Much of the magic of language, of course, lies in its fluidity.
'The Magic Flute,' I think, is fundamentally asking what is it to change people's consciousness.
My proposition is that music is at the heart of what 'The Magic Flute' means: that it's Mozart's music, not the words, we should be attending to. Music expresses what can't be expressed otherwise.
Mozart's seeming frothiness is just a light touch with very profound material. That's what I've found working on 'The Magic Flute.'
I wash my face with Creme de la Mer cleansing foam. I love Charlotte Tilbury Magic Cream - it's got SPF15 in it, which I love - and then I'll use a little eye cream by Sisley, which I'm obsessed with. That's what I generally use every day.
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.
There is not enough magic in a bloodline to forge an instant, irrevocable bond.
I don't have a magic formula for prioritizing the world's problems.
The magic formula that successful businesses have discovered is to treat customers like guests and employees like people.
We periodically note that there are no silver bullets, there are no magic formulas, there's no single action or component of the overall... comprehensive civil-military approach.
If you do magic, it's the quickest most fraudulent route to impressing people.
I'm shorter, I don't have as many freckles as Ron, and I can't do magic.
One can only guess the amount of magic mushrooms a sane person would have to consume to believe that a frisbee constituted a genuine threat to roughly 3,000 police officers.
Genius is another word for magic, and the whole point of magic is that it is inexplicable.
When I was a little kid - and even still - I loved magic tricks. When I saw how movies got made - at least had a glimpse when I went on the Universal Studios tour with my grandfather, I remember feeling like this was another means by which I could do magic.
Through my research, I found that vulnerability is the glue that holds relationships together. It's the magic sauce.
In 'Bayou Magic,' I bring in the cultural tradition of African mermaids - Mami Wata, the mother goddesses.
I'm a storyteller, and I have really good material to work with: I've been studying magic and the occult since about 1983.
When we started in television, there was that magic box in the corner of the room, and 'Oh my gosh - look what it's doing!'
It's a very hard thing for all of us to accept ourselves at all the different stages - the horrible side, the wonderful side, the adorable side - and who you are as a grownup. And then to bring what you learned as a child to that grownup: that is the magic of creativity.
