an effect where you name a "pet" and the name appears on the back of a toy dogs collar; (Deleted by Mods - please don't reveal methods Eshly)
Now I think this is a lot like the Al Koran Medallion effect, so far as I know, where can I see a full version of the proper (Medallion) thing, and make this more impressive?


Tom
xx

I have a question? Why are you buying all these expensive things when most of the things you want done, can be made for less than 50 bucks at the most.

If you want a good Add a Number routine, you could do Astronomical and to actually make it should cost you less than a few bucks (maybe even free).

Eshly wrote:I'm in a good mood now because not only have I bought a new leather Add-a-Number wallet (any tips for using this by the way? I'm still worried that a spectator might "open" it), but also because I have narrowed down my search for an opener:


1. It should not involve a quick reveal.
2. It should involve only one person.
3. It should involve money if possible... because money gets people interested.
4. Because of the potential of loosing money, it should be an effect that is 100% foolproof; so don't use Thought Tunnel or similar effects.

How about a 'Bank Night' effect? This would give you the opportunity to talk to the audience while getting into the effect. It'll give you a chance to settle down into a nice rhythm and start building relationship with the audience.

There's a great slant on the Bank Night on the new Paul Stockman DVD - and it seems to meet all of the four requirements that you've listed

cheers,


Sean

Eshly you want to make the medallion effect more effective, its one of the greats, it doesnt need any more work. If you try to make an effect more impossible than it already is then you will not be entertaining anyone trust me i have been there my advice for you is too read Maximum Entertainment - Ken Weber and Strong Magic - Darwin Ortiz. The most expensive tricks will not make you entertaining, only you can make yourself entertaining.

The Audience should remember YOU, not just your tricks. As performers its our job to entertain the audience not fool them and make them feel they have lost the battle cause they didn't catch your secret moves or methods behind the tricks.

The simplest effect can be completely awesome. My swami NW has made many people think I am a illusionist or something else.

Sorry i went on a bit there hope i have got my point across

Cheers

Dan

Randy wrote:I have a question? Why are you buying all these expensive things when most of the things you want done, can be made for less than 50 bucks at the most.

If you want a good Add a Number routine, you could do Astronomical and to actually make it should cost you less than a few bucks (maybe even free).

I have the money and I am a perfectionist; and the way I look at it is this: Sooner or later I will have to buy it anyway, so why not get things now while I have the money?

As for the Add-a-Number, it only cost me £40, and its a nice leather wallet that will last me years and years. My only worry is that it might be risky throwing it into the audience.


Tom
xx

cardtecuk wrote:Eshly you want to make the medallion effect more effective, its one of the greats, it doesnt need any more work. If you try to make an effect more impossible than it already is then you will not be entertaining anyone trust me i have been there my advice for you is too read Maximum Entertainment - Ken Weber and Strong Magic - Darwin Ortiz. The most expensive tricks will not make you entertaining, only you can make yourself entertaining.

The Audience should remember YOU, not just your tricks. As performers its our job to entertain the audience not fool them and make them feel they have lost the battle cause they didn't catch your secret moves or methods behind the tricks.

The simplest effect can be completely awesome. My swami NW has made many people think I am a illusionist or something else.

Sorry i went on a bit there hope i have got my point across

Cheers

Dan

Ohh no, I completely agree. You are right that is it my performance that will really sell the show.

However expensive tricks help


Seriously though, often I just go ahead and let the audience think I have told them the secret; most of my tricks have "obvious answers" or "false reveals", and this leaves the impression of awe, but non-arrogance, which is quite hard to get I think.


Also; how do I work on the madallion problem? It looks very "scratched on".

Eshly wrote:I have the money and I am a perfectionist; and the way I look at it is this: Sooner or later I will have to buy it anyway, so why not get things now while I have the money?

Why would you 'have to buy it anyway'? I used to follow your logic - when I first got into the whole business but soon found that most of my expensive toys were consigned to the back of the drawer (yes, including my Add-a-number wallet - which, by the way, has never, ever been rumble by a spec!).

And, yes, it may seem that an expensive trick will help but that is most certainly not the case. I've seen performers bring an audience of hundreds to their feet with just the use of a Swami. Don't fall into the trap of hiding behind the effect. I performed a single five minute effect just this week that included a single reveal and used only a Swami and a plastic jar - and it secure me a regular, paid monthly booking for the next twelve months.

So, I'm not going to berate you for doing exactly what I did in the past but it might be wise to listen to a few of the older heads on the boards. For £40, you could have bought a couple of good books/DVDs and still had enough money left to buy everything you needed from your local stationery shop

Anyway - I'm not going to argue - but wish you all the best

Sean

Luke Jermay came out with a version of the medallion effect. Its available from Penguin Magic for $10 its a download and thats the version I perform, its great , i do the whole thing that i have influence them etc.

Klangster1971 mention the Bank Night effect, Its great for stage work, Derren Brown would use same sort of plot in his stage and close up work.

I haven't yet seen Paul Stockman DVD but Richard Osterlind Mind Mysteries DVD 1 The Act has it on that DVD its awesome, most tricks i perform pack small but play BIG time.

Also if you dont mind me asking how long is the show or act and is it for the public or magicians?

Cheers

Dan

You realize Nicolas Cage had your same problem. And now he's bankrupt. So that's really something to think about.

Also you should take Craig's advice about what type of theme you want to give off. Mind Reader, Guy who can predict stuff. Etc etc. Because to me it would just look like you are rattling off random tricks. I believe Bob Cassidy talked about this in his 39 steps e book. I think he mentioned that when you are doing Mentalism, you don't want to appear like a variety show. You want consistency.

IE: If you're whole thing is Mind Reading, you want effects that are mind reading effects. etc etc.

I know exactly what you mean, and I agree. I also bought two books today; Paralies and Seven Deceptions. Don't get the idea I am one of these "flashy toys, no books plz" guys.

I used to be like that, but after reading a bit I learnt my lesson!
And I don't worry about money; I've got enough



By the way, do you give your Add-a-Number out into the audience? How do you know it won't shut accidentally, and then open again revealing the secret?


Tom
xx


P.S
Thanks for the luck



Edit:

Also if you dont mind me asking how long is the show or act and is it for the public or magicians?

It is for the public, and the time will vary. It has been as short as 12 minutes, but I am hoping to eventually do a full 2 hour routine. (ambitious perhaps, but there you go)

I never tossed my Add-A-Number out to the audience - rather had it sitting on a table at the side of the stage and I asked specs to jot a number down as they left the stage after helping out with an effect....

IIRC, even DB didn't let the Add-A-Number loose in the crowd during the 'Evening Of Wonders' show - it was carried round by a helper and given to audience members to write in.

Sean