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--Dave Buck I though I'd post this where more people can see it. You may remember this thread: http://forums.theory11.com/showthread.php?t=1769 What Dave says will hopefully underscore what I said. Just wanted to bring that to the attention of anyone who cares...

No kidding? That's pretty cool. I always figured it was because he was a mellow-dramatic teenager and it carried over into his magic. Huh. I learned several new things today. It definitely makes sense. It works...

Deep Thought all the way. Looy's False Count is crazy awesome, though.

Happy Birthday! And may I just say, after 35, there will be nothing else to look forward to. Look at it this way. 17th Birthday: R-rated movies in Louisiana 18th Birthday: voting, sex, and alcohol in Europe 21st Brithday: alcohol 25th Birthday: may legally accompany minors to R-rated...

King of Clubs. That's always the first card I think of. Comes all at once...

I tried this today on some people. I did PH's Interlaced Vanish without talking at all. I went really slowly and used body language and facial expressions to drive the effect. That stuff really works. One guy thought it was real magic. He stuck around afterwards to talk to me. Turns...

Dude. Wrong attitude. Unless this other kid is some kind of jackass who should have his eyes cauterized shut with curling irons, perhaps this is a great oppurtunity to work with another person on magic. I had a friend like that in high school. I showed him lots of different things. It's...

I definitely think that with moves like productions speed is a must for it to look like magic. This obviously goes without saying on certain changes like shapeshifter. But while moves should be done quickly, I think that routines should go slower to give the spectators room to see what's...

The problem I'm having is when I try and flip over the second face-down card with my left fingers, sometimes I pull more than one card or I throw the deck's alignment out of whack. Any suggestions?

I've got the movements, but I'm having trouble bringing them up to speed. Any tips?

I definitely agree with you on the 3CM. Take the sort of material that Brian Tudor does; There is such a staggering amount of content in each routine, that if one were to go slowly, the audience would get bored. However, those routines seem to be very linear, with one effect coming right...

Hmmm... I disagree with those examples. Subway and Tivo look great when done slowly. They can still be performed quickly, but I think that if the handling is too fast, a lot of the elegance is lost.

Right, but for you personally, how do you perform?

I'm not really sure. I kind of feel like if I'm performing for laymen, it's easier for them to follow if I go slower. It really feels good, though, to be able to do something quickly and skillfully... I voted for slow since I really believe that the trick is for the spectator, not me...

Is it? Before you answer, consider the options: Yes it is. (that's the first option) No it's not. (that's the second option) Now consider the reasoning: 1. Speed and fluidity showcases your skill and dedication to what you do (or something). 2. Doing something well, but slowly...

Maybe I've been living under a rock, but what the hell are pasteboard animations?

I find that the furter to the right I have my right thumb, the easier it is to rotate packets around it.

Because the world really needs another review of The System... Right to the point: The flourishes are really nice, if (and only if) you can figure out how to learn them. The two angles that all flourishes are taught are anything but helpful. If they had been taught from a 1st person...

Jeez, that'd be the smart thing to do. What do I look like? A sensible person? I'm just looking for revolution this time, not false sybil. I would assume that the application is different for a full-fleged flourish, rather than just the cut itself. Maybe not.

I've got all the basic movements down, but where do I go to perfect it? What are the little things to keep in mind?