In this episode, Sammy discusses the importance of openness as a performer when working with a client to achieve their objectives.

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With the widespread adaptation of High Definition video along with the use of Blu-ray, I ask myself, “how come the most visual performing art (magic) does not take advantage of this movement in entertainment?” Magic is best live and so why not create the highest fidelity experience possible? I would love to see an illusion show released in HD.

Something to ponder on, Sammy.

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I have seen performers who truly believe that a magic show is simply that: no artistic features are needed in the program. The results? Just another magic show. Me and other Illusionists viewing the show? Predictable and one-dimensional, although the audience realizes this also whether they are aware of it. The secret behind creating a memorable experience in a magic show (and I’m talking about large, stand alone 75 min+ in theatres) is to cultivate the arts into your repertoire. I’m about to say something that may be hard for some to do: limit your exposure to other Illusionists.

Instead, pursue your interests (while still practicing magic, of course) in other art forms and think of ways to incorporate them into your program. The show will then be an artistic, powerful program. I have a fond love for music. I listen to music several hours a day, watch and go to concerts a lot. I have been able to incorporate music in my shows to augment the feeling I want to be created onstage. The same holds true for dance. I believe adding dance to your program will add a certain level of grace and sophistication to your show. It can be a way to tie loose ends in your sequence and serve as a transition.

In the end, the audience will not walk away from your show thinking about the tricks. They will walk away from the program thinking about the way the tricks were presented to them in ways that move them.

Best magical wishes as you venture into the deepest parts of your imagination to create an unforgettable artistic experience, Sammy

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Regulars at the Official Site know that a phrase like this is not to be taken too lightly. After all, the last “Magic in the Mountains” post resulted in the sold-out performance at the multimillion dollar Hayes Center in the exclusive resort town of Blowing Rock.

Let’s put it this way: in 2010, you’re going to hear a lot of big things about Sammy as he works with larger venues and pursues opportunities in mass media.

Per the usual, updates to you as they come in!

Sammy Cortino Enterprises

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• October 5, 2009 — Smoke 101 (0)
• October 2, 2009 — “The Illusionist” In French? (0)
• September 29, 2009 — In the shop: an unprecedented stage illusion (0)
• September 26, 2009 — I Don’t Breathe Magic (0)
• September 23, 2009 — Sensing Greatness (0)
• September 19, 2009 — Still Life with Iris (0)
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• August 6, 2008 — Episode 22 of Magic! – The Podcast released (0)
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• July 15, 2009 — Magic! – The Podcast, “Create Atmosphere” (0)

1. Fog Machines

Like High End’s F-100 “fog generator” pictured above, all fog machines are single unit devices which produce a cloud of smoke that will fill the air. The fluid you use ranges in how long it takes to dissipate and type of scent. The fog, after dissipating, turns into a haze (discussed below) and is ideal for exposing the beams of stage lighting, which gives a show added dimension.

2. Hazers

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• September 23, 2009 — Sensing Greatness (0)
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• August 6, 2008 — Episode 22 of Magic! – The Podcast released (0)
• May 19, 2008 — “Sammy Cortino performing Houdini’s Straightjacket Escape” video posted on YouTube! (0)
• July 15, 2009 — Magic! – The Podcast, “Create Atmosphere” (0)

Future Movies.co.uk discusses the upcoming animated French film, “The Illusionist.” This feature is based on a 1956 script about a magician who meets a young fan who changes his life forever. Oscar-nominee Sylvain Chomet directs. Could we see an Oscar nom in the future for this film about magic? It’s possible.

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Sammy is always pushing the limits of magic. At present, he is pushing the limits of what is possible in blueprints.

Work is to resume later this year on an illusion that has never been presented on the stage of a performing arts center. Sammy says, “This illusion has been my obsession for the last five years. I’ve always wanted to do it and believe now is the time to actually create it.” Sammy has had a great deal of training in the last year as he completed his Doctoral Degree of Magic from the world’s largest magic organization (The International Magicians Society). The conventions learned in this program will greatly aid this project.

Part of the prop has already been built and plans for the rest of the illusion will be produced within the next quarter. Sammy has already selected the music that will underscore this piece and although secretive about what the illusion will actually do; Sammy says it will be “space-age”, Houdini-like, potentially the finale, and presented exclusively in large-scale venues.

The levitation made famous by David Copperfield, Lance Burton, and, Siegfried and Roy.

A lot goes into the show: Sammy working with a company stage technician hours prior to an engagement.

Incorporating elaborate lighting effects with music, choreography, and story; Sammy’s show is far beyond pop culture’s perception of magic being a “street” art. His performance fulfills a modern day audience’s expectations of what an entertaining and dynamic show should be.

More updates on this venture as the illusion is developed.

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I'm not this obsessed...

People are surprised when they notice I don’t breathe magic. After all, as an illusionist, shouldn’t magic be your only interest? Many people picture me wearing magic t-shirts daily, sporting only magic posters, and listening to soundtracks of Las Vegas magic shows.

While magic takes a certain part of my daily life, I do not let magic bear all my creative inspiration. I particularly limit the amount of magic I watch and how much technique I worry about. Why?

After a while, you tend to develop magic cliches that are abound in the magic community. These cliches include outfits, jokes, and routines. Some of the cliches include not being in touch with the audience’s view of the magic you are doing because you worry about the mechanics of the trick too much.

I place more weight on the presentation of the trick, rather than the mechanics. The ultimate staging is something to prioritize as well. To many people’s surprise, I spend more time staging my illusion shows on a technical level than I do actually rehearsing the tricks. I easily spend 100 hours overviewing the technical end of the 90 minute illusion show.

Allowing yourself to explore other arts you find more balance in your presentation. Instead of MAGIC, MAGIC the audience gets more variety. Construct your interests around the type of magic you want to present.

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If you can feel that something is going to be special, there can be no possibility for the contrary.

This phrase is a truth I have lived for years, but what am I referring to?

As a creative person, as I work, I must never proceed onward unless I can honestly say to myself, “this is amazing.” Otherwise, I am shortchanging my audience by giving them something that is not inspired by life events. Magic is, after all, very much theatre and theatre is inspired by everyday life.

I have developed a knack for predicting how a routine or piece of media will be received by people. My experience has been that however amazing your work is multiply that amazement by two as people may not be familiar with your craft or yourself and that will be the reaction as part of your contemporaries.

In brief, never work unless you have a feeling that the product is going to be special. Your work needs to reach its full potential.

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• September 26, 2009 — I Don’t Breathe Magic (0)
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• September 16, 2009 — Making the Performance Understandable (0)
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Sammy is working at the Appalachian State University Department of Theatre and Dance’s production of Steven Dietz’s “Still Life with Iris.” The reason? He’s adding magic to the production’s illusion needs. “Still Life” is a children’s play originally performed in Seattle in 1997. The magic was designed by magician Steffan Soule, who also performed as some of the characters in the fantasy.

“Down the road, I may be exercising this skill that is collaboration more often…”, Sammy explained. He is looking ahead as he finishes at Appalachian and begins his magic career in performing arts centers on a full-time basis.

Concerning theatrical collaboration Sammy says, “A lot of this is being able to put yourself in the shoes of the design team and being one step ahead of them in an illusion. But ultimately, you are there to serve the production and be an advisor rather than an advocate.”

The play is in preproduction and will arrive to the department’s Valborg Theatre October 28th.

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• September 26, 2009 — I Don’t Breathe Magic (0)
• September 23, 2009 — Sensing Greatness (0)
• September 16, 2009 — Making the Performance Understandable (0)
• August 21, 2009 — Let Your Mind Run Wild (0)
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• July 15, 2009 — Magic! – The Podcast, “Create Atmosphere” (0)
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