I'm probably the only kid in history whose parents made him stop taking music lessons. They made me stop studying the accordion.
I love amazing people. I love dazzling them. That's why I think performing magic is one of the greatest things a person can do.
Theft annoys me more than anything else. The purloining of effects from another magician. Some people think it's massive to steal the secrets of nuclear reactors, but to steal a card move is trivial. They're wrong.
I grew up like Athena - covered with playing cards instead of armor - and, at the age of seven, materialized on a TV show, doing magic.
Unlike other Jewish families, we didn't go out for Chinese food on Sundays, but we spent our time in a world of baking powder biscuits and the best shrimp cocktails that ever were.
Sitting with a deck of cards in your hand all day is an obsession. Visiting print shops and bookstores and libraries is an obsession. And writing about this is an obsession. I think, in general, most collectors are obsessed. I think the only form of a rationalized greed is when you're collecting something you are supposedly serious about.
To obfuscate the reconstruction of the effect - when a magician is fooled by another magician doing magic. In my career that's not been the major passion, but it's been the passion of a number of my mentors. The crowning achievement for them would be to create magic good enough to fool other magicians.
Magicians from the nineteenth century threw cards distances, but I think I'm the first one who made a thing about using them as weapons.
I was considered a comedy magician. And - how do I put this without sounding egotistical? - it didn't take me long to realize that comedy magicians usually couldn't do comedy or magic.
In the winters, I enrolled in the hotel management program at Cornell University. I naively thought that I knew something about sleight-of-hand, entertainment and food, and that would be all I needed.
Like every art form, there are jealousies and angers and competitiveness in magic. But there's camaraderie among magicians, whether you perform it for a living or you're an enthusiast.
For me, the most exciting thing is to create good magic that's entertaining for an audience, and it would be lovely if a magician was fooled as well.
I never talk much about my family, but my grandfather was friendly with these guys, with magicians and ventriloquists on the highest levels, and I was just... interested.
I certainly was performing before my writing was published, because I was performing when I was very young. And the thing is I'm very comfortable on stage, so a large portion of my act did come from ad-libs.
Every acting gig isn't the same, every writing job isn't the same, every live performance isn't the same - the challenge is the level of difficulty or ease, and that may vary.
My father was the Formica King of Long Island, and my mother was the daughter of a Bengal Lancer in India.
The pain is bad magicians ripping off good ones, doing magic badly, and making a mockery of the art.
Dai Vernon, the greatest sleight of hand figure in the history of the art, rarely performed. But he invented magic and had an enormous influence on the whole range of sleight of hand. And so often, the magic he was doing was to fool other magicians.
I'm much more interested in lesser-known eccentrics and characters and performers. Like Matthew Buchinger, who was born in Germany in 1674, had no arms or legs and yet did magic, and had 14 kids, and made the most extraordinary calligraphy.
I do think deception... There's something kind of odd about tricking people for a living, but ultimately, it's a remarkably honest profession, when you think about it. If you violate that code, and you say you're not using camera tricks, and then you do, I actually think that's a kind of serious moral issue.
