On 2005-11-10 00:23, Candini wrote:


I understand Richard's feelings in his last book about lying etc. I feel bad and good when someone comes up to me and asks me what special gifts I have. I basically tell them what Richard does, about Im an entertainer, Im glad I performed well for you, no special gifts blah blah blah and then wonder if anyone in the audience is thinking the same thing. Its good to also hear, you are good and nice trick but they seem not to have the same meaning.

Way off track here, just its late and after gigs its hard to wind down.

On 2005-11-10 15:05, chmara wrote:


One question -- how did you deal with audience fatigue? Sitting through 80 pieces of material, while not as wearying as performing, could bring a cloud of inattention to the group -- as well as calouses on the buns.

And that brings me to pacing -- during audience member actions -- filling out cards etc. This is one difference between "filll every moment with action magic" and mentalism I continually question. As we stand in front -- and make a few comments while the paperwork is filled out -- how does the silence affect the pace? Fast writers waiting for people who write slowly become board?

Kreskin, when I last saw him, moved about the audience constantly chattering to pass billets and then collect them in the envelopes and seal them for the audience to hold -- allowing the slow writers to seal and sit on the billets they were working on while he moved back to the stage......

As he "gathered his thoughts" on his clipboard he walked three audience members through some card mentalism tricks -- with a few short pauses as he scribbled furiously...and directed applause to the volunteers who ready each other's minds or dealt perfect hands.....etc/

His Answers to questions then followed at a rapid pace -- jumping focus to various audience spots -- quickly passing the misses -- and focusing on detail on the hits.

Then-- in conclusion -- out to the audience again to find his check with Hellstronism.

This-- almost magicianlike - kept the audience engaged without pause.

How would you (or particularly Richard Osterlind) program the huge series of effects now at out disposal on the DVDs into a solid act without gaps and awkward moments of silence????

On 2005-11-10 15:19, Greg Arce wrote:
I think one thing that's best to learn from Richard's DVDs is how he takes old ideas and gives them a twist here and there. How he can take something from Corinda or Annemann and breath life into it.
How many times on these boards do we see, "what's the latest book or effect out there?" when we should be following Richard's lead and thinking, "let me look into that old, classic stuff and see what treasures I can find inside."
Richard should inspire all of you to constantly read and then reread 13 Steps, Annemann and Tarbell... that is the source of many of the true secrets of magic & mentalism.

Greg

On 2005-11-10 18:24, Turk wrote:

I just love the original Mind Mysteries series. I am amazed at the little bits of nuance I keep picking up each time I watch them. It is a big mistake to just watch them once and then try to learn the effects being revealed. Look at the audience management, the blocking, the recovery from unexpected audience responses, the clear and precise audience instructions, etc. There is just so much to these DVDs. I look forward to obtaining volumes 5, 6 and 7.


Mike

On 2005-11-11 15:17, Richard Osterlind wrote:

***

I really appreciate your words. I would hope you might take this approach when viewing these videos.***

***
Richard

On 2005-11-11 22:04, mattisdx wrote:
Do the spoon and fork bends require any gimmicks?

On 2005-11-11 22:04, mattisdx wrote:
Do the spoon and fork bends require any gimmicks?

On 2005-11-12 19:04, mattisdx wrote:
Can the fork bend be done with just 1 fork? Or does it have to be 3 ?