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!
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!
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