David Copperfield Quotes About Magic
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I will now make a scorpion appear in Osama bin Laden's pants
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I invented magic stuff; it came very easily. Now, I sucked at everything else, but I was good at magic as a kid.
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I was published in Tarbell Course in Magic when I was 12.
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As I did more of that, I realized, "Well, maybe I should do more magic."
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Everything that you'd see on The Ed Sullivan Show was at the Tannen's Magic. You'd think that if you could afford a trick like Doc Nixon's Dove Vanish, then you could be on The Ed Sullivan Show as an 8-year-old kid.
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The most important thing is presentation.
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I discovered that magic tricks got me more attention from the girls in my class when I was nine - so a magician was born!
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[ Gil Cates] said, "You've got a point of view with your magic. There's this comedy to it, there's drama. You're telling stories with magic."
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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.
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I was teaching magic at NYU when I was 16.
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Magic is the only profession where it's easy to lie about your talent. If you do a trick and you can learn it very quickly, you can fool somebody into thinking you're a great magician.
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Science and technology were often used by [the magician of old], even before they came into the marketplace on a mass basis. For example, prior to the moving picture going into theatre, magicians were using the technique of images in motion as illusions in their shows. At that time the process was so new, an audience perceived it as magic. Also in the early stages of holograms magicians would use these images to baffle and mystify their fans. Hence, you always need to stay one step ahead of the technology game to "WOW" the audience.
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I was 16 at the time, and I came backstage and started hanging out with them. I said, "Well, maybe you can 'vanish' the silk this way." The opening was a black stage while the "Magic to Do" song started playing. All you saw were hands, lit by Jules Fisher, and then Ben Vereen would appear beyond the hands, and at the end of the scene he would vanish a silk. The spotlight would hit a red spot on the floor where you'd see the silk on the floor. He'd pull the silk out of the floor and it became the entire set coming out of the floor.
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In magic, it takes two or three years for me to create a 5-minute illusion for me to get it to the level I want.
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I have always been interested in pushing magic forward.
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Demonic figures and occult themes have disappeared from modern magic.
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There was a place in New York called Tannen's Magic. It still exists. But back in the day, it was really fantastic. You'd go into the old Wurlitzer Building, take the elevator to the 13th floor, which was labeled 14, because of bad luck, the elevator would open, and you'd be in heaven. It was all of these guys doing magic stuff with props. It's kind of gone now, that experience, the brick-and-mortar magic shop, but you really felt like you'd landed in the most amazing place in the world.
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You can feel better about yourself in a very short period of time depending on the kind of magic that you are doing.
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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.
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Before there can be wonders, there must be wonder.
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It is the unspoken ethic of all magicians to not reveal the secrets.
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Normally, I do magic on the stage. But I can make magic credible and resonate through a TV screen.
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Magic came very easy for me when I was a kid. When I was 8 years old I started doing it, and by the time I was 12, I was already published in magic books
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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.
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Magic and new technology have always walked hand in hand - even back in the days of Robert Houdin.
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There was a guy named Ed Mishell. He was this grandfatherly guy who did all the illustrations for the catalogs and reviewed magic effects for the magic magazines, so all of the magic dealers would send him magic effects for free-it was a great deal. His basement was full of this stuff. He took me under his wing, and he would sneak me into the Society of American Magicians meetings in New York. It's the world's oldest magic organization.
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The real secret of magic lies in the performance.
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There were really a bunch of old, old magic hobbyists at the time, some of them who actually had known [Harry] Houdini. You had to be 14 to go to these meetings, and he snuck me in at 12. It was glorious.
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Magic is used in espionage, all the time, for clandestine things. I've got a whole library from a gentleman who was hired by the CIA to create magic technology for the use of anti-terrorism.
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I find revealing the secrets of magic quite reprehensible.
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