The audience likes to be taken on new journeys.

For me, it's about risk taking, taking things in new directions. Because every single time, no matter how much you learn, you can never say, "Okay, I did the hardest thing I ever did. I'm prepared now. Now it's going to be easy." Of course it's not easy.

There was a place in New York called Tannen's Magic. It still exists. But back in the day, it was really fantastic. You'd go into the old Wurlitzer Building, take the elevator to the 13th floor, which was labeled 14, because of bad luck, the elevator would open, and you'd be in heaven. It was all of these guys doing magic stuff with props. It's kind of gone now, that experience, the brick-and-mortar magic shop, but you really felt like you'd landed in the most amazing place in the world.

When you see me do a five-minute thing, there's been about two years of preparation behind that. You know, I find that's what it takes to really make it the level of quality I prefer.

All of the [Bob] Fosse-esque movements and point of view informed years and years of what I would do.

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.

The most important thing is presentation.