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How important to you is "The Expert at the Card Table?" How do you view it in your work? What's the most important thing, technically speaking, for a sleight of hand artist to know? Hoe much do you practice in a day? How do you practice? Do you just repeat the moves over and over until...

I write. And I'm getting into film.

I just posted this in another thread: I think that there is a new movement to move back to the roots in sleight of hand. I see this at Dan and Dave's website and I really think it should be embraced. Also, while the single trick DVDs are nice, there are very few that truly offer good...

First I'll say that T11 has always proven to be a community that listens to its members, so hopefully they'll take this into account. I think that there is a new movement to move back to the roots in sleight of hand. I see this at Dan and Dave's website and I really think it should be...

So, I'm just putting this out there to the T11 crew. I love that Jason England is working with T11, at least for that one 1-on-1 video. So this is more or less a request or a desperate wish that you (the royal you) will continue working with England. I, for one, would absolutely be...

Actually, it's Chad Nelson's handling of Paul Le Paul's a flourish and a pass. Chad's is pretty different. The only similarity is that there is a spread involved as cover, but the way it's used is different as well.

Maybe they'll cover the Hofinzer spread cull. That would be nice.

I really want to get this, but I promised myself that I'd spend the 60 or some odd hours getting down the Arthur Buckley method.

England is the man. And by "the man," I mean the 1984-Orwellian-Big-Brother "Man." I'm a little scared. The 1-on-1 looks awesome, though.

I usually do a spread pass or the convincing control. Somtimes I'll do the nowhere pass by Aaron Fisher, but it depends on the situation. Ego slip is great, too.

Well, let's look way back to the largest semblance of a definition of the term "magician" that we know of. Jean Eugene Robert-Houdin, the father of modern magic, said "a magician is an actor playing the part of a magician." By that definition, I think that Blaine is no longer a magician...

I second that. These are great.

I always use the line "it costs extra the second time."

Boy, was I surprised to see another one of these threads. I sure wasn't expecting it at all. What shock.

Collateral all the way. Out of all of the effects on there, there are basically two that I'm probably not going to use.

Well, the idea is that once I have the cell phone in the most magical position between my hands, some one calls it and they hear it ring, but then it begins to squeak.

I have a good amount of material that is in development, but my personal favorite (and take note, this is theoretically possible and I've worked it out, but I don't perform it for obvious reasons) is taking a spectator's cell phone and turning it into a real-live mouse. And then giving the...

I always try to think of a good routine the way I think of a good piece of music. Like a symphony, I feel that a routine should build upon itself--every movement or trick should have a logical structure within the overall set. Getting into specifics, I don't think that a routine can survive...

This actually looks pretty good. It seems like a nice mix of original effects. Hope to see more details on this.

AAAAAAAAAAAHHHHHHHHHHHHHH! Hell yes.