Page 28

August 05 ED


6:43 PM

Page 74


with Mandy Moore

methods move into uncharted territory. Criss doesn’t have his own birds with him, so doves had to be brought in. They were ostensibly trained and fed, but some of the doves’ training is not evident. It takes lots of time to find cooperative and energetic birds that fly to the places they’re supposed to after release. But after many hours and improvisations, Criss is able (as he always seems to) pull it all together and deliver a routine that will fool anyone who watches it. Oh—and then this “human bird” appears from beneath the vest and flies around the room. You’ll just have to see it. • ANGEL: The next order of business, after I’m completely done filming the series, is to get my live show on the road so people can actually come and see that what I do on television is not done just for television, but you can actually see me do these things in a live show. GENII: There are some things I’ve seen that aren’t going to be in your live show, like that odd effect in the hallway. ANGEL: It’s called “Déjà vu Couple” where people are walking, on their way to their rooms, and I picked one of two couples. I talk a bit about déjà vu, step in front of the camera for a second—there are no cuts or edits—and the couple vanishes and appears way down the hallway, where they were a minute or two earlier. GENII: I saw some footage of you doing card tricks on a bus … ANGEL: Our RV broke down so we got on a bus in order to get back to the hotel. The people on the bus saw the film crew and wondered what was going on, then they asked me to do a trick. I had a card chosen and signed while the bus was moving. The card was lost in the deck 74


and I threw it at the front windshield. The card appears on the outside of the windshield while the bus is still moving. The driver stops the bus and the woman who chose the card goes outside to verify that it’s her card and it’s stuck to the outside of the window. GENII: I saw this in a rough cut and it seems impossible. You mentioned at the beginning of the interview that you’re doing a séance here in the hotel? ANGEL: We go upstairs to the top floor where the suite of the casino’s owner is located. I invite some people off the street to come upstairs. I take a Polaroid photo of one of the guests holding a white piece of blank paper and place the photo face up on a table. I ask that person to leave the suite and go, with a security guard, to any unoccupied room of their choice in the hotel. The guard lets this person into the freely-chosen room and tells the spectator to sit on the bed. I’m still in the suite with the other guests. After I talk a bit about spirits and how people in Victorian times used to try and contact ghosts with different devices, I bring out a bell I’ve borrowed from the concierge desk. Then the séance commences: I count off some numbers and the bell rings on a specific number, and in this way the bell calls out four digits. Those digits form a room number, and I ask one of the guests to pick up the hotel phone and, on speakerphone, dial that room number. The spectator who went to the room of her choosing answers the phone! Then we talk about the Polaroid photo I shot, which has a blank piece of paper held by the spectator on it, and which has been sitting in view the whole time. I ask the guest on the phone to think of any simple item—one that she can draw. She draws it and, when she’s done, she names it. One guest looks at the Polaroid photo and on the blank piece of paper in the photo is the item drawn by the guest in the other room.

2005 Aug Chris Angel  

Criss Angel: Beyond Houdini Criss Angel: Beyond Houdini THE CONJURORS’ MAGAZINE AUGUST 2005 $5 Criss Angel: No Fear ● Richard Kaufman The Pi...

2005 Aug Chris Angel  

Criss Angel: Beyond Houdini Criss Angel: Beyond Houdini THE CONJURORS’ MAGAZINE AUGUST 2005 $5 Criss Angel: No Fear ● Richard Kaufman The Pi...