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Guests - Duncan Trillo |
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A Very Warm Welcome to Duncan Trillo Admin:
We are very pleased to announce the arrival of Duncan Trillo
as our next "Special Guest" at Magic Bunny.
Duncan
Trillo is most widely known as the driving force behind one
of the most popular magic Internet sites around the net; MagicWeek.
MagicWeek
is the number one site for UK magic news and reference around
the globe and, if you haven't yet visited this site, I would
strongly recommend that you add this to your personal favourites.
Duncan
is a very busy man and we are honoured to have him at these
forums. I shall look forward to reading your questions and
his replies; I know that these will prove to be an absorbing
read. MagicSamX:
Welcome Mr Trillo and thank you for taking time to come and
talk to us on Magic Bunny Mouser:
Thank you Mr. Trillo for taking time from your schedule to
come to this site and answer our questions. Michael
Jay: Yes, a big "Thank You!" to you, Mr.
Trillo for taking time out of your busy schedule to talk with
us for the next week. This is greatly appreciated! Duncan
Trillo: Many thanks for inviting me. I'm looking
forward to it. Shaun
Robinson: Hi Duncan, Thanks
for taking time out to visit here. Let's hope your stay provides
us with some...Va va voom? Anyways,
to the chase. I was wondering on what your feelings are on
magic and the internet. You produce magic week, which you
obviously put a lot of effort into, and the same goes for the
other ventures (corporate magicians' index etc). What do you
think the net adds to magic? How do you feel about e-books?
How do you feel about the rising trend of magicians that e-llusionist
and the like are spawning? Look
forward to your thoughts. Duncan
Trillo: Hi Shaun, It’s
a good question. Magic on the internet? I guess I prefer not
to see methods disclosed but know that that isn’t really
possible. To a degree you have to accept the technology and
go with it. Just ten years ago the only way to find out about
magic as a layman would have been to have done some real leg
work, hunting out magic shops, magic magazines, books and
so on. Now you can find out about anything in detail, with
just a few mouse clicks. This is still just the dawn of the
whole internet revolution in real terms I think. What
does the net add to magic? Lots: Forums such as this one,
easy access to ‘What’s On’ in the magic
world, contact with like-minded people, access to a vast range
of magic products, the opportunity to see video demonstrations
of tricks… How
do I feel about e-books? To be frank they aren’t for
me. The first thing I do when I buy some new software that
only comes with “on disc” instructions is to print
off the manual. (I’ve got one that runs to 300 pages
of A4 but I’d still prefer that to hunting around on
screen!) Some people like e-books and see them as good value,
they just don’t suit me. How
do you feel about the rising trend of magicians that e-llusionist
and the like are spawning? I’m not up on e-llusionist,
so can’t really comment on that one (I’ll have
a proper look at their site) All
the best, Duncan MagicSamX:
If you had to pick just one part of your professional career
that you are proud of what would it be? Duncan
Trillo: A tricky question! I think it has to be the
transition period from being at school and thinking “I
want to be a professional magician” to actually being
one. So, it’s not a case of being “proud”
so much as just being pleased that “I’d cracked
it.” My first professional contract was for a 13 week
summer season at a little theatre in North Wales in 1980 (2
x 10 minute silent spots) which was rapidly followed by two
back-to-back 6 months contracts cruising in the Caribbean.
A great way to start a very unpredictable career! All
the best, Duncan Frazz
Davies: Dear Mr. Trillo, I
have seen your act a couple of times and enjoyed it on both
occasions. However, both times I have never had a particularly
good seat and when it came to the thimble manipulations I
have to admit that I was sat there wondering what was meant
to be happening; I couldn't really see what was going on.
Recently
I watched an old appearance of yours on Wayne Dobson's TV
show and it made sense - your thimble routine is really really
good. My
question is this: How suitable is thimble manipulation for
the stage? The same could be asked about cigarettes or coins
but thimbles are, let's face it, very small. Riser
Magic: Fraser
Not all thimbles are small. I've turned some custom wood sets
for stage work that were as big as shot glasses. Painted with
day-glow fluorescent colors, they are very visible. I believe
Joe Mogar (of Mogar's knives) has a fairly new book out with
about every thimble move explained. I hear that it is quite
good. Jim Duncan
Trillo: Hi Frazz, How
suitable is thimble manipulation for the stage? Not very!!
In fact come to think of it what is a grown man doing manipulating
thimbles in the first place!? My real passion is card manips,
the thimbles in cabaret are fine (I treat them in a “whimsical”
way) but really can't recommended them for stage at all. (They
are on my “must replace this routine” list, and
have been for years!) All
the best, Duncan Mouser:
Whenever we start any major project (in the way that you began
MagicWeek) we can never anticipate some potential problems
or the impact that some aspects of the project may take. Gradually,
we modify our ideas and hone the project accordingly. In
what ways has Magic Week changed from the initial project
that you devised from the very start of this project? Are
there aspects that have been removed due to lack of interest?
Are there aspects that you never anticipated that would be
popular - aspects that have enticed you to move in a different
direction from you originally anticipated? Duncan
Trillo: Hi Mouser, Thanks
for your question. MagicWeek changes every week so in that
sense it is ever changing, but in actual fact it hasn’t
changed much from its original outline. I spent a lot of time
working on the initial design, layout and content before launching
it. I
dropped a “contact” page as I didn’t have
any real control over who used it and thought that the sensible
thing to do. And the “Mail Box” section was originally
designed for emails from readers… but thanks to magic
forums there was really no need for it, so it changed to quotes
from “happy readers!” The
“Lecturers” page was added at a later date and
has never really taken off. I know that lecturers that advertise
on it do well, but I’ve always been surprised at how
few bother to promote themselves. Apart
from that it's a case of "stay on target." All
the best, Duncan Mouser:
May I ask; is Magic Week a commercial operation or is it something
that you continue to work on voluntarily from your interest
in magic? Duncan
Trillo: It is a commercial venture. Duncan YinHoNg:
First of all, thank you so much for your time. What
do you feel about the 'comedic' magicians on t.v. today, who
seem to me, more interested in telling jokes than showing
the beauty and impact of magic. Duncan
Trillo: Hi YinHoNg, TV
is a very difficult medium for magic. David
Blaine understands how to make the most of it and always allows
time for the impact of an effect to really register. (In fact
he's allowing 44 days for his latest effect to register!).
Derren Brown's shows also allow time for the "magic"
to really have impact. Combining
comedy with magic isn't easy though and, as you say, the impact
of the magic can get lost in the process. Simple things to
highlight the magic can be done even in the middle of a "full
on" comedy stand up set... sometimes just slowing up
the final moments of a routine are all that is needed to focus
the audience for the climax, the magic. The
current compilation shows are too finely chopped up to have
any real impact magic wise unfortunately, but they're not
doing any harm. I'd
like to see a show that instead of mimicking everything else
that is already out there i.e. Blaine, Dom Jolly, Jackass,
the Muppets(!) etc... and not quite succeeding, had the courage
to set its own standards and really present some of the world's
finest magic and magicians… not 'clips' but current
world class performers presenting mainly close-up sleight
of hand magic. All
the best, Duncan YinHoNg:
I totally agree. After watching Bill Malone perform on his
DVDs "On the Loose" i really feel that that type
of performance, from that kind of skilled performer would
really work on T.V Magic
Mike: Hi Duncan I would like to know how many times
per week/month you perform close up given the fact that your
very busy "behind the scenes" so to speak. (Also
I need to send you another pm soon regarding adding another
page to my site.) By the way guys, if you're reading this
and you're looking for a professional web site designer, Duncan's
your man, he's as good at site design as he is at magic! Duncan
Trillo: Hi Mike, Actually
I don't do close-up magic at all. My real passion is silent
magic. When I was 18 I worked in Hamleys (pre Marvin's Magic)
so used to do close-up all day and loved it, but never followed
it through. Instead I used that period to work on card fans
and productions for my act. I really enjoy watching great
close-up performers though. All
the best, Duncan Aged
Magician: Duncan, I wonder if you ever encountered
the 'ghost' of a great guy who, many years ago, ran the magic
dept in Hamley's, back in the basement days......Vic Fabian? Duncan
Trillo: Hi Aged Magician! No,
but I know the name. I worked for John Henley of the Inzani-Henley
Magic Co. All
the best, Duncan Tor:
I remember when I was kid, I was watching this magic show wich
was every Monday. They showed clips of different magicians.
One time they showed your card manipulation act. I thought
it was so amazing, still do. Ever since that time I wanted
to learn card manipulations. Right
now I'm practising on card manipulations which is difficult.
I havent tried out many types of cards. I only use Bee's.
What kinda cards do you recemend? For how long did you practise
your routine? Do you use fanning powder? I'm
afraid of becoming a copycat. I'm trying to come up with
my own manipulation sequence which is going well. I probably
have to do something else too. I can't just do card manipulations.
I want to be original and different. Could I combine card manipulations
with illusions? Like first I do a bunch of illusions then
I go into card manipulations. Duncan Trillo: Hi Tor, I
started out with Bee's also, recommended to me by illusionist
Russ Stevens. They are a great card to work with. I'm now
using my own cards, the "www.manipulationcards.com"
deck, they are super smooth and very thin (10cm for the whole
deck) but still spring like card - not paper! So you can back
palm a whole deck. I've
always used fanning powder, either to make unusable cards work
like Piatnik Fanning Cards for example, or to keep good cards
in top handling condition. I'd recommend applying the powder
to the cards one by one rubbing it in between your thumb and
first finger. Then go through the deck with a tissue removing
any excess powder. I never got on with the old "shake
it in a bag" method. Learning
a manipulation sequence will always be useful. If you work
illusions then a front of tabs card routine can be used while
illusions are being changed over on stage. Good
luck with it all, All
the best, Duncan Elwood:
Apart from Rousseau, and young man I saw at Nottingham last
year (I think you also appeared, the Guild of Magician's do),
there don't seem to be many traditional manipulators about.
Do
you feel that the cult of Blaine, and "Nu-Magic"
(Monkey Magic, etc) is killing traditional manip acts off,
or do you sense a return to the physical skill and dexterity
in Magic that was once commonplace in the Music Hall and Vaudeville
era? Although
what you perform is Magic in the sense of the impossible,
to many younger Magicians I suspect that the time and dedication
needed to develop the skills required by this branch of the
Art are what pushes them towards the Blaine style of quick
tricks and minimal presentation. However,
there may come a time when this youngest generation of Magicians
grow tired of the same old, same old, and come back around
to the old way of thinking. So,
do you see yourself (and your contemporary manip artistes)
as the last in line, a refreshing alternative or (playing
devil's advocate) the Magic equivalent of self-indulgent
Jazz music?! (As
a disclaimer, I'd just like to add that I am a big fan of
manip artistes, and dove workers especially - Lance Burton's
dove act has always fascinated me, and your own hanky routine
is a particular favourite) Duncan
Trillo: Hi Elwood, Great
question and one that I'll enjoy trying to answer. "Do
you feel that the cult of Blaine, and "Nu-Magic"
(Monkey Magic, etc) is killing traditional manip acts off,
or do you sense a return to the physical skill and dexterity
in Magic that was once commonplace in the Music Hall and Vaudeville
era?"
Lots of manip acts probably deserve to be killed off! Some
of the worst magicians I've ever seen have been silent acts
devoid of personality or anything else. The reverse has also
been true - for me some of the very best have been manipulators:
Pollock, Cardini, Ross, Hart, McBride, Nielsen, Burton, early
Copperfield... Having
said that I really do think that David Blaine coming onto
the scene a few years ago was the best thing that could have
possibly happened in the UK to get things going; magic really
had hit an all-time low. Traditional manipulation acts never
worked that well on television anyway, magic is so much better
live, up close in a night club. There's a lot more going on
in Europe. I'm not sure if an opportunity for visual acts
to present their work will ever come back in the UK, we seem
to be stuck with a pub/club (club as in disco) culture. Most
of my professional work has always been either in Europe,
Japan or on cruise ships - three markets that are still solid.
"Although
what you perform is Magic in the sense of the impossible,
to many younger Magicians I suspect that the time and dedication
needed to develop the skills required by this branch of the
Art are what pushes them towards the Blaine style of quick
tricks and minimal presentation."
I think you're right. When I grew up it was seeing Johnny
Hart's card manips or Finn Jon's floating ball that did it
for me, now young magicians see Blaine so take that route.
Like any skill learning to back palm a deck of cards takes
dedication but you can practice in front of the TV if you
want, it's not too bad, unlike a juggler - now those guys
really have to work hard. "However,
there may come a time when this youngest generation of Magicians
grow tired of the same old, same old, and come back around
to the old way of thinking."
Yep - sleight of hand magic, be it close-up or on stage, will
outlast the latest novelty long term - put Channing Pollock,
as he was, on stage at any venue in the world today and he'd
still storm it. "So,
do you see yourself (and your contemporary manip artistes)
as the last in line, a refreshing alternative or (playing
devils's advocate) the Magic equivalent of self-indulgent
Jazz music?!"
The last in a line? Self-indulgent? Hope not! No not at all
really... magic is ever evolving and a good manip act can
still be contemporary if it wants to be. Quality
in anything lasts. Look at music. How would it be if all we
listened to was whatever was "the latest" in the
top ten? Instead people listen to Blues, Classical, Opera,
Country, Dance, Disco, Rock-n-Roll, Folk, Garage, Psychedelic,
Glam Rock, House, Techno, Indie/Brit Pop, Instrumental, Jazz,
Latin, New Age, Pop, Punk, R&B, Soul, Rap, Hip-Hop, Reggae,
Ska, Rock in all its forms, Movie Soundtracks, Theatre Soundtracks,
and so on! And we are all better off for it. In
other words fashions come and go but if you master magic in
any form then so long as you are good a bright future awaits!
Thanks
again for the questions Elwood, All
the best, Duncan Elwood:
"In other words fashions come and go but if you master
magic in any form then so long as you are good a bright future
awaits!"
There's a very important point being made here, that I shouldn't
have to point out, but will just in case anyone misses it.
Do
what feels right to you, and do it until you are good at it.
Forget
fashion, forget what your mates think, do what you do best,
and do only that. Sometimes,
you might be best at something you don't enjoy as much as
something in which you are only good, but it's up to you to
decide what route to take at the crossroads this realisation
presents you with. As
far as the bright future, yes, there is always a future for
the very good, but as the late great Barry Sheene said, "Don't
wait for your ship to come in - swim out and meet it!" Mouser:
The issue of exposure continue to be an active topic for magicians.
I must admit that I was particularly impressed by Peter Marucci’s
comments about the damage that poor magicians make far outweighing
the damage of public exposure programmes. What in your opinion
is the greatest threat to “sound magic”? Duncan
Trillo: Hi Mouser, I’m
not 100% sure if I understand your question, but I’ll
have a go! Without the secret there is no magic. Magic can
also be exposed through poor performance but that for me is
a separate argument. It’s
wrong to drop litter, but sometimes when someone puts a sweet
wrapper in their pocket to take home it may fall out onto
the street by mistake… but you wouldn’t call that
person a “litter bug” – it was a mistake.
"What
in your opinion is the greatest threat to “sound magic”?"
Magic exposed on TV. All
the best, Duncan Sean:
Hi Duncan I
know that you've had one TV appearance (if only your hands)
in the Va Va Voom advert. Did you enjoy doing that? I guess
it didn't take too long though I could be wrong! Have you
had any other TV time? Or connections with other magic programs? Duncan
Trillo: Hi Sean, The
Va Va Voom ad was fun to do. The actual card work was recorded
in about 10-15 minutes but I was in the studio for a couple
of hours. I actually like the ad as well, and magic is seen
as being "va va voom" or cool. I've done a number
of commercials involving card manipulation, four I think.
TV
wise I've done quite a lot over the years, normally as a guest
with a spot of silent magic. Wayne Dobson's series was good
to do, and lots of odds and ends about 30 spots, plus some
TV in Japan. Really though, unless you are talking, television
is pretty limited for a silent act. All
the best, Duncan Sean:
A question I like to see all the guests answer, even though
its a very old one , is; How exactly did you get started in
magic? Who were your most major influences? Was there any
one moment when you just got interested or did it develop
over time? Duncan
Trillo: Hi, My
actual interest, as far as I can remember, was sparked by
seeing a boy in the school playground when I was about 6
showing some other boys some tricks. A plastic sliding coin
case, the Chinese wallet and a trick with three coloured luggage
tags. He kept the secret to himself and I really wanted to
work it out! I
got started by putting together a silent act and performing
it during a show that my local magic club, based in Southampton,
were putting on. I was about 16 and rather than use the organist
and drummer as everyone else did I recorded 'Shaft' back to
back on a cassette and got someone to hold a mike to the cassette
player! Fantastic!! Major
influences for me were Finn Jon's floating ball routine, Johnny
Hart's card work, Victor Burnett’s fire act and FISM
world champion Richard Ross. There
have been periods in my life when I've "switched off"
from the magic - not a bad thing to do every so often I guess!
All
the best, Duncan The
Scot: Hi Duncan, thanks for taking the time to answer
our questions. I
was interested to know how much practise you put into your
magic, say per day? How
do you practise, in front of a mirror? Video camera? Or in
front of family friends? As
the saying goes 'practise makes perfect', how do you know
when you've 'practised' enough for the routine to be 'perfect'?
Thanks
in advance. Duncan
Trillo: Hi Kevin, Good
question. At the moment I have a deck of manipulation cards
by the computer and do a few productions when waiting for
things to load or whatever (trouble is I've just bought a
new Dell and it is so fast I've got no practise time anymore!).
For
actual performance practise I've used a mirror and a video
camera to check moves in the past but these days I only have
a quick run through occasionally. To be frank I don’t
really practise anymore as every show is practise in itself.
The
best advise re practise is to get a booking where you have
to do 4 - 6 shows a day for 6 months such as in a Theme Park
at home or abroad (there are 1,000's world-wide). All
the best, Duncan The
Scot: Hi again, just wondering how you 'went about'
going pro, and what advice you would give to a fellow magician
wanting to make it in the magic industry. Did
you have a back up plan if magic failed for you? If so what?
Thanks
again, Duncan
Trillo: Hi Kevin, I
worked in Hamleys magic department in London for 18 months
when I started out. It was a great way to practise, to get
rid of any nerves, to feel confident about my own abilities
and so on. That's when I did all my real practise come to
think of it. I then went back to my parents house in Hampshire
and put together an act with doves, cards and fire, wrote
letters to agents (advertising in the back of 'The Stage')
and got my first week's bookings in Torquay, that same agent
booked me for a Summer Season and when that ended I auditioned
for a cruise and got that and so it all went on. I
never had a back-up plan, but if you can have one then so
much the better. Good
luck with it all. Duncan The
Scot: I was just wondering if you have any tips/pointers
for introducing original ideas/concepts into magic acts? Have
you found a way to come up with original effects, which haven't
been seen before? If so are you willing to give us a taster
of how? Thanks
in advance. Duncan
Trillo: Hi Kevin, Another
good question, but one that can't easily be answered in a
few lines. I
would say start with the effect in mind and then set about
working out a method. I invent all the time and have notes
everywhere but only a few ideas ever actually get made. Following
through is as important as the idea itself - as the guys who
sent the first man to the moon know too. Yesterday
when handling some cards I came up with this: Someone takes
a card and signs it. It is handed back to the magician who
passes it through his hand, when it comes out the other side
all the ink has "smudged" yet the card is dry and
the signature is intact. They can keep the card. Now the method...
so far off the top of my head the "out to lunch"
principle could be used but that's not good enough (and there
we have it - another one for the note book!) The
idea for the above was sparked by an ad I'd seen with a card
that was half blue and half red on a magic banner ad somewhere.
There
are logical processes that can be used to invent, I think
that there are a few books on the subject in relation to magic
too; maybe someone can help. When it comes to illusion ideas
I like to sit down with a blank sheet of paper and a pen and
just see what happens, much as an author does. All
the best, Duncan Rich:
Hi Duncan, and a big thank you for your visit here. I've
seen your stunning act on a couple of occasions at the Magic
Circle, and I've noticed that although you perform traditional
effects such as card manipulations and thimbles, you wear
what looks to be a Japanese/Chinese style costume and an equally
'ethnic' looking pillar and box for a stand. Has your visual
style always been like this, and if so, what made you stray
away from the stereotypical image of the classical magician?
You
are also one of only two magicians I've ever seen performing
the Dancing Hanky routine (which for me and many others is
the highlight of the act), so what attracted you to this rather
unusual and unheard of item?
Thank you in advance Duncan
Trillo: Hi Rich, Really
the outfit came about because my wife, Keiko, is Japanese
and we perform some illusions together, so I wanted to tie
in the look with hers. I've been through lots of different
outfits over the years... from a black velvet suit(!) or tails,
to black jeans and black sweat shirt (and all sorts in between!).
I'm thinking of changing the pillar to a darker one actually
- I've gone off the white(!) Re
the Dancing hanky I think the fact that as a silent magician
it gave me something to 'bounce off' during the show was why
I worked on the routine. It gives me something to react too
as it dances around, it's magical. The same with the diminishing
cards. To a lay audience who have never seen cards 'shrink'
they are funny - this allows me to 'play' and 'connect' with
the audience. For a lay audience, live, nearly all magic is
fresh and new. I
know you are really into silent magic so best of luck with
it all, Duncan The
Scot: Hi Duncan, I was wondering if your family and
friends were supportive when you decided to the step from
'hobby' to 'profession'. Did anyone give you any advice on
being successful? Were
your parents disappointed, or thought your heads were in the
clouds when you decided to make a living out of magic? Thanks
for taking time out to visit us here at Magic Bunny. Duncan
Trillo: Hi Kevin, My
parents would have preferred it if I'd worked harder at school
and taken a more normal career path I am sure. Now they've
had long enough to get used to it I think they quite like
it! Magic
is about more than just "doing tricks" - for me
being self-employed and, as far as is possible, free of the
system, has always been just as important as the magic. All
the best, Duncan Damien:
Hi Duncan, It's
always nice to hear some first-hand advice of a highly respected
person in magic, so what is the most important piece of advice
that you would give to a young and learning person like myself.
Thanks
Damien Duncan
Trillo: Hi Damien, Without
knowing anything about you, or what you want to do with your
magic, that is a really tricky question! I
guess "be yourself" is always good advice. Find
what style suits you and be natural, or if you're playing
a character make sure that it is an extension of the real
you. Blaine is basically Blaine... what you see is what you
get. Derren Brown is basically Derren Brown... their styles
are an extension of themselves. Be
yourself. All
the best, Duncan Binions:
Hi Duncan, What
is the best way to practice? Also,
I have asked this on the forums and had a good response, but
what do you feel is the best way to learn from books. I have
just got Expert at the Card Table and i am going to read it
a few times without a deck, so when I come to learn from it
I will have a better understanding. What
do you think? Regards
Duncan
Trillo: Hi James, "What
is the best way to practice?"
Well, I guess it depends what you are practising. Manipulating
and technical stuff can just about be worked on any time.
I remember mastering the coin roll at the back of Chemistry
(but in doing so I failed to master Chemistry and failed,
so I don't really recommend that). But for small sleights
just keep whatever it is with you and work on it in front
of the TV, or whenever you have some free time. That way it
doesn't become "hard work" but by handling the item
and repeating the moves you will crack it in the end. For
act rehearsal I'd set aside 2 or 3 hours once a week and do
a full run through over and over and over and over... the
more the better. Keep a note pad handy and jot down any improvements
that come to mind as you rehearse. Video it from an angle
(not straight on) but don't play to the camera, play to an
imaginary audience all around you and work to them (and the
camera occasionally of course). "
...but what do you feel is the best way to learn from books."
I never enjoyed working from books too much. For me magic
has always been a visual thing and sitting down in front of
a book was hard work. The last books that I bought were the
Books of Wonder and I still haven't read them... or even started.
But that's just me. If you can settle down into a book and
study it then do, but reading the whole thing without trying
out the magic would be tough. I'd tackle one item at a time
and really work on it and then move on to the next when you
are ready. Remember
the great thing about books is that they are forever and can
be referred back to - you don't need to learn it all in one
go. Good
luck, Duncan Daleshrimpton:
Hi Duncan
A quick question...How does one become a magical advisor for
film, telly, and theatre? Duncan
Trillo: Hi Dale, Two
ways I guess. One is to advertise your services as any other
business does. There are directories used in the advertising/TV/film
industry that can produce results. The
other, and this is how my jobs normally come about, is either
via old contacts or word of mouth. Researchers in the television
and film industry keep their own contact books and often someone
that you last worked for years ago will make contact again
out of the blue. Thanks to the internet even if you've moved
they can find you. The Va Va Voom job came from an agency
called Crowd Pullers that I'd last worked for back in the
80's during my Covent Garden days more than 15 years ago!
And now someone who saw that commercial recently contacted
me for a new TV project, and so it goes on, (in theory anyway!).
All
the best, Duncan Admin:
It has been, yet again, another incredible week. Just
take a few seconds to browse down the index of this forum
to see the amount of interest shown by our members and then
take some time to view the excellent replies given by Duncan.
I
am very grateful indeed firstly to our members for supporting
this forum and secondly to Duncan for his superb and comprehensive
answers. We
are indeed so very lucky to have such a wealth of professionals
such as Duncan (and our previous guests) - who are willing
to spend so much time offering support and advice to others.
May
I take this opportunity to thank you Duncan for your time
and input over the past week. It has been another week of
such value and I thank you for your excellent thoughts and
advice. Rich:
Thank you Duncan for your time here. Your style of
performing is closer to mine, and so I've been able to hugely
benefit from your answers Duncan
Trillo: Thanks very much for having me. Thanks too
to all who posted questions - how embarrassing if there hadn't
been any! I
really enjoyed it. Long
live the Bunny! The
Scot: Thanks for taking time out on our behalf. I
really enjoyed asking you questions and finding out more about
you. Thanks again.
Michael Jay: Mr. Trillo, while I have not
asked any questions, I have followed intently all of the insight
and wisdom that you have shared with us over the last week.
Thank you for taking the time out of your busy schedule to
share these thoughts with all of us. I wish you the best in
everything you do and I deeply appreciate what you've given
to me, and the rest of our reading members. Thank
you! Aged
Magician: Duncan, like Michael Jay I have been 'lurking
in the wings' but I must salute you for your really explicit
and helpful answers. Not only have you provided a wonderful
'news' source in Magic Week but you have also proved your
willingness to help many aspiring magicians on a 'one to one'
basis.
My compliments and thanks. Sean:
Thanks a lot Duncan. Your answers really have been top quality!
Yet another gem of good advice to add to our growing treasure
of past guests MagicSamX:
Thank you so much. It's been brilliant to have you! |
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