| Message: |
Posted by: John T. Sheets (Aug 19, 2011 2:06am) |
|
I no longer perform it like the demo video anymore. Over time, and after so many performances, there is a natural evolution, and honing of the effect. I've completely changed the way I perform it, the mechanics, psychology, misdirection, etc.
I've talked about different methods and ideas for the misdirection throughout this thread. Here is some of what I have said in the past:
I try not to repeat it for the same person or group, but as you already know, people always request to see it again and again. When performing a set, this effect is the one that constantly gets the attention. I have found that when I tell people that I cannot repeat it, they will then try to get sneaky. Sometimes they will leave, but then return with someone new, who then requests to see the effect. They will sometimes linger near by, circling kinda like sharks, lol. They try to watch "secretly" from the back of a group or from behind other people, while trying not to be noticed. LOL! I have had people follow me from group to group, staying a little behind me. They show up a few moments after I've already started the set, as I believe they know I'm not going to stop the performance or tell them to go away. Maybe it's because I've already started performing for others. I've even had the occasional bribe to do it again. Oh well, what can you do? I've had people see it 4 and 5 times in a row and still be fooled and amazed.
However, I do suggest that in the event that someone is able to see a repeat performance, that you alter the effect, routine, timing, moment of the "work", psychology, etc.. Many of the ideas are explained on the DVD. Here are just a few that come to mind at this time. I'm sure there are many more that I am forgetting to mention right now. I also don't want to repeat too much of what is on the DVD. One of the biggest pieces of advice I can give is to change the moment that you do the work. Sometimes I do it while I say "this metal CANNOT be bent", creating a dual reality of sorts. They think you are just demonstrating that it can't be done, when in fact you are secretly doing it. You can tell a joke like "have you ever seen the trick where a coin disappears when you tap it with a pen? -Well, I don't do that trick". This is a great moment to do the work, as the audience laughs, lets their guard down etc.. Another good moment is after you ask a direct question, like "Do you know what this coin is made of?" They will always look up at your eyes or at another spectator while answering or asking for the answer. I have also done the work at an unplanned moment, like a quick distraction in the room, a loud noise or someone else entering the group, etc.. I have also done it while walking around someone to better position myself in the group, so that "they may get a better view". Using another prop, or a second coin in the routine could also create a great opportunity.
Something to remember about the QB2, is that after you have done the secret work, it is possible to display the coin as still being flat and straight. There are also a few displays or convincers that you can ad into it as well, like tossing the coin into the air and catching it, as you say something like "watch the coin". They will see the coin traveling up through the air and back down again, and they will quietly convince themselves that they saw a flat coin flying through the air. I never say "look it's flat/straight", but rather simply "look" or "OK, here we go". Tossing it from one hand to another does the same kind of thing. They can't focus their eyes on the tumbling coin, and because you are ahead of them, they have no clue of the actual situation.
Also, don't forget the false take that is explained on the DVD, where you simulate holding the coin in your hand, and carry it away from the QB2, to create less time that the coin and device have apparently spent together. If you own the DVD, you will know what I'm talking about.
I do encourage owners of the QB2 to brainstorm, and to use their own ideas, routines, style, presentation, patter, etc., and to find what fits best for them, their style, and personality. Trial and error is a great thing and can be a valuable learning experience. Of course the more you do it, the more you will discover great things on your own. It is a tool, that when given the proper time, attention, rehearsal, thinking, routining, etc, can be extremely strong and convincing, and therefore can make it a favorite prop in your arsenal, and one of your most requested effects.
I hope this helps.
Magically,
John
http://www.johntsheets.com
Inventor of the "Quantum Bender" and the "Quantum Bender 2.0"
|
|
|
