I have always been interested in pushing magic forward.

No self-respecting gay guy would have ever made some of the hair and clothing choices I am still trying to live down.

I went to visit Frank Capra, one of my idols, and did a kind of Judd Apatow interview with him. I said, "I'd like the Statue of Liberty to disappear, but I want to do it as a lesson in freedom, how valuable freedom is and what the world would be like without liberty." And Frank Capra looked at me and said, "David, I love your idea, but here's what you're going to do. You're going to try and it's not going to work; it's not going to disappear." And I said, "Mr. Capra, I can't do that."

It's really hard to think of one kind of magic as a favorite. I've been really fortunate in that I've been able to perform such a diverse range of things.

From the very beginning, I studied acting, directing, lighting, dance and movement. I didn't rely on just the magic to take place. It's a shame that a lot of magicians just rely on the trick itself and they have no other abilities. They get away with the wonder factor, and I don't think that's enough. It's great, but it's not enough.

The key is for the audience never to know, so I have a plan B for every illusion.

You lose your sense of wonder the more you learn, right? When you go to film school and learn about moviemaking, you go to see movies and then only see where the lights are, where the cuts are, watching it from a technical basis, nodding your head, "Oh, that was good." The feeling of surprise, the feeling of being transported is further away.