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  • - One of Robert-Houdin's great inventions

  • is the light and heavy chest.

  • It was a chest that a kid could lift quite easily,

  • but a strong man, when he tried to lift it,

  • couldn't lift it.

  • In "The Illusionist", they took that idea, that same idea.

  • I'm gonna reveal the method of the light and heavy chest.

  • Hey GQ, it's David Copperfield. This is "The Breakdown".

  • [static]

  • [upbeat music]

  • - [David] First up, "Now You See Me".

  • - [Announcer] It's 11:50 PM here in Vegas,

  • that's 8:50 AM in Paris.

  • Your bank opens in less than 10 minutes.

  • 1...2...

  • - 3.

  • - A number of years ago,

  • a screenwriter named Ed Reichardt came to my show,

  • and we did the show in-the-round,

  • which was very unusual, hasn't been done before.

  • And we did an illusion, also quite unique,

  • where we would vanish, me and a spector,

  • to vanish from the theater,

  • and reappear in location in Hawaii.

  • It was pretty amazing and groundbreaking.

  • And it's what inspired the whole, "Now You See Me" series.

  • - I liked that little French guy. Where'd he go?

  • [horns honking]

  • [apprehensive music]

  • - Wait, there he is. [applause]

  • - Teleporting around the world wasn't ever done

  • in the magic show.

  • And they saw this opportunity to use it in a movie.

  • The magic wasn't just card tricks or whatever.

  • It was something that could be done

  • as a whole basis of real drama.

  • - Inside of your helmet, you should feel a button.

  • Don't press it just yet.

  • Now that's button activates an air duct

  • that connects Paris to Las Vegas.

  • Okay, good, now you can press it.

  • - All right, now Ettian, hold on tight.

  • You might feel a bit of a vacuum.

  • [apprehensive music]

  • [loud fan]

  • [slow music]

  • - In our version, I brought the rain back with me,

  • into the theater-in-the-round.

  • In this version, probably a little bit more cool

  • for the audience, the money comes back to the theater.

  • You know, it's about credibility.

  • When I did this illusion,

  • and people thought it was ridiculous,

  • nobody's gonna believe it, people said it couldn't be done,

  • not credible at all.

  • And we spent three years interviewing audience members,

  • changing bits, little by little,

  • to make it a credible thing.

  • And finally, we got it so the people

  • in the audiences were crying.

  • So when Ed Reichardt saw that in the show,

  • he saw a pretty good version of our things,

  • so it could be credible, it was something that you could do.

  • The cast were incredible in this film,

  • because they really are committed to it.

  • And they did all the steps that we did,

  • that we found we had to do to make it a credible thing.

  • Having proof, having a kind of relationship

  • between the monitor in the theater,

  • and yeah, I think it worked.

  • Our version happened over the heads of the audience.

  • It was surrounded in a circular theater.

  • I wanted, you know, people beneath the illusion itself.

  • They had, in-the-round, and I guess because

  • they didn't have people below,

  • they had the piece collapse up.

  • So it was kind of avoiding the trapdoor idea.

  • To me, magic isn't about making something disappear.

  • It's about really having the audience

  • feel emotionally attached to it.

  • This is an example of that,

  • because this was about characters

  • that you care about, these people-

  • I mean, these actors are amazing.

  • Also the people in the audience who were involved with this,

  • were people that you get to know and care about,

  • or have some kind of stakes in the matter.

  • So it's not about the illusion,

  • it's about the illusion plus caring

  • about why it's happening.

  • "The Prestige".

  • - Because making something disappear isn't enough.

  • You have to bring it back.

  • That's why every magic trick has a third act,

  • the hardest part, the part we call "the prestige".

  • [bangs on glass]

  • - I love the poetry that Chris and his brother

  • put into this movie.

  • We don't use words in magic,

  • like, "The prestige", or all the things he did,

  • but I think it's kind of nice gravitas that he added.

  • Many people say there's seven pieces of magic,

  • seven effects, and it's 100% not true.

  • I'm with my amazing staff,

  • inventing new technology all the time.

  • And I think in this case, with Christopher Nolan,

  • and his brother did, with all the electric currents,

  • the Tesla coil effects, he created a new language,

  • in that way, that doesn't exist

  • in any magic show in history.

  • So I think he had the same kind of instinct

  • as I do in my show now.

  • You know, I'm doing magic with dinosaurs,

  • and spaceships, and aliens, and time travel,

  • nothing that you could find in a magic book.

  • Most magicians, you know, unfortunately kind of do things

  • that have been done before.

  • But a lot of the really great people

  • who are trying to progress the art form, in the past,

  • and also today, are trying to change the language

  • and move things in a new way.

  • You know, they say in there that if you vanish something,

  • you have to bring it back.

  • In that case, the bird was vanished,

  • and they had to make for the child,

  • the fear of something bad happening to the bird, go away.

  • I don't believe it's important

  • to bring things back, necessarily.

  • I vanished an airplane once, and I didn't bring it back.

  • And it was viral before viral existed.

  • And it's because I didn't bring it back,

  • it was kind of unsatisfied.

  • The audience is going, "What happened to it?"

  • If I brought it back, it would have closed the circle.

  • I don't agree with that idea that you have to bring it back.

  • "Now You See Me 2".

  • [foreign language]

  • [intense music]

  • [foreign language]

  • [foreign language]

  • [upbeat music]

  • - My Executive Producer, Chris Kenner,

  • started a whole trend of juggling cards

  • in a beautiful way, and it was called "cardistry".

  • This sequence is based on that entire idea.

  • Andrei Jikh, who took that idea

  • and took it to another level,

  • helped design the sequence, which is pretty interesting.

  • All these moves are based on real moves,

  • real things you can do.

  • Everything you're seeing here really could be done.

  • It would be kind of hard to do it all in that sequence,

  • but they're all possible to do.

  • They helped a little bit, with a little bit

  • of the camera technique to get it to work

  • perfectly each time, but all very risky moves

  • that could actually be really happening.

  • This whole throwing of cards started a whole trend,

  • YouTube videos of people trying to do hard throwing,

  • where they land in specific spots.

  • We did 200 takes to get this one shot.

  • In movies, you know, we all do many, many takes

  • of scenes as actors.

  • In this case, this is a lot of things put together.

  • John Chu, who is a wonderful director of this film,

  • his background is in dance,

  • and choreographing beautiful sequences.

  • So the combination of cardistry and John Chu's direction,

  • comes together quite nicely here.

  • This is very advanced sleight of hand.

  • To make that all work in a real world situation,

  • it would be very risky to do.

  • I was once held up at gunpoint,

  • and I stupidly did, what in magic, called,

  • the pocket dodge.

  • I showed my pockets empty,

  • even though my passports were really in the pocket.

  • That's a real world situation I did.

  • But in fact, I think in retrospect,

  • is pretty, pretty stupid to do.

  • And here they're on a movie set, so it's okay.

  • All these little details are based on real things.

  • And that's what's really rewarding for me.

  • All the sleight-of-hand moments are really based

  • on real palming, back palming, sleeve manipulation,

  • techniques of elastic, all that's real stuff, you know?

  • And they put it into a kind of a nice sequence, I think.

  • [tense music]

  • My friend, Levent Cimkentli, vanishes a jumbo card

  • on stage with that exact method.

  • On the back of the card is a pattern of his jacket,

  • and he just vanishes it.

  • And it really looks great.

  • And then as a gag,

  • he kind of reveals it and shows what happens.

  • So it's okay for me to say the story,

  • but it's a really great thing, and it does work.

  • There's a magnet in the jacket and sticks to it.

  • And when my friend does it,

  • the card vanishes, and it looks fantastic.

  • And then it's really magnetized to his coat.

  • The famous magicians of the past used to scale cards

  • into the audience, take cards with their picture on it,

  • and throw them in the audience,

  • and hit certain marks in the theater.

  • Amazingly, it was a great skill.

  • And this is taking that to another level,

  • it's using it for real purpose.

  • They would skip cards off the ground, like a rock in a lake.

  • And all this is based on that.

  • [playful music]

  • [foreign language]

  • - Hey [whistles]. My eyes are up here, man.

  • How do you like it?

  • - There's also a pickpocket technique,

  • where you're managing people to move a certain way.

  • You can pick their pocket here, you can touch 'em there,

  • they're gonna look this way, you can steal their watch.

  • It's that kind of technique, all combined in this piece.

  • "The Illusionist".

  • - Might I borrow a handkerchief from someone?

  • You, madam.

  • Thank you.

  • [audience chatters]

  • Thank you.

  • - Using audiences' personal artifacts

  • has always been part of magic.

  • Even the street performer would use things

  • from the audience.

  • I think it makes the audience feel they're part of it,

  • and involved, also makes it more impossible,

  • when you're using one of their objects.

  • In the real version of this, it was a ring

  • and a handkerchief that would vanish and reappear.

  • - Time.

  • From the moment we enter this life,

  • we are in the flow of it.

  • We measure it, and we mark it.

  • We cannot defy it.

  • We cannot even speed it up or slow it down.

  • - They did something really nice here.

  • In magic, you know, there's manipulation of all kinds,

  • cigarette manipulation, which is a no-go right now.

  • But that was a thing, you know,

  • manipulation of coins, and cards, and billiard balls.

  • Billiard balls who appear between your fingers, all that.

  • And I think in "The Illusionists", they did something

  • kind of cool to make the oranges small enough

  • to do actual billiard ball moves.

  • I think that was a really good idea.

  • When the orange goes up, or goes in slow-motion,

  • we can do that.

  • They did it with special effects,

  • but as long as it can be done,

  • it has a lot of credibility for me.

  • Ed Norton's character really was a wonderful magician,

  • a lot of skill.

  • I know Ed Norton worked very, very hard in his technique.

  • One of the illusions he did was the orange tree,

  • which is based on something I have, actually,

  • I have the original one created by Robert-Houdin,

  • in the 1840s.

  • It was the big rage of the time.

  • Real oranges would appear, they'd be tossed out

  • into the audience, and they were real oranges.

  • People would freak out.

  • In this movie, it's done in a very, very high level.

  • It didn't work quite like that in reality.

  • And the original Houdin version,

  • the leaves would already be there.

  • And the oranges and the orange blossoms would grow slowly.

  • But this was starting from the very beginning,

  • where it's kind of a combination of a growing orange tree,

  • and a blooming orange tree.

  • It really combined two different effects,

  • which are all legit to make it happen.

  • Robert-Houdin was a clockmaker and an automaton-maker.

  • So basically the orange tree was an automaton;

  • mechanical leaves reveal oranges, like an automaton,

  • the flowers would appear.

  • And automaton-like butterflies would allow the butterflies

  • to fly from behind the bush,

  • and reveal the handkerchief and ring.

  • - I don't I see it.

  • - One of the Robert-Houdin's great inventions

  • is the light and heavy chest.

  • It was a chest that a kid could lift quite easily,

  • but a strong man, when he tried to lift it,

  • couldn't lift it.

  • That illusion, in the story goes,

  • it stopped a war in France.

  • We're dealing with a group called the "Marabouts".

  • The French sent in their most powerful wizard,

  • Robert-Houdin, showed the French magic was stronger

  • than this faction that was gonna go to war with the French.

  • So this one box, this one illusion helped solve a war,

  • as the story goes.

  • In "The Illusionist", they took that idea, that same idea.

  • I'm gonna reveal the method of the light and heavy chest.

  • Back then, people didn't know about electromagnetism.

  • Turning power on and off to make a box electromagnetically

  • stick to the ground was a whole new thing.

  • And in this case, they're kind of replicating

  • that same idea.

  • Make it stand up straight like that

  • wouldn't work quite with that technique,

  • but they combine that to make this

  • kind of a credible challenge.

  • And I think it works pretty well.

  • "The Great Magician".

  • [playful music]

  • [dog whines]

  • [playful music]

  • [crowd gasps]

  • Pretty cool stuff. I really enjoy the sleight of hand.

  • I think he could have...

  • Just done this little origami thing and left it like it is.

  • Okay, I've never seen that before.

  • I love that idea.

  • I'm a new dog lover, so this is kind of cool.

  • And that could work, you know?

  • It wouldn't look exactly like that,

  • but that really could work.

  • [playful music]

  • [crowd gasps in amazement]

  • [applauds]

  • - Do me, do me next!

  • [gasps] Oh, it's gorgeous.

  • - Me now, I'm the first wife,

  • I want something better than them.

  • [gasps]

  • - [Crowd] Ooh!

  • [happily cheers]

  • This technique is really nice.

  • His movement is very beautiful, all the magic isn't real,

  • all of it's- a lot of it's not really happening,

  • but it's kind of- it kind of could.

  • It follows that rule that, you know, if it could be done,

  • could you do that?

  • And the answer is, yes, you could make that happen.

  • And besides, these women are very happy.

  • This is kind of like street magic in a elegant setting,

  • let's put it that way.

  • [apprehensive music]

  • [everyone gasps]

  • [applause]

  • What I like about it is they didn't just take

  • the easy way out, like, like "Bewitched",

  • which I love, by the way, where they would just blank out,

  • thing would just disappear, boom!

  • They took the time to do technique where it was credible.

  • Maybe it did happen.

  • Maybe the sleight-of-hand could have existed.

  • So they went the extra mile to make that happen.

  • This is a real effect that my friend,

  • Channing Pollock, did a version of this.

  • It looks a little bit different,

  • but the production of a glass is normally a wine glass

  • filled with wine, but he does it.

  • You know, we're...

  • It's about jewelry for the women.

  • - As you all know, a magician is nothing

  • without his props. - That's funny,

  • he says, "The magician is nothing without props,"

  • well, he just did a whole bunch of sleight-of-hand.

  • So that makes no sense at all.

  • - [Male Speaker] Take it.

  • [slow piano music]

  • - Vanishing bullets would be sleight-of-hand,

  • couldn't work exactly like this, but it could work for sure.

  • They are replicating all sleight-of-hand.

  • The confetti couldn't come from the gun,

  • obviously, it was a borrowed gun.

  • So it would have to come from somewhere else,

  • I mean, his person, and you could do it.

  • It's pretty risky, pointing a gun at some mustached dude.

  • There's nothing in here that couldn't be done.

  • It wouldn't look exactly the same.

  • But my favorite thing is the dog bone, for sure.

  • I think that feels really new.

  • "The Incredible Burt Wonderstone".

  • [tenacious music]

  • [audience gasps]

  • [audience cheers]

  • [audience gasps and cheers]

  • In "Burt Wonderstone", our team created a sequence

  • for the movie that the actors could feel really proud

  • to do, because there's no cuts,

  • nothing changes, and they worked really hard,

  • and we got the take.

  • Everyone's really happy.

  • So this piece you can watch over and over again,

  • you can slow-motion it, you can look at every frame.

  • And from right here, there's no cuts, covers himself up.

  • Watch the other hand.

  • It's not gonna cut away.

  • Focus on that hand for a second.

  • Keep your eye on that hand, he gets covered.

  • Puts his head underneath the thing, hand's still showing.

  • See his form still there, no cuts.

  • All brightly-lit, the background's brightly lit,

  • there's no darkness, there's no black area behind.

  • You see everything around it.

  • One shot, that's a big crane, techno-crane shot,

  • that can show that.

  • One of the joys is to put magic in a film

  • that could really happen,

  • and really does happen for real, in-camera.

  • [audience cheers]

  • "Arrested Development".

  • - Once there was a yacht.

  • [upbeat music]

  • Now, there is not.

  • [audience cheers]

  • - I used to dance a lot in my show, with the fluffy shirts,

  • [chuckles]

  • and gigantic movements, and large objects.

  • We actually made a boat appear in the Bermuda Triangle.

  • He makes it vanish, in this case, with a little bit dancing.

  • Definitely, I think I'm to blame for this.

  • I wish I could do the split, though, that was pretty good.

  • There was a book when I was a kid,

  • written by Al Jaffee, called "The Mad Book of Magic".

  • And it was all these, you know,

  • how to put your finger over here in two sections?

  • Well, you'd cut your finger off.

  • That was the method for it.

  • It was just crazy methods that would really inflict

  • major pain on yourself to make it happen.

  • It's all a very big parody.

  • This is an example of that, Will Arnett is great.

  • And he does spectacular magic.

  • His method was kind of like the Al Jaffee

  • "Book of Magic", where the method

  • destroys the family's boat.

  • - Michael, a magician never reveals his- I sunk it.

  • I sunk the yacht.

  • At least I think I sunk it.

  • I mean, I blew it up and I don't see it anywhere.

  • - It's a method. Probably could have worked.

  • And finally, "Houdini".

  • - This was the big time, the stunt that would finally

  • put me over the top.

  • [intense music]

  • [chuckles]

  • Let me try it.

  • - [Jim] Now?

  • Boss, you just performed three shows, you're beat.

  • Tomorrow, I'll get the boys, we'll set it up.

  • - Right now.

  • [intense music]

  • - [Jim] All right.

  • - When you ever do something for the first time,

  • you're always gonna really have planned

  • what your escape route is, how to get out of the situation.

  • So Adrien Brody went to Tannen's Magic Camp.

  • He loved magic as a kid, and really studied it.

  • So it was kind of fitting that he got this part.

  • Besides, he's just kind of a genius actor.

  • [muffled sounds in water]

  • - [Bess] Something's wrong.

  • - [Jim] Whoa, whoa, pull him up!

  • - [Bess] Hurry up, get him out!

  • [intense music]

  • - [Bess] Hurry up!

  • - It's stuck!

  • - [Jim] Hey!

  • [screams] Pull him up!

  • - Harry Houdini discovered that escaping from things

  • really captivated audience's interest.

  • You know, you start out with handcuffs,

  • and kind of up the game, straight jacket escape,

  • underwater escapes.

  • He found that it had a connection with people,

  • people got that.

  • And the idea of having near-death as your adversary,

  • was one that people could really understand and relate to.

  • I've done a lot of escapes, from an imploding building,

  • I did a water tank escape,

  • I got hurt in the water tank escape.

  • There is danger to it.

  • In Houdini's day, everything happened behind a curtain,

  • except for a straight jacket escape,

  • which you could show people,

  • everything else was hidden behind things.

  • And in those days, you can get away with that.

  • People would sit patiently for an hour,

  • watching a red curtain,

  • and not knowing what's happening behind.

  • Today, they'd walk out, you know?

  • But in those days, you could do that.

  • This sequence is about a water torture cell, which we have,

  • Houdini's actual Water Torture Cell,

  • right here in this museum.

  • So that's all very legit, you know?

  • But when this is done, normally,

  • once you're submerged in the tank,

  • you'd be hidden from view.

  • The audience would not see the process of escaping.

  • And in today's world, you have to see the process.

  • Luckily in movies, you get to see the process.

  • And this is a failure situation.

  • Which never happened to Houdini, glass never broke.

  • They never had to break the glass to get Houdini out.

  • All the historians will tell you that that happened

  • in the Tony Curtis movie, in this movie,

  • but it never took place.

  • There's another way to get out, way easier way to get out.

  • If you had to be in this trouble,

  • they just hoist them out of there.

  • Historically not accurate, but it looks pretty good.

  • Thank you so much for watching all those clips with me.

  • I hope you learned something. Till next time.

- One of Robert-Houdin's great inventions

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    王蓉芬 發佈於 2022 年 03 月 07 日
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