There was a guy named Ed Mishell. He was this grandfatherly guy who did all the illustrations for the catalogs and reviewed magic effects for the magic magazines, so all of the magic dealers would send him magic effects for free-it was a great deal. His basement was full of this stuff. He took me under his wing, and he would sneak me into the Society of American Magicians meetings in New York. It's the world's oldest magic organization.

I was 16 at the time, and I came backstage and started hanging out with them. I said, "Well, maybe you can 'vanish' the silk this way." The opening was a black stage while the "Magic to Do" song started playing. All you saw were hands, lit by Jules Fisher, and then Ben Vereen would appear beyond the hands, and at the end of the scene he would vanish a silk. The spotlight would hit a red spot on the floor where you'd see the silk on the floor. He'd pull the silk out of the floor and it became the entire set coming out of the floor.

I was a captive and a slave. I loved Dora Spenlow to distraction! She was more than human to me. She was a Fairy, a Sylph, I dont know what she was--anything that no one ever saw, and everything that everybody ever wanted.

I got to watch Frank Capra, in his eighties, in action. You read all the stories about Frank Capra fighting with the head of Columbia, Harry Cohn, "It's my way or the highway." I got to watch that. He lambasted me, "You cannot do this. You will fail." Finally, after another hour of conversation, I convinced him to help me write the speech.

Marriage is like a formality for me.

My show is constantly evolving... new tricks are added, old ones are dropped... so it stays fresh. But it's the randomly selected participants from the audience that make it fresh and provide some of the best comic relief.

I have always looked to movies and theatre for inspiration.