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Peo Olsson Inner circle Stockholm, Sweden 3260 Posts |
Simon,
Perhaps you could tell us what filming DVD's with Luis Falanga and his crew is like, how many days it takes, how you all are treated during the visit, what the audience is like and so forth. By the way, I think your DVD set is one of the best that have come out from L&L Publising. Peo
Pictured to the left my hero and me during FISM 2006 in Stockholm.
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Simon Aronson 1943 - 2019 74 Posts |
My experience filming my DVDs (in June 2005) could not have been better, especially considering the trepidation I felt going into it. Bill Malone has written (in the L&L Presents, Spring 2006 issue) of how it was like pulling teeth to get me to film these DVDs, and it’s true. I don’t consider myself a professional performer, and I had regularly turned down Louis Falanga’s prior requests to put my magic on film. (At heart I’m a book guy). But Joshua Jay had invited me to join him at the L&L studios (a gorgeous 3-story wood home on the side of a mountain, with breathtaking views of Lake Tahoe) to participate in the filming of Josh’s own DVD series, as an introducer and interviewer. So, since I was going out anyway (my first visit to one of Louis’ filmings), Louis made me a special offer: perform my favorite tricks for the audience, and if I didn’t like how it went, we’d shelve it. If I did like how it went, we could go ahead and do a full set of explanations. So, at the urgings of my friends, and Bill’s and Ginny’s encouragement, I tried it.
Now I don’t care how often you perform professionally – no one does an act that includes 22 separate routines! That’s a lot of material (let alone thinking about explanations). And it’s a lot for the audience to take in, too. My weekend was atypical, because it’s rare for Louis to film two performers, with two full sets of DVDs, crammed into one weekend. (Louis said he had done it only once before). The live audience was scheduled to come on Saturday, so to accomplish this schedule, we filmed Josh’s explanations on Friday (before his live show) and this went well into Friday night with our interviews and introductions. Saturday the audience arrived, early in the morning. Louis has a caterer, Lew Radoff, who keeps everyone fed for the entire weekend, with varied, healthy, fine food. The whole audience got a great breakfast, and then sat down for a few hours, for the filming of Josh’s routines. We then broke for another catered lunch, as they rearranged the chairs for the presentation of Ginny and my two-person mind reading act “It’s the Though that Counts.” That was my first performance before the audience, and it’s something I feel comfortable with, so I wanted to start with that. It’s also something very different, so it served as an interesting buffer between Josh’s and my magic sets. The audience enjoyed it, and I felt a bit more relaxed (just a bit). We then took another break, rearranged the chairs, and returned for my magic performances. The filming took another few hours. At the end of the day I finished with my Random Sample Shuffle-bored. After sitting through a full day of about six hours of magic, the audience gave me a standing ovation (or, alternatively, they were anxious to stand up and get out of there). A word about the audience. I, along with many who had seen other L & L videos, was skeptical about the over-the-top reactions that Louis’ audiences sometimes evince, but I must say: these audiences are nice, warm, friendly people who genuinely love to watch magic. Louis does an excellent job in his pre-season screening and interviewing, to find lay people who react well, and once he assembles such a core audience group, it makes sense to use them for a number of DVDs. Again, Louis knows his business, and puts some of the most photogenic people in front, (which can occasionally be more misdirecting to the performer than to the audience.) But I do want to emphasize something that isn’t often mentioned: Louis understands the importance of a good audience toward ALLOWING THE PERFORMER TO RELAX AND GAIN CONFIDENCE. I was admittedly uneasy, but these people were so patient (occasionally through re-shoots) and so supportive that it really made the filming so much more comfortable. Between shots I could relax, joke with them, chat – they became friends and fans for the day. (It would be like finding the perfect table, for restaurant workers – you just wouldn’t want to leave). After the audience left we had dinner, and then Saturday evening we did more filming in front of the “blue” screen, for some of Josh’s set. Sunday morning I felt optimistic about how my set had gone, so we decided to go forward and film my explanations. I wasn’t sure we’d ever get this far, but I know my material, so for the next few hours I just spoke extemporaneously, explaining trick after trick. I knew certain sequences that I wanted to run together (e.g., the three different Birthday plots that ultimately wound up on Volume 2) so that helped. But most of the day, I just talked. (Something, as you can notice from the length of my posts, that I do a lot.) The memorized deck material was the most “structured,” because I’ve previously lectured on that topic and knew the principles and concepts I wanted to bring out. I felt strongly that this particular DVD should not be merely just a bunch of discrete memorized deck effects, but a real course, a way of studying and illustrating, memorized deck magic. So I’ve developed a routine that segues from one effect to another (keeping the deck in order) where each effect, complete and entertaining in its own right, also illustrates a different concept. I’m very happy with the way that turned out. I should add a word about how nice the setting was. The explanations could get tiresome (without audience feedback) so it was nice to be able to periodically take a break from under the hot lights, step out on Louis’ balcony, and feel the fresh air and see the gorgeous lake vista. We even got a special treat from the setting: during one of my explanations, the camera started to shake – we were interrupted by a (very slight) earthquake tremor. (Definitely not Chicago). We wrapped at the end of the day, and Louis took us all out to dinner at a nice Mexican restaurant, where we (finally) relaxed. The technical crew that Louis employs is top notch. This was a three-camera shoot (two man operated cameras, one fixed down-shot over the performing table) and both Andy and Terry are nice guys who really know their business. You’ve seen their names at the end of countless L&L DVDs, but now I appreciate how important a role they play. They are vigilant throughout the full shoot, continuously monitoring camera views, audio levels, and getting on top of any blips that occur. Because of all the DVDs they’ve shot over the years, this is now almost an automatic procedure for them, but they don’t get bored or blasé (I threatened to quiz them on the Aronson stack at the end of the day). And, for the most part, they don’t seem to get in the way of the studio audience. From my perspective, they helped put me at ease: always patient, allowing me to repeat a sentence if I didn’t like how it sounded the first time, and gently reminding me to look at the camera. Louis stays glued in front of the three monitors, so he makes sure there’s a usable shot at all times. (Ginny sat with Louis, and she’d occasionally suggest a do-over. But, looking back, the number of retakes was fairly minimal). Louis’ on-site staff (LeAnn, Renee and Scotty) keep the schedule organized, and are so devoted to making the performer feel at home. They’re efficient, helpful and friendly, and jumped to assist, whenever I asked for water, or a book to sit on, or anything. Clearly this is a team effort, and Louis is a consummate business man who has assembled a winning team. I had brought along Mergel Funsky, as a consultant, and the entire crew not only accepted him but gave him several cameo appearances on the DVDs. Since a back scene look behind L&L isn’t something everyone gets, let me also mention that Louis is first class in the post-production department as well. I was given great latitude on all choices: which tricks went onto which Volume, the sequences, the editing, the graphics, the music, the transitions. Terry and Andy make the first suggested cuts (they know what works) and then I got to comment, and we worked from there. The same artistic approval was offered with respect to the artwork, ad layout, box and menu designs. Mac Palmer is really creative with graphics, and Mergel Funsky, who himself knows a bit about Photoshop, was really impressed with her. So, bottom line: I was nervous going there, I was glad to get it done and behind me, and I couldn’t have asked for better support. Louis not only knows his business, but to me he’s an honest and reliable friend. And, thanks to Louis, maybe now a few more of you will get exposed to some of my magic. Simon
"There's a world of difference between a spectator's not knowing how something is done versus his knowing that it can't be done."
Shuffle-bored (1980) http://www.simonaronson.com |
Peo Olsson Inner circle Stockholm, Sweden 3260 Posts |
Thank you Simon for your exellent resume of the behind the camera percpective of the shootings at L&L Publishing.
Many of us have of course seen the results of these projects, but never known what its acctualy to be there. Very interesting. Thank you again. Peo
Pictured to the left my hero and me during FISM 2006 in Stockholm.
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negrette Regular user Washington, DC 178 Posts |
I too want to thank you for taking the time to post this. Very interesting to get a behind the scenes look at how it all works. Also, great question Peo.
Mallusionist definition of the Simple force: The cards are fanned and if the spectator tries to take the wrong card, the magician holds onto the deck really, really tight.
http://www.mallusionist.com |
chrismatt Special user Why would you read any of my 978 Posts |
Quote:
On 2006-08-21 17:20, Simon Aronson wrote: You were trained as a lawyer, weren't you? Seriously, aside from your law firm retirement party, have you ever mixed magic into your legal profession? If so, how? Magically yours, CM
Details make perfection, but perfection is no detail.
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