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.

When people say you can't do it - that it's impossible - never lose hope. Just because they couldn't doesn't mean you can't.

To make magic credible on screen is always very difficult. The story is the most important thing. That is what should win. If sacrifices or compromises are made, it's usually for story. Story in magic is very, very important to me. That's what I've really championed through my career.

Usually, about two years of work go into each illusion, whether it's big or small. Two years of work on each five-minute piece.

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.

The first trick I bought at Macy's was a little wooden board where a quarter would appear and disappear.

I really did sneak into Broadway shows, starting when I was 12.