A Quote by David Blaine
I'd always wanted to do these types of things - pieces of magic I could put out not as illusions, but really doing it.
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In my parents I saw a model where they were really always communicating, doing things together. They were really kind of a team. I wanted some of that magic myself.
I was studying international business and instead of doing what I should have been doing which was studying for exams and figuring out what type of business I really wanted to do I was cooking for all of my friends and reading cookbooks and really inspired by the idea of travel and types of foods around the world and I wanted to cook them.
I didn't really know much about the Houdinis when I started. As soon as they sent me the script, I wanted to find out everything I could about Bess. Luckily, I have a really wonderful friend named Michael Mitnick, who's a writer. He was a magician as a child, and that led him to the theater, which led to drama school, and he writes films now. Magic was really his thing, growing up, so he put me in touch with his magic teacher who is a real Houdini expert.
I always wanted to go to the Chavez school but I could never afford it when I was growing up so a lot of my learning came from magic books and watching other magicians. I was also very lucky that I had a couple of really good magic teachers.
I always tried to make people laugh. I attribute that to - I come from a family of divorce. It was a way to distract myself from stuff. I always thought it was interesting that my brother and I existed in this really tight bond, and we would just take the piss out of pretty much everything. I knew I wanted to be an actor so it would be great if I could make people laugh while I was doing this, because I could be other characters and other people, and I could hide behind things. It was a great out for me, and a mode of expression.
When I was 5 or 6 years old, I never wanted toys; I wanted electrical parts so I could build things. And I was better at taking things apart and putting them back together, but I always had extra pieces left over, so I think it was an early warning that I was a better designer than an engineer.
What I've never wanted to do was allow myself to be put in a box, so I've tried to do a lot of different things so this is a step in trying to do something different so we'll see how it goes. I'm under no illusions that this is slam-dunk. I did the best I could and that's all I can rely on.
We can see an anthill or a roach or a flower or anything, but we have this frame where our mind recognizes an anthill and then moves on, without taking the opportunity to have the sense of awe that we could have if we really looked at it. The montage is about taking pieces of reality and rearranging them - creating new frames to make you have to stop and look at things in a fresh way. It's basically taking pieces of everyday reality and rearranging them to show people the magic that is inherent in all of these things already.
I could jump, I was quick, I could catch and all those types of things, but when it came to just flat out speed, that's something I had to work really hard at.
There are 3 kinds of magic in our world. The peddling little magician magic like Uncle Andrew in 'The Magicians Newphew' where people mess around with things they don't understand. It's movie magic. Then there is the magic of the evil side of things. The demonic forces. And that's not really magic... it's corruption of what really exists. And then finally there is the magic of the Holy Spirit of God which is the creation and maintenence of the universe. We don't understand it... and we haven't the faintest idea how He does it. But it's real. That's the deep magic.
We actors are superstitious creatures. We do all the homework, and we put all of the components together, but there's always one key aspect that we're not in charge of, really, and that's magic. You are always on the lookout for where and how that magic is going to ignite.
I combine magic and science to create illusions. I work with new media and interactive technologies, things like artificial intelligence or computer vision, and integrate them in my magic.
We actors are superstitious creatures. We do all the homework and we put all of the components together, but there's always one key aspect that we're not in charge of, really, and that's magic. You are always on the lookout for where and how that magic is going to ignite. When you have worked as much as I have and have sought it out as often as I do, you get very clear that it will come at very, very odd, unexpected moments.
I think, from a really early age, I just wanted to be an actress. And I ended up doing comedy because it was the thing that kind of, like, came out of my nature the most easily. But, I've always wanted to do as many different kinds of performances - whatever I could.
The only cure for loss of illusions is fresh illusions, more illusions, and always illusions.
It was always sort of my dream to make handbags and I wanted a handbag that was very sharp, very structured, very tailored I wanted a bag you could put all of your things in it, you can open it, you could close it, you could hid all your tricks, but it's not all lumpy.
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