Magical Conversation with Jason Latimer

There are few magicians in recent years who have made as huge a splash in both the magical community and the lay audience as JASON LATIMER. His style is smooth, suave, engaging, impish, and both comical and thought-provoking in just the right places and the right amounts.

To see Jason perform his clear cups and balls routine (the routine that garnered him the top prize at F.I.S.M.) in person is to truly see magic. Magic in every sense of the word. You walk away with a story to tell your great grandchildren one day. You walk away with a sense of amazement and wonder. You walk away feeling honored just to have viewed a master at his craft. You walk away believing magic exists. And thanks to Jason Latimer—it does.

I’m sure you’ll enjoy the following MagicalConversation with Jason as much as I have. If you have any questions for Jason, please post them in the comments section, and he will answer them as his schedule will alow. Enjoy!

MK: Where were you born?

JL: Roseburg, OR

MK: Is that where you grew up?

JL: No, I actually grew up in Agoura Hills, CA

MK: What first drew you into the magical arts?

JL: I loved magic as far back as I can remember. I loved the challenge of it. I love the entertainment of it. But mainly creating moments that goes against our senses... That’s what sparks my interest.

MK: Who were your inspirations when you first started, and if they have now changed, who are they, and why have they changed?

JL: Hard one to answer because I try to appreciate all types of performances. Copperfield, Lance, Siegfried and Roy, Penn and Teller, Billy McComb, James Dimmare...there is a lot to learn from that list alone. And there is a ton of more names...I am still learning...the list has not changed but my understanding of what it takes to be magic has evolved by studying great shows.

MK: Did you join any magic clubs when you first started?

JL: The only club I joined in the beginning was the Magic Castle Junior Program and that was one of the best decisions I ever made...they really push you to be different.

MK: Did you have a mentor? As we are always constantly learning, do you still have mentors or trusted eyes when trying out new material?

JL: Oh yeah. Big time...even with a chain of command. Billy McComb would usually be the first to hear the idea along with my agent Dennis Gilbert…Followed that up with stage mentors like James Dimmare or close up like Jim Patton. Now after that I would work with my group of builders to pursue the project...but I would need to create what we are building in model form and routine it out in my head. Then comes in Dustin Gould my stage manager and right hand man, first I have to sell him on the idea...we have to work if it fits into the show. Everything from shipping it (space wise) to where in the show it goes and does it fit. These are huge ongoing projects by the way. So I am always learning. Some of the illusions can be built and performed in a year...some 5 years plus...but they are all overlapped so there is always something to work on. Our shop is constantly developing new gear for me and other projects...its Willy Wonka for Magic. =)

MK: Do you remember your first act? What was the lineup of illusions you presented in that act?

JL: First Act? Well I would say it was a close up routine...not long...but to music. I was planning on using it for my audition to get into the Junior program...but I remember thinking that it might not go over well...so after all this practice I changed it to just a bunch of "tricks" pushed together. Later I revisited the routine to music and that later became a segment in my close up show. Almost all of my routines are to music now. I talk between stage routines sometimes over them but for the most part I have learned to be more of a visual artist then comical.

MK: How has your act evolved to where it is today?

JL: Well, I have a bunch more gear. =) And it’s harder to pick up and just move to the next stop. =) A lot has changed from the close up card routines. My full show runs about 1 1/2 hours long. Its extremely high tech. It’s extremely heavy too, weighs in as roughly 4 tons of equipment. I had the choice whether to spend money on making it small and lightweight or go for the effect and not care about the weight...well I wanted the coolest looking illusion no matter the size or weight. So here I am. I went for the idea of what I think the future of magic can be...and I built it based on real visual concepts and principles, less about boxes, more about breaking what WE establish as fact. The illusions I work with now are much more technologically advanced then when I got started, that’s a given. My education allowed that to happen...but a more interesting note is that I would say that psychologically my magic has evolved to...format of routines or illusions especially. Its not about trick, applause, trick, applause, trick, applause...it’s about getting the audience WITH you on concept. Leading them down a path ...and then taking it to the level of complete disbelief. It took a while and I am still learning more about it. But then I am trying to use my style in the entire format of the show...meaning each routine has its path...but in overall the show was doing it too.

MK: If you could have a conversation with any magician who has now passed away, who would you choose, and what would you ask them?

JL: Billy McComb. Not to ask him anything, but to say thank you.

MK: Do you have a favorite magic book?

JL: You are going to laugh but I am serious about this and the most helpful magic books on my desk RIGHT NOW.

My old university text book of Physics

McMaster-Carr Catalogue

Home Depot Catalogue

Rosebrand Theatrical Supply

MK: How do you go about creating an original effect?

JL: That’s really hard to answer. Its everything and anything...First you start with an idea. Or direction…but basically I work backwards to reverse engineer the effect. Takes story boards, models, blueprints and countless hours of thought and conversations to create or engineer something that has never been built before. For clients wanting to make their new product appear we change the format and start with the rules. Lets say it’s a car…ok does it have to be a real car? Can we lighten is up a bit? Can I alter the car? How heavy is it now? What size is it? Dimensions? These are just a few of the “rules” The elements that cannot be changed. Once we have the rules the process becomes more and more direct. A blank page of paper is hard to build but if there are limitations such as a real car then we have to decide simple solutions first…where was it and where does it end up? Then given those answers you work on the next question of how to present it in a different fashion than a man with a top hat and curly mustache. That’s just as a builder. As a designer especially of a stage effect for the show…Again it starts as an idea like let’s take my illusion Water Misfit. I wanted to shape water. If someone shaped water into a sphere the size of a baseball and handed it to you, and you squeezed it or bit it, and it popped into water you would really want to redefine your definition of water. =) It took years of research and development of that concept because I didn’t know what it would look like at first. It was just a trick at first. Not a routine. Not a story. It was that blank page. Then after researching surface tensions and all of my possibilities I found out what would need to happen for me to manipulate water into objects. The idea was great but we didn’t have a method. You have to research, interview, and seriously work on it day and night. It’s like a science for me, there is homework and it takes a lot of effort. But new ideas that work are totally worth it because now Water Misfit is one of my most popular routines. And I am currently building a smaller one to perform it in more locations.

MK: Do you feel with the direction both magicians and magic dealers are taking with the fry your audience with one trick at a time, the art of building a routine is dying? And how do you think this will impact magic in the future?

JL: There will always be a market for both. But that’s just my opinion. I tend to ask dealers for very specific items for my routines…but that’s my approach. I can’t speak for someone that buys more from them.

MK: How has performing at The Magic Castle changed or helped your career?

JL: I still perform there. I don't get to stop by as much as I would like to...and the stage is limiting only by size because I only have one prop that fits on that stage. But aside from that, if given the option there is no better place in the world to break in something new than the Magic Castle. The audience is there to see magic. They want to see it. Its so much fun! And you do it so many times in a week that if you had any questions about it, and you are willing to listen to your audience and other performers, there is no better learning curve in my mind than the Castle. I love it there. There is no better way to learn than by experience and the Magic Castle provides opportunities like that every night of the week, year round. I owe them a lot for all the support and encouragement over the years. I will always be a big supporter of the Castle .

MK: How has your win at F.I.S.M. changed or helped your career?

JL: That did it. It’s not the title amongst magicians but seriously its a title amongst professionals that helps the most. It’s like a credential for non-magicians and for directions such as business or lectures at a university. With multiple degrees it allows new clients to understand that I have the ability to build and design as a businessmen and engineer. As a World Champion of Magic, to a client, it helps them understand that I will create something on the highest level of magic I can offer and gives them the confidence that these projects are in good hands.

MK: How important is it to you for magicians to perform original material as opposed to performing proven material with their own presentation? Or is it important at all?

JL: To each their own. I have seen great performers in both categories. So I don’t think I have an opinion on that subject.

MK: Tell me about your special effects studio?

JL: Four years ago I teamed up with Tech-Works Studios as just a consultant for special effects designs. Since then they have grown to become a leader in Robotical Applications for live theater and for movies around the globe. With over 4,000 square feet to build anything...we pretty much try see how far we can go. Now Val Sykes, founder of Tech-Works, and I partnered up to create the newest style of live special effects. As a designer I tend to be our best client...just joking. I travel and maintain my performance schedule but I only have my gear built in the studio and I have multiple projects always moving forward. Aside from my own gear artists such as magicians, musicians, rock stars, companies that simply want to debut the their newest product, or any type of special events approach us with the concept...or questions and we build it. Aside from Tech Works I am consultant at Go West Events & Multimedia as the designer for their special effects in their live company events which are manufactured behind the closed doors of Tech-Works. As a designer, a client such as the Wynn Corporation does not have a simple aisle 27 at Home Depot to pick up their custom props and gear for their shows. I can offer a solution to the design questions of manufacturing and cost because we can keep the project completely in house. This makes for a very unique market but the watching these drawings come to life is very rewarding for me.

MK: Since you create effects for other magicians, do you worry about creating an effect that will garner more praise for another magician from an effect you created? Is that a bit of a double edged sword?

JL: No... It’s mainly because I don't build any of my effects for sale. I take on their projects to build their ideas. I am always willing to work for magicians on new concepts. But rarely have I built something for myself and then sell it ...you are right, I wouldn't want to compete against my own style. Of course, no one has ever just come up and said I want you to build me an effect…new, original, from scratch in construction and said that I can build them anything I want. I don’t know what I would do in that spot. As for building large scale productions those effects are created for a company that will most likely use the effect only a handful of times. I wouldn’t expect that to be a problem nor conflict of interest.

MK: What’s the one piece of advice you have for a person starting out in magic?

JL: If you are the only one in the world that can do it...then you are simply the best at it. Be original and don't give up. What you are trying to do...BY DEFINITION...is or will look impossible. So it won't be easy but it can always be done. So don't give up on any idea. “Two ingredients for any secret. Time and Effort.” -Billy McComb

MK: Any closing thoughts?

JL: Thank you so much for this opportunity and I hope that if you have any questions please feel free to ask.

Check out these YOUTUBE videos of Jason!

http://www.youtube.com/watch?v=m9ie6Tfa_zI

http://www.youtube.com/watch?v=T-XoN1Ts6Wg

Magical Conversation with Fitzgerald.

I am very pleased and honored to post the first Magical Conversation with Magic Castle mainstay, FITZGERALD! One third of The Unholy Three, Fitzgerald’s style of magic and comedy has to be seen in person to be truly appreciated, and I urge everyone to make it a point to catch one of his live performances. As a special treat, I’m posting two Fitzgerald videos from YOUTUBE at the end of this Magical Conversation. Enjoy!

And please post comments and any questions for Fitzgerald and any of our other magicians, as they will check back when time allows, and post answers to your questions.

MK: What first drew you into the magical arts?

FITZ: I grew up in a suburb of Chicago called “Palos Heights”. I had a couple of local neighborhood friends who were interested in magic; they initially sparked my interest. I recently returned home from a visit with my parents; I stayed in the same room where I grew up. I started practicing my card manipulations in front of the mirror again. I recall how absolutely thrilling magic was for me as a boy growing up in the moody, cloudy, often bitter cold environment of suburban Chicago. I think magic lifted my spirits!

MK: Who were your inspirations when you first started, and if they have now changed, who are they, and why have they changed?

FITZ: How could you grow up in the 70’s and not be influenced by Doug Henning? His NBC specials were always great events for me. I remember being really excited about seeing Copperfield (when he was just 18) in the musical The Magic Man in Chicago. And I also used to get magically “psyched” watching Bill Bixby in the TV series The Magician. A magician solving crimes with magic and living on the top floor of the Magic Castle? Does it get any better?

I really loved Ricky Jay when I first saw him on a Doug Henning special. I used to always watch for his talk show appearances. I found him amusing and an excellent magician. Jay’s Cards as Weapons was a significant book; it was literary and humorous.

I used to enjoy watching the Amazing Kreskin. Here was a guy doing simple card tricks and passing it off as mind-reading. Fantastic! And I found him funny: those Coke-bottle yellow-tinted glasses and a ridiculous laugh on top of a serious demeanor.

The first time I ever read a Paul Harris book, I was knocked out. It was absolutely refreshing. Prior to that, I remember burying my head for hours in Expert Card Technique by Hugard/Braue. I had also been studying a lot of Marlo stuff. But Harris really opened my eyes to how a deck of cards could be turned inside out. His whole presentation, point of view and writing style were revolutionary for magic books.

I put together a close-up act based on his routines (along with Daryl Martinez’s & Don Alan’s) and worked in two restaurants in the Chicago area during college.

I think Johnny Carson was a big influence, too. I knew that he was into magic and I found that inspiring – that a guy who did card tricks as a boy could grow up to be the premiere television entertainer.

When I started really working on my present act/persona (at about the age of 30), a lot of influences came into play. I was no longer just influenced primarily by magicians, but by writers, artists, and comediens. Here are a few: W.C. Fields, Woody Allen, Dave Letterman, Steve Martin, Jack Benny, Penn & Teller, Quentin Crisp, Andy Warhol, Ernie Kovacs, F. Scott Fitzgerald, etc. And the list goes on and continues to grow. (Now I’m interested in silent film comediens.) There are bits and pieces of the above individuals in my act.

MK: Did you join any magic clubs when you first started?

FITZ: There was a local club in suburban Chicago – I’ve forgotten it’s name. I recall going to a few meetings and meeting some peculiar characters. There was a guy who always was wearing a neck brace –and he’d do magic while wearing it. That image still makes me laugh.

In high school, I worked at “Riley’s Trick Shop” on 111th Street in Oak Lawn. It’s still in business today but they don’t sell magic anymore – just gags and costumes. I used to demonstrate tricks; it also gave me the chance to see the latest magic books on the market. That’s where I encountered Paul Harris’ first book.

MK: Did you have a mentor?

I took a magic class at a local school; the instructor was named Bill Dunbaugh. On his business card, he billed himself as “The Wizard of Ahs”. He was a good guy, took an interest in me, and taught me some practical magic moves.

My mentors were primarily books – particularly, the Tarbell Course. So, I’d say the deceased Harlan Tarbell was my mentor! And in an odd way, he still is to this day. I recently bought from Mike Caveney the original Tarbell poster that he used to include with his course; it shows Tarbell demonstrating lessons in the course. I had the poster fixed up and framed; it now is displayed prominently in my house.

Bill Malone performed at an ice cream shop near my house. I used to go and see him now and then. He had a reputation back then as a card guy. He had the same style as he does today. A regret is that I never got to meet Ed Marlo. For whatever reason, it never worked out.

MK: As we are always constantly learning, do you still have mentors or trusted eyes when trying out new material?

FITZ: For the most part, I lean on my “Unholy Three” pals, Rob Zabrecky and Dave Lovering. I can depend on them for honest critiques.

MK: Do you remember your first act? What was the lineup of illusions you presented in that act?

FITZ: I did my first act when I was about 12. I did a lot of standards like the linking rings and the cut & restored rope; I also did a lot of stuff from the Tarbell Course – ribbons through the body, a six card repeat with jumbo cards. I used to finish my kid’s act with the “EZ Hat Loader”. Classic.

MK: How has your act evolved to where it is today?

FITZ: When I first moved to Los Angeles, I didn’t have a stand-up act or persona. I had a close-up act that combined Paul Harris & Daryl Martinez routines – but with original patter. After one week in L.A., I auditioned to be a member of the Magic Castle and passed with flying colors! It was my second year out of college and I was teaching high school in Burbank at the time and going to the Castle occasionally. However, I found that I couldn’t connect with other magicians at the Castle (either I was too shy or intimidated – or perhaps they were arrogant). So, unfortunately, I dropped out of the scene for about seven years. And that’s too bad because the Castle was probably the main reason I moved to L.A. in the first place. I only went there when I had a date (which was infrequently). I started experimenting with stand-up comedy, improvisational acting and character development. I also started writing and hosting a public access cable show called, “O’Brien’s People.” (My real name is Gary O’Brien). It featured friends of mine playing peculiar characters. Lots of the interviews are on You Tube.

Eventually, the hankering to do card tricks and to get back to my performing roots returned. I also grew tired of the comedy scene in L.A. Half the battle in putting together an act (apart from writing and performing it) is that you have to hang around depressing environments, like coffee house open mikes and comedy clubs. And stage time was difficult because there were so many people trying to break into comedy in the late 80’s, early 90’s. So, I figured, if I’m going to work on an act, why not do it in a nice environment like the Castle and where I know that I can get an audience in the basement on a Friday or Saturday night. But, again, I encountered the same attitude from other performers/members as seven years before. And I was still shy/intimidated by other magician members. It seemed like the only people I could connect with were the parking guys and the bartenders; they were friendly to me. I probably would have dropped out again if it wasn’t for one person: Tony Picasso. Tony spoke to me and introduced me to other people. So, I may not have ever had an act if it wasn’t for him – and, for that, I’m forever grateful. And so I started hanging out in the basement of the Castle working on an act and performing for “overflow” crowds whenever I could. I also recall magicians Dylan Sardo and John Lovick hanging out in the bowels of the Castle, working on their acts.

I auditioned for the Parlour in 1996 and passed; I did my first Parlour shows that year. My act is pretty much a summation of my life – things I did as a kid (like card productions), things I thought about in college (biology and the workings of the human body), bits I developed during my stand-up years, and stuff that reflects me now. I place a heavy emphasis on writing; since I was 18, I’ve always wanted to bring a literary quality to magic routines. It was not until I met Rob Zabrecky and Dave Lovering that I started considering doing routines to music.

MK: If you could have a conversation with any magician who has now passed away, who would you choose, and what would you ask them?

FITZ: Tarbell. From what I’ve read, he was such an odd, eccentric bird. And he crossed paths with a lot of the great magicians who performed in Chicago.

Also Hofzinser. I’ve always had an obsession with playing cards – and he may have been the first guy to ever really “nail” it, i.e. creating remarkable, never been seen before, literate routines. He brought a pack of cards to life.

MK: Do you have a favorite magic book?

FITZ: Hands down it’s the Tarbell Course. Everything you need to know about the craft is there. And it’s written with great warmth and sincerity.

MK: Do you feel with the direction both magicians and magic dealers are taking with the “fry your audience with one trick at a time approach”, the art of building a routine is dying? And how do you think this will impact magic in the future?

FITZ: Audiences do talk about amazing tricks. But the problem comes when audiences separate the trick from the performer. They remember that some guy did a trick where he pushed a needle through his arm - but don’t remember the name of the performer. You’ll be successful with people who have short attention spans or who want to use you: “Show me a trick!” or for TV producers who want to take advantage of you (“Can you do something in 30 seconds? I’ll give you a hundred dollars.”)

If the audience is remembering the trick but not the performer, something’s wrong. So the “fry your audience with one trick at a time approach” may be successful in the short term for some magicians. But to be truly memorable, tricks and routines need to be built from character.

MK: At The Magic Castle, you perform as part of the Unholy Three. Can you please tell us a little about the history of The Unholy Three, and how you came to be a part of it, and how substitute performers are chosen to fill in when they are needed?

FITZ: John Carney used to organize his “Wonder Workshop” once a month. It was an opportunity for performers to try out material and get feedback from other performers. Rob, Dave and I met there. They were performing in some shows at the Knitting Factory in Hollywood – and I asked if I could perform in their shows. And then we started performing on Friday nights for “overflow” crowds in the bowels of the Castle. (Back to the basement!)

With the exception of John Carney and a few select others, we rarely have substitute performers. We’ve developed our own “schtick” and rhythm and it’s not as easy to insert another performer into the show.

MK: I love your playing card productions. During this routine you recite a very interesting poem/rant. How long did it take you to write the poem, and how long did it take you to memorize it?

FITZ: I think it’s a completely original routine. It took years to write and went through endless revisions. I tried to make it rhyme, have a rhythm, and be funny. It’s a really difficult routine for the audience to grasp because there’s so much going on: I’m producing cards rhythmically, talking about my life, and trying to get laughs. The pacing and the pausing have to be just right or it’ll go over their heads. I used to finish my solo act with it. I have a terrible memory so it took brute force to get it locked in my head. (When performing, I still keep the words posted nearby in case I “go blank”). The routine became even more complicated when Rob and Dave added music to it. It’s becomes a real performance art piece. I’ve begun writing a second version of it.

MK: How has performing at The Magic Castle changed or helped your career?

FITZ: In a very practical sense, The Magic Castle taught me how to dress! The dress code forces you to wear a coat and tie; it made me think about men’s fashion and what looks right. It influenced my character in a big way. Fitzgerald sees himself as a bit of a fashion-hound and that was discovered through the discipline of a dress code.

MK: Are you performing magic full time?

FITZ: I do not perform magic full-time. I work as a “contestant executive” for Wheel of Fortune. I try to keep both lives completely separate. Lately, the Unholy Three have been getting a lot of outside gigs. Who knows what the future may bring?

MK: How do you go about creating an original effect?

FITZ: I don’t know if I’ve created any original effects. Original presentations, yes. It all comes from character. How would Fitzgerald do a cut and restored rope routine? Why would Fitzgerald do a cut and restored rope routine? You’ve got to ask yourself those questions before you invest the time.

MK: How important is it to you for magicians to perform original material as opposed to performing proven material with their own presentation? Or is it important at all?

FITZ: To me, it makes no difference whether they perform original material or proven material. The important thing is that they put themselves (their character) into it. That’s what the audience will ultimately remember – you. In show business, that’s what the audience should remember: you, your name, your essence. If they’re just remembering that some magician guy made the Statue of Liberty vanish, you’re probably on the wrong track.

MK: What’s the one piece of advice you have for a person starting out in magic?

FITZ: Figure out who you want to be on stage; what persona you want to present to audiences (whether just “yourself” or a character.) Then read and study the Tarbell Course. Learn to do a couple of tricks; don’t try to learn too many tricks. Be patient – you don’t learn sleight of hand or presentation overnight. And don’t be intimidated by other magicians. Lots of them take themselves way too seriously – even the ones who do comedy.

MK: Any closing thoughts?

FITZ: Magic & comedy require a lot of hard work. And time. And discipline. Never think that you’re done with your act. You have to keep on working on it. I get mad at myself when I’m slacking on certain routines or feel like I’m not progressing. You can’t rest on your laurels, on your past routines. You have to try to move forward.


http://www.youtube.com/watch?v=e2YkGaBWE2c

http://www.youtube.com/watch?v=YOsszlm3JvA

Over the next few days, you'll see interviews with some of the world's top magicians, including a F.I.S.M Champion! Keep checking back for the latest interviews.

If you're a professional Magician, and would like to be interviewed, please leave me a comment.

Interviews with Magicians

This is it! The place to come to for interviews with Magicians from around the world. Keep checking in for the latest interviews.

If you'd like to have your interview posted here, please leave me a comment with your contact info.