Two magician hosts talk about the latest magic news and discuss important topics for magicians and fans of the art.
Click here to visit the official episode page on Magician's Masterclass:
In this episode, hosts Ryan Joyce and Graeme Reed talk about magician's soundtrack choices, complicated decisions for modern performers, magic injuries are back in the news, rumors on Reddit about Dynamo, show failures, worst moments on stage and the essentials of promotional videos for magicians. Watch or listen now:
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Magicians Talking Magic
Touring Tricks Podcast
Ryan Joyce: And you've still got a red light and you've still got a red light, you've got a red light. Do creative people talk to themselves? For sure. Oh definitely. I wonder if most creative people do, or I wonder if this study showed that just everybody talks to themselves. I mean, I have words, I have phrases, I have people and characters. I'm sure this probably doesn't sound weird, but I'd like to some people they're like, watch.
Graeme Reed: Uh,
Ryan Joyce: in episode two, a magicians talking magic, we cover some of the latest magic news. We talk about show failures and our worst moments on stage death-defying magic is back in the headlines of magicians. Promo videos are, so let's start here with strange voice that Alisha and I girlfriend, she talks to Mercedes. Oh, she does all that. Rarely.
Yeah, it's fun. What is it? Has it revealed anything?
Graeme Reed: Nothing's ever even revealed, but they're like the most hilarious was a as like just talking. I was like Alicia. And then she's like, as he was sleeping, just like nothing's for free. What are we talking about right now? What's going on
now? Do A, do you use this in your show? And B, do you manipulate this in the like, then the next day is it like, oh, I'm so glad. Yesterday you said it was all right that we're going to go see my show the movies tonight or whatever it is.
Ryan Joyce: No, people go to the movies anymore. Geez, we go to the movies. Yes. What was the last movie you saw?
Graeme Reed: The last movie we saw. Have you seen Aladdin the new live action? No. The last movie I saw was at the theater was Mrs Doubtfire
Ryan Joyce: like in 1995 I'm just kidding. I can't, I honestly can't
Graeme Reed: remember cause I the travel lifestyle
so we're planning to go to anyhow, it doesn't matter, but we're planning to go see toy story four, the new toy story movies. We'd love to go steal money for. No, there was a fourth one came 25 years old. Did you know that? Nope. Crazy. The, well, even the fact that they're doing the lion king again, right? Aren't they? Are there live action? I'm not sure how you handle, how do you deal with them? The FYSA,
I guarantee you that that lion king soundtrack was the basis of more magicians shows than any other soundtrack in history.
Lion King Fan on the opera and mission impossible. Yeah. Oh yeah,
no, but that a Cirque de Solei song took the cake, the one that did Jeff McBride, no Greg Frewin and everyone had it first. Yeah, Well he had it, I'm sure custom that was his own, but that was an incredible piece of music that was like, how do you sum up magic of the nineties it's that one piece of music. There was also one from that top gun
is he is a lot like the closing credit song. Can't think of it. A Schindler's list
as a violin song. I use that and I, I, you know what, I'm fact, when I was not really knowledgeable as a kid until even the cruise ship industry, I used that and I have one lady come up to me and she was polite about it and she just expressed that a knowledge
Ryan Joyce: that I hadn't been imparted upon. And so I'd removed it out of just thing. It was a valuable lesson especially because I had made that decision so early on as a kid and magician, you know, and I didn't, I had heard the music, I fell in love with a piece of music and then I saw that movie wasn't there. So there's no excuses here, but I decided it's just, there's some complicated issues that we have artists will face and know and it's, it makes it like are, are there magicians out there using Michael Jackson music right now? Like these, these are things that, you know, even increased show and such. These are things we have to face as well as magicians, especially to be topical and to be evolving at the rapid rate that we want to.
Graeme Reed: This is kind of similar but side topic of a music. This is kind of something I've been trying out. So I'm like your live real deal reaction from this. Um, so in my show sometimes someone might choose the ace of spades, right? They've chosen the some spades and I'm trying to reveal what their playing card is in a fun way. And I go, can you associate your playing card with a song? And a lot of people now I've, I get like uh, maybe 75% confused face at this point. You know, when I asked you this question, can you think of a song associated with your playing Kern? Do you have a song in mind? I don't know. You really, you don't know? Nope. See it. So this is a failure in my mind because I thought this was an easy go to, but then I realized this is maybe just a pop culture tells magic thing.
No, it's a pop culture reference in my, I'm also not very up my own realm. So like to me, if I heard ace of spades, I would think of the song called ace of spades by Motorhead. But I guess people don't know this song and people don't familiar with Motorhead as much as I am. Maybe. So I realized this does not work and I thought it was a super great reveal. Uh, and I practiced on like the whole, cause Lemmy, the lead singer Motorhead is a shortcut, the handlebar mustache. So I would start there and then work up through, yeah, the whole thing. He does take chances. You got to try stuff guys. Yep. Try it. Yeah. What I'm curious what everybody else's failure. The last time I tried it, and I totally realize it doesn't work, was that my family, a picnic and a, my cousin who is a well cultured person and knows a lot of references went to ace of base and it's like I saw the sign. Yes. Yeah, yeah. You could just see the sign I saw sign. I don't really, yeah, I feel in fact I could listen to the same song 400 times before, before knowing that the lyrics, I'm terrible at it. I didn't realize that a couple of pop songs were about certain things until will Smith your audio guy told us, well, oh yeah. The other girl Smith. The real deal. A Will Smith stallion on to or explained to me some lyrics, popular pop songs.
Ryan Joyce: Cause I don't listen to lyrics either. I just listen to beats. That's the thing. My, yeah, I have friends that are very, very, very lyric based, usually musos those, but also some other friends that are that maybe just English based. I Dunno. But for me I just don't pay attention at all. I'm listening to a feeling that happens with the music usually cause I'm thinking about it for the show. Like how can I use this in the show? Was this a potential song? And if it is, I tend to like that song. Do you want to, what's in the news? The home? Oh well you a, another injury. This is, this one thankfully is an injury rather than the fatality. Um, and that is the gentleman in South Africa. We were essentially shot himself in the face with a cross bone and national arts festival. The,
Graeme Reed: I'm sorry, I'm really happy, so. Okay. Yeah, I'm, I'm so happy. So. Okay. Well, I'm not sure what happened. Do you know what happened specifically in this thing? Because you had just asked me about this. He just, there was a decision made to do a trick with a crossbow and a face.
Ryan Joyce: It's um,
Graeme Reed: danger and magic, right? Like it's, um, it seems to be coming back, it seems to be a very popular thing. We separate magic from the to can and then just put it in its own category. Just tons and mats, like this dangerous stunts
Ryan Joyce: over over there. And some of them just have to me magical. But really in the idea, the idea is at the end of it, does the person live or die? That's not really a magic. Uh, I don't know. It's not my thing. It's not my thing at all. I guess. So, yeah, that's true. Whether the person there, yeah, there's no, um, I never really thought of it like that. It's like, yeah, I mean it's escapes or no, I mean if there was a thing too or a separate thing, it's its own little deviation and magic. But at the end of it is, I mean you go through like a four or five minute journey just to get back to the part where you should have been to begin with because there's a, there's something about it that's rather complicated here. Everyone come up on stage and let's do this arduous process that takes, you know, 60% of the routine where I get physically bound into a position that I'm going to be free in about 45 second to the big climax. It's just, it, it's not for me, but people can sell it and audiences tend to eat it up. Not everybody, but a lot of people do. It's kind of like, uh, have you done an escape room? Well watch me do a really small one right here, right now,
Graeme Reed: right? Yeah, right. I guess so. I guess that's what it is. Some, you know what you do see some magic added to these sometimes are mentalism where um, yeah, maybe there's a bag of crises. They vanish and reappear or they switch with the, uh, the assistant. Like there's some magic sometimes too. I also remember when we saw illusionists,
Ryan Joyce: um, and there was the, uh, I don't remember who. Oh, and that was it. Was this the water to work? Can't remember which direction the Grasso
Graeme Reed: Oh yes. Is that his name? Yeah. And he escapes from the water.
Ryan Joyce: I remember that actually. That's compelling cause that's really suspenseful. Yeah. Yeah. It's symbolic. Yeah. And I know that Matt Johnson doesn't know too. Yeah, that's a good, like that is a good one. That's the huge, you need obviously new, a theatrical, I mean at its core that's,
Graeme Reed: I think it's, cause it's one of those real deal. Vaudeville matches a real deal too. And he comes out and you many, if you look on as his Instagram Graemazing you'll see all the scuffs and scars on him too. Right? Right. Yeah. So it's like, it's like one of those real pro wrestling kind of things, which is fun. It's the fun in a sense, but it also isn't, is that magic? I don't know. It's also just, it's very, I dunno, endurance stunts, endurance sports.
Ryan Joyce: What do you think about dynamo becoming a judge on Britain's got talent? BGT You, what do you, that's kind of all this, all rumors, reddit kind of stuff. What do you think about that?
Graeme Reed: That's just rumors in pretend. Uh, I think that's, if our real, that's pretty cool to have a magician on day. Like clearly, I mean we've seen, uh, the God talent shows really like magic a lot, so it only makes sense to have a magician maybe on deck there. Right. And I am all for that. Yeah. And having dynamo be like one of the first, that's a big name to have. It's fantastic. A, that's really huge for magic.
Ryan Joyce: Yeah. I think the fact that just having a magic, so like a reoccurring would be fantastic. Anything that gets magic's image out there, I don't know. I'm not familiar with much of Dynamo's stuff, to be honest with you. Because again, on the ships, Internet is not accessible. And so there was that whole era of magic that I sort of gapped on completely. And Dynamo was definitely up there. So, uh, I, I think that would be incredible. I really think that would be an asset and we'll push forward for magic, assuming there's, he's well spoken and, and, and all that. So that'd be great.
Graeme Reed: Yeah, I think like it would be a good, uh, he'd be a good judge too because he did like hyper visual street magic, right? It's, yeah, kind of like the Chris Angel David Play and stuff. But even more of a, like a more current sense I guess. Almost like an really jazzy, um,
Ryan Joyce: did he do any danger elements and there's always is always some danger out there. Do we need a sound effect in there ever? Lightning is a yes.
Graeme Reed: So do people electrocute themselves crossbow across, across plus shot. Yeah. Yeah. And I think it'd be neat to get a magician's have a different and unique theatrical perspective on performance, right? Yeah. So I think that'd be good to get in the mix on those judges. Cause usually you have singers and singers, right? Comedians and singers. Right. So that's a neat, that'd be a neat variety if they did something like that. A different act. Yup. Yup. Hyper
Ryan Joyce: visual. Yeah. You know, like that cereal stuff. Oh yeah. That's what he, yeah, that's a diner. Hyper visual. Is that what this is the point as is that the Hashtag, if they don't call it
Graeme Reed: that that's what I call it and then they should take that cause hyper visual is a great marketing term. WWE would be all over that kind of thing of branding it. Yeah. Don't take it.
Ryan Joyce: Hashtag no stealing these. Um, I, there's another topic that's got some popularity on Reddit that is card magic done onstage and people's thoughts to that is doing card magic on stages of difficult thing. I think. And it's always, I said it was pretty much impossible. I don't think any beginner should ever focus on the idea of doing a card trick on stage. Uh, and I, in fact I said it was damn near impossible and then I saw amazing Kreskin walk out and get five minutes with a suit jacket. So I have since revised my, my stubbornness on that to think that pardon magic is definitely like you can definitely, if you're entertaining, you can do anything on stage. So yeah, that's, that's great. I nowadays I would use the tools that are available to us to make that as easy as possible because imagine that everyone in your audience is 80 and if you do that then everybody will get a good visual and everyone will appreciate it the same or the same level. So video can help do that. It's the only tool to help with that. Um, so that's kind of on a production standpoint. What do you think on a technical standpoint?
Graeme Reed: Uh, I do cards on stage. Like I've always done cards on stage. That's how I started doing things cause it was my Goto, cause I did the transition from close up to doing stage. So like it was, you know, the go to, it'd be like I'm going to try and do some card tricks on stage, but you start to figure out what car tricks don't work on stage. Right. Completely right. You have to do, they have to be like tricks that you can show to the whole audience or it's very minimal work and like cards across, right. Or a simple vantage of a card or you know, having someone mind read someone else's mind and they're just guessing a playing card, something very simple. It's all very, very visual. A big, yeah. Well you can do that. You can do the repeater card to pocket on stage that works. And as a state district, that's kind of one of those visual ones.
Ryan Joyce: That's, that's a con. I mean that's amazing piece of magic. That's probably something I would do on stage if I were had to be forced to to do something right now. Right, right on the spot. I would probably do that.
Graeme Reed: Right? Yeah. I would, if I were had to go up on stage, I'd just grab a pack of cards and I would throw them and I'd catch the selection out of the air. That's what I would do. Which plays is a card trick that plays huge right now cause you throw the cards everywhere and have some really cool pictures from that too.
Ryan Joyce: It's, it's, it's, it's something I've never really, really thought about because my backup standard like behind a monitor is always, you know, a toss deck. So I do have cards like you know, something available in the show that's always like in my, my four sign
Graeme Reed: it's always there. But um, that would be ultimately my go to immediate piece of card magic that you, I mean cause that is, I mean that is the best theatrical in the planet because there's all this action as a, it is a piece of magic words, a deck of cards.
So there, there were certainly is all sorts of options available. You can also, um, cause now like there's so many unique venues that you can play, especially with comedy rooms. Sometimes you end up doing a comic book place or a board game game venue and you can get like a deck of cards for a board game and do you know, mind reading trick just by forcing a couple of cards. Keep it simple or something like that. But now theme that you're doing a card trick with the props from the environment, so it still works out totally fine. I think too, usually when you do a card trick on stage, it's not about like the cards, right? It's about something else. Like the big reaction. The credits just happened to be there to like the vehicle for the right, the whole experience kind of thing. Yeah. And that's the basis of all
Oh, successful performers is that is the understanding is that our personality, whatever it is that makes them unique and took maybe 15 years to sort of settle in that what I
I am, I you feel on the, I have no idea what I'm doing right now, but I constantly keep experimenting and trying. So I do open my rooms. I like do these various comedy, these monthly comedy shows. I host my own shows, I do kid shows, I'll do shows out on the street. I'm trying everything right now cause you got to see what sticks, especially when you're being very creative. So that's the, that's where I am right now. Um, and I haven't really honed in on,
oh, so let's talk incident.
This is on stage that didn't hit your expectations. So I guess the recently I did this show in London, London at the Marion ban or magic at the Marion Ben London and um, hosted by Mike Fisher right in front of the show. Nick Fisher fishery makes great and the show like went totally fine. It was a lot of fun, but all of the tricks went south in very unique ways that I've never experienced before. I watched the show and I didn't see that at all my, that's why I made that silly face, but like the whole thing, the whole entire show kept me on my toes the whole time because every single trick went south in a weird, ambiguous way. So I had to dig myself out of deep holes and luckily with like, you know, I was, it's a comedy mind reading shows so I could yeah, say stuff then just made it all work and it was fine for the audience.
But when you're in broke skills come in, right? Like that's essential. That's what's happened from all the failures from beforehand, I guess. Yeah. Is that, this was the last, this show was so awkward and I felt like the whole time I had to squirm and dance and I was in disbelief the entire time, but people are forgetting their cards made up words that didn't even exist. And like the conversations we were having. Uh, so I'm not sure how that a, was just bananas bizarre. But, um, that was a good one. And then another recent one, I've been working on a new routine with a balloon prediction where a, some the, I start off with a balloon that would be tied up and it ends up on the ground and we don't care about it. And then in the end there'll be something inside the balloon that relates to the whole
set that it was working on
and at a family picnic, they'll balloon popped before I even got to it. So it's like literally the whole thing just blew up. So that was a neat experience to learn that. Just like
fragile things. I had, um, fragile things on stage are awful. I do a thing or two things I have to say about the egg. I just spit instead of literally one of the first pieces I ever made as a kid. Egg Poem, you've seen a judge do 10 to a dozen times. And so the poem is like ingrained in my, my thoughts completely. But it also uses a ver an egg. It uses, there's an actual egg right? The end of it. And so I twice, I've had it in my pocket backstage in a just just a steroid in my pocket. Right. So, and how do you recover from that quick with a green hankies it's no, you know, so there's that. But I once in my entire life I remember, I can't remember where we were. I thought long enough I could remember where we were, but I've just totally gapped completely on the, the poem and this is, you know, full house in some Kenora, Ontario, I'm pretty sure.
And the team backstage is just laughing at me and they're up there hurted 10,000 times too and they can't remember it either. So, I mean, I mean that's not completely the re most recent. I was actually just on stage with 'em with some great people that Craig Douglas and Dick join her and we were doing a variety event down in Hamilton and the ice just had finished same to, to Craig before the shows. Like I, you know, um, you have ever had those times where you're onstage and you just realize in the moment like, Oh boy, I'm not going to be able to do this the way it was planned initially and like the way I'd probably done it maybe, you know, 5,000 times or so. Um, isn't that the worst, you know? Yeah. Good chuckle about it. And then like a proceeded to have that moment right after that, so.
So I uh, yeah, so it's really not, I can't even explain it to you without it being overly boring and complicated, but the basis of it is as I rearrange the structure of the show to do this portion solo by myself without the requirement of an assistance of someone backstage, I don't need it. And I think a dancer or anything, I just need, I just need help. And so we had to cut the show a little bit short. So I pulled one bit completely forgetting that I needed that one bit of information to pull off what I needed a little bit later. So it was just a moment of like, oh, like you just as a performer, when you have those moments in your head, it's not really anything exploding in reality, but in your, in your world, it's just, you know, it's like, Oh shit, where do we go now?
Right. Yeah. What do I do now? Right. I haven't been here before. Right. This is uncharted. Yeah. I don't know. I don't feel comfortable. Uh, I have a question back to the egg and the pocket thinking, what do you do then when you break your egg with the sub? Do you have extra so well, and you know, okay. So for a period of time I was over prepared. I always put everything in a zip lock bag in my pocket and I just hated the crinkle. And so, um, I do have an extra one. That's what it is. I do have an extra one. And so it was just get that thing out of my pocket as fast as possible was the tissues and stuff and then like put an extra Kleenex and think, I don't even remember where we were. Becca. Rebecca was worked with me for eight years.
She had all those like details. She was a wizard. So sometimes it would just be like your, could you help solve that? And she would go, she just was amazing. So um, yeah, so that was probably the silliest thing that ever happened was with that, that egg, um, yeah. Breaking in the pocket. Have you ever had to go on stage with just across Hanky and do it tough it out anyhow? No. No. I know I would have pulled it w if I felt like, yeah, what's it going to be compromised in any way? I would have pulled it, but it, it's a real pain when that happens, especially if you're banking on the time. Like in my world it was always, it is always tickets usually. And then now it's cruise ship, you know, 45 minutes lots. So you have to be specific to time.
Time is very, very important. Um, and so like it's to lose four minutes is, especially when they're good minutes, like I end with that piece now usually in a solo show and so like, and my solution to it as a performer is to put it in your pocket at the very last moment. I have no real rights, sexy way of making that happen other than literally just putting the whole thing in front of them, like putting you in my pocket and you know, and as I set up, but I just don't want to risk it. I don't want to accidentally bump into a speaker or something and, and, and Maroon that moment. But because you, nobody wants to fail on stage, right? Like that's the worst thing. And as a magician's, like the only thing that will do that is that not being prepared. Right.
Right. And there's variabilities of course there is very, yeah, totally always be prepared. Right. What did, if you failed, if you have any like crazy failures, let us know in the comments. What yeah. Do you have a worst chill ever? Do I? Yeah. Oh, oh yeah. Oh boy. But this is not magic related. This was hypnosis related. shared this on a podcast somewhere before, but I um, is, I'll be fast. Was it in a multi lingual part of, of Ontario and it was hypnosis based and it was making a French speaking audience and I remember it like just just dragging it through like just, we're just hating life for 45 minutes just to be able to get out of there as fast as I could. And uh, I will always it the analy I can't remember whatever my sign off was and some, some comment was made from the audience.
So like is like in the inside you're just dying because honestly that show I've been, I've never had such a failure as I had that show and I don't, you know, you should think back and go, well, what could I have done to prevent it? It, and the solution for me would have not to accepted that that would be the solution because I don't know how I could've changed the outcome. Looking back at it. But that's a tough, that's a tough one to go through. Especially knowing how much that kind of show usually kills, like on this down the ship it's ever, it's just, it says the ship on fire and so to, to know what's capable and then go out there and just was such intensity fail. Oh No. Yeah. Brutal. I went back to the room and I called my mentor Dan who taught me the whole thing and I was like, I'm never doing this again. Oh No. Yeah, yeah. Oh boy. But of course I did. And yeah, I just don't think about those times again.
Yeah. My show failure when I was a kid, I did like my first show at the I children's museum in Toronto and there was a lot of unique names that I had to deal with. And I remember as a 12 year old kid myself, multiculturalism, you mean? Yeah, yeah, yeah. Just new names for a young,
right. Graemazing right.
Um, so like for me, I had such a hard time with these games names in general. Yeah. And then be the first time on stage and dealing with magic and all that sort of things and then put, it gave me hard fear for a long time while doing magic to ask anybody their name. But uh, luckily I've worked through that whole thing. Um, and I, I can now ask people their name and I make sure I repeat it and I get it right and everything cause it's 20, 19.
So would you say you're like a, it's a good skill that you have now or is it something you're, you're still working on? It's a better skill. It's totally a better skill. Yeah. Way better skill. Yeah. I'll never forget the first show that I did. I think when you like, you don't understand what it's like to be on stage. And really what it boils down to is chemistry. You're just flooded with adrenaline and your body's not been accustomed to that much adrenaline at a time. And then not only that, you have to like process and do things like the first 30 seconds of walking onto stage usually of anything is like, for me at least still fog. I don't get nervous per say. And on the ship just walking out, it's just, it just like I could have a coffee in my hand. But when you're in like a new environment where things are weird, you have a higher flood of adrenaline. And so like I always have always scheduled this. So the first 30 seconds of my show, I don't have to say a word unless it's something very, very, very basic and simple. Cause I, at that point I didn't trust myself and so I wanted to be able to walk out and just know that I wasn't going to fumble. Cause it's confidence at the end of days that makes being a good professional on stage and being comfortable.
It's just competence. And when you start shitty it's not, yeah, I find if I like, cause I'm more confident, way more confident now than I do shows. But if I'm not like a little bit nervous in some sort of way before I get up, it's gonna be a crummy show. Like I'm over confident or I'm not caring enough about the show. I need to be like a little bit nervous to get up there and go and do a give a good show at least. Right? Yeah. I,
I lost even some of that and I sometimes wonder about how the comfort is only because when it's the same scenario, like you've gotta like the ship formula is all the same. I could work on four or five different ships in exactly the same theater set up, you know, all the time and every single one and the team and all that familiar. But the first time you work with the team or the first time you to know a little bit more nerve wracking. So it, and it's fun to sort of experience doing that. The same show with the same team in the same arena over and over and over again because you can
take all of those stresses and put them on other people
and then as a performer you get to take another step forward and you can't do that when you're constantly worrying about your own show cues and what'd you go to pocket? You got this and that
on top of all the production of it. So yeah, I wish everyone could experience it. But you have to work to get there from videos. Right. So, uh, I already have an old promo video from like the very first time I started kind of, uh, being a little more aggressive about getting magic gigs I guess, and dealing more professional and has just consumed of all the clips I just had. Right. That's what the first promo video, first prom video. Now I'm working on a new one and now I have a whole lot more clips right from, I've been on like new shows, TV things. We've done a bunch of various things together. I have a whole lot of clips I can use now. Um, I'm not sure the best way. Do you have good advice on putting this together? Okay.
Oh yeah. Mine always starts with the music I feel. And then I, you know, I know Adobe premier, which is, I mean, you can use whatever, I'll just explain this tool in Adobe premiere, which I don't use, but you can put a little, when they call them markers on the music and then you just basically automatically sequence a bunch of clips to those, like those markers. I mean, you know all about this. You can auto sequence clips to the micros that I didn't know. Yeah. And it'll just boom. And now it doesn't intelligently think what's the best moment in there, but then you can just slide it across. And so that's a, that's a real fun, easy way to like just fill a whole sequence of music just based on the beat. So I mean, if you took the the process out of it, that's what I would do.
I don't, I actually usually start with the best. Like I get my best favorite clips and then I'll put them in the best moments in that song and kind of work backwards. Um, knowing that the first thing that I've got to do, well, it's like a, as a, as a formula. And I heard what I think is it's got, you've gotta start with something that grabs their attention. It's like 15 seconds tops, right? It's going to be usually fast if it's a, and then followed by some kind of title Intro, here's who this person is. Then followed by whatever it takes to support the fact that you're claiming in the video and then followed by years out to get a hold of me. Like it's isn't really nothing more complicated than that. Right. But um, you have to have those clips.
Yeah, yeah, yeah, yeah. Um, now like you, uh, you have a blog post about kind of like the core tips to kind of get like the Promo video should be about, and you kind of like, isn't it kind of like to mean,
yeah. Well it's, I always think it's, for a lot of people, they don't know who they're talking to. And so if you're a, you know, a magician that has all sorts of different audiences, it's really hard to talk to the birthday audience as well as like the, the school board districts and things. So you really have to, I feel defined two things. One is your audience, who are you talking about or talking to? And then the second is your intent. Like who, what are you're trying to do with them? Once you have their attention, should you be blessed with their attention because everybody demands everybody's attention now. So you've got, once you've got it, what do you want to do with it and do that in this short amount of time as possible because everybody's inundated with all sorts of other stuff. So if you save their time and don't waste it, there'll be happier with you. So my promo video now approached like, I mean I don't know what everyone else is doing, but if your promo video is longer than three minutes, you're doing it wrong. I don't know. What do you think about them?
Oh yeah, your promo video should totally be in probably about two minutes Max cause I don't even have enough attention for like more than that. Right? I don't think when it comes to a video, right to watch it, unless it's super engaging or very hilarious. And if it's a promo video, you're probably flashing quotes, logos, you know, there's a mix of things in there. Cause that's what I'm going to like. That's what I'd still threw in there, I guess. Anyhow. It's like some of those, you know, the best reviews, social proof. Yeah. The social proof. Right. Um, so like that's not, it's gotta be short, but you, yeah. It's for a specific audience is the people that you're trying to get booked for, I guess. Yeah. And you do raise a good point too. Like if you are, you know, like a senior kids magician, you also want you to schools. Those are different things. So your videos should be a little different.
It's cheap and easy to make videos nowadays. And Yeah, and if you're generically just saying, here, I've got this show, that's fine. But if you have a specific program that you're marketing to schools, you're going to have to have a different video for that. So you should have a video that just introduces to the world. I mean, that's something, a part of the tool kit as a whole. If you offer multiple services, you might need to consider, one is like, think about their introduction to you as a whole. So if you walk into the, the website for the first time, the video would have to explain what this person does is a general rounded quick introduction. And then if you choose to dive deeper than each version of that should have something visual to support it. In this case, video is king right now. So King or queen, it's the top of the leader. And so we need to make sure that video like is, is implemented in a v, you know, it's gotta be something that people are working on right now. And as a business, as a magician in general, it's just gotta be used. You have to use the tools as images, I guess, as a video editor and your magic
Ryan Joyce: business, right? Yeah. And you kind of like, you totally have all the tools do it yourself. So, Yep. Like compared to former prices and some of these things like final cut, right. Or even the monthly subscription to Adobe. Cause if you're doing this as a business in a career anyhow, you can probably afford that monthly fee for all those that's not, or the software to do this. Right. And I'm sure that there is accessible tools out there that are, and if we find any, we'll put it in there, put it in there. I'm sure there's something out there. But to be able to use those, uh, you know,
Graeme Reed: youtube is even making the content creation site pretty easy. Like they're, they're modern. Uh, yesterday I trimmed a part out of a video that's been up on youtube forever and I've always regretted putting that one moment out. But I'll never tell you what,
Ryan Joyce: when I took it out and it pass it, it's like done bing, Bang, boom. So the, you know, and Youtube even has music available for download. That's, that doesn't impact your monetization and it doesn't mean, you know, impact your standing
Graeme Reed: with youtube. And that's becoming more and more complicated. Uh, so music, I always buy my music outright so that I have the ability to monetize it. Not so much, but the fact that I don't want people to run ads on it. Right. So I don't want people to watch a video
Ryan Joyce: and then also just get your video taken down if you have the wrong song for a too long on there too might just get pulled down too. Yep. And Youtube is definitely leaning towards making, there's a lot of regulation happening over in European decisions and so if it's threatening youtube as a whole over there, it's really interesting stuff that we hope doesn't sort of trickle over to here, but it's all the basis of copyright infringement and they're not going to support your channel if there's, if there's copyright infringement. Now I'm back to the like kind of promo video idea and you were kind of talking about the, where you talked about like the different, like you should probably have on that if you had a school program right here to the school, if you had a corporate video for a Christmas show, do that as it should. You probably have a separate website for that too. Or do you think you could have maybe one website that was going to be like you magic.com or like you magician.com and then shell
Graeme Reed: kind of all your services there and then have these, but like if you were,
you know, sending out your emails, they're going to go right to the specific page. Right. Can that all be on the same page do you think like I know the exact have my opinion on this is very clear. I'll put it that way. I would do it on one page and the reason for that is ranking. If you can show authority on one page to Google, they'll start to like anything you post they'll give more priority to a site that has been established in the one that's brand spanking new. So I would put all the efforts back into it. I didn't know that knowledge 150 years ago when I started this thing and I really wished that I did because I wouldn't have been boughten, purchased so many domains, but I being said, you can use them marketing wise to your leverage. Like we said for the festival, we're doing different domains to track and analyze it. And so, uh, I would just stick to one domain and then send everybody, you know, back to make it clear in categories and separate on your website, make it no confusion and send them directly to that page. Right? Yeah.
I mean it's an economical way to just have the one, like if you're already on one Squarespace or one wix right now you can just, you don't need, just need the one and maybe like you can have separate pages that are fun. And I guess it kind of shows how um, diverse you are
as a performer. Entertainer passively too. Right? I know that's a controversial topic, if that's like a positive. I agree. I agree. I think as someone who feels like they offer, I mean immediately I have two shows, hypnotists and magician and those two I don't really normally want to be thought of together. And especially you say the audience, the audience is the same though. Like in their mind is, it's in the variety of a, in a variety of ours category. So we're in the same categories. Jugglers and their raise. But yes. See hypnosis and magic have very similar the curve ball question. Yeah.
Yeah. If you were to do, if you were to like, so you are already defined as cruise ship magician, you do theater performances, illusionist stage performer kind of thing like that. If you, would you ever do another like a format of magic or a different venue? A magic or is there something that you wish that you like the always wanted to do? Like you know, like, cause when I first started I saw myself as, you know, I wanted to be Jeff McBride who doesn't and who doesn't. Sure. Sure. But that's not me and it doesn't really work out like that and uh, I'm not going to do then. Right. Gonna focus on that avenue just doesn't work out for me. Um, do you have a thing like do you, do you have that? Yeah, yeah, yeah.
Or I was thinking of what is the first Jeff McBride move then it would go to, and there was definitely, yeah. Medusa faces. Yep. Yeah. Moment. Yeah. About downtown on the music cue. And you watch it back, you realize I'm,
he's really amazing and he doesn't do too much magic for the most for science. Yeah. Tricks. Yeah.
It's a lot of theatrical, which is so awesome. Yup. So awesome. Yeah. Yeah. Yeah. The, when he bounced those cards of the, and the Jube shock coming in and he was, you just tell he was excited. It was great. And the audience was on fire and the energy was building. Oh, I, sorry. We were talking about promotional videos.
See you did it. If you could do a debit curveball question, if you could do that, another avenue magic, is there one that you've never liked that you kind of like, oh, that'd be a neat thing to actually get into, but I don't know if you know,
you know what, I've always forever and I've always loved like really intimate small shows where there's maybe like a hundred people and they're on top of you kind of vibe. I love that. Where it's, where you can do anything and you don't need video or whatever. That I've got some fun ideas that I thought about marketing and show in that regard. Um, but I, I, um, I've never been good at closeup, only not on the, the technicality side of it. It's just, I've never had an outlet to really do it. I'm not a fan of restaurant work. Um, I love it and appreciate it. I'm just, this doesn't suit my personality. I, I always felt it was like the, the telemarketing of magic. I mean, it was just, it was arduous for me and it didn't, didn't resonate, but I love it. I love it. Like you kill out it. And so I, I couldn't, I just couldn't see myself succeeding in, as in that area. But I should, you know, focus a little bit more on some of the closeup. Again. It's been, it's been a few years since I, you know, learned something fun that I can present socially.
Ryan Joyce: Yeah. Uh, last thoughts on promo videos. What, well, let's talk about what are they angels? The wrap it up.
Graeme Reed: You got to have a call to action. You gotta know who you're talking to and uh, you want to do it in the shortest, concise it time with as much of the best of video footage as possible. Bowl only include the best shots. Don't put filler stuff in there. Just make it like a really great concise can filled with social proof, sort of sprinkled all through it quotes and maybe newspaper headings. And these are just words on the screen.
Yeah. And domain. And a lot of these, uh, we should really look in the free video editing software, but a lot of them have auto templates, so you can just kinda throw in your own text if you want. You don't have to be like a graphic wiz to do it. Right. Um, and I'm pretty sure like there's gotta be, you know, I move your windows moving thing or something done right. That does that still. Yeah. With the built in titled Templates and that stuff should all be easy. Just don't make it over produced into gross. Right.
Ryan Joyce: And if you want, try Fiverr, I mean, give it a shot, don't have high expectations for it. There's, I watched a great youtube video. If I find it, I'll put it in the show notes and it was a guy that basically was he, he put there
Graeme Reed: three different budgets on some outsourced. He wanted his logo or something animated and so he, one was a high price budget. One was a medium Vijay and one was a really high. Yeah, Fiverr and or some kind of a social platform. Maybe one was like he lance or something, but and so he wanted to discover which of those,
Ryan Joyce: what was the best and so it was fun. I'll save the surprise, but I'll, if I find that well I find that, I'll put it in the show notes. I think that, yeah, it was a good reminder to say that there is ability to outsource some of these things, but if you're a magician that you have to, you want to have shows on a continual basis. You, these are the skills, so you've got a little bit, yeah, I think this is something you got to start to add to your own, Tim. Okay. All right. Let's try it. Let me just, Sun's toolkit. Thank you for listening to this episode of magicians talking magic eight touring tricks podcast. Be sure to subscribe and don't forget. You can also watch these podcasts on youtube in full length video format, and that's at youtube.com/ryanjoycemagic. We've got the Oh wow magic festival coming up October 24th to the 31st with live events on the 24th 25th and 26th and the 27 it's going to be an amazing magicians convention as well as magic festivals, so check it out. There's nothing like it out there. This is totally unique, and don't forget to sign up and join magicians masterclass. This is unique content for magicians from enthusiasts, students of the RN and fulltime pros. Thank you so much for listening this episode. We'll see you on the next one.