#davidstone #roberhoudin #FISM #magic #museeroberthoudin #blois #paris #magiconbicycle #davidstonemagic
🎩🚴♂️ Nella quinta puntata di Magic On Bicycle, Andrea Speranza, , Carlo Mago (Carlo Siffredi) ed Emanuele Vittorio Lodi partono da #Parigi, passando per #Chartres, fino ad arrivare a #Blois per visitare il celebre Maison de la Magie Robert-Houdin, un vero tempio della magia dedicato al padre dell’illusionismo moderno.
🎥 In questa puntata troverete le interviste a:
✨ David Stone – Prestigiatore e inventore francese di fama internazionale. Ha vinto il FISM da giovanissimo e da allora gira il mondo con i suoi spettacoli, ispirando generazioni di maghi con il suo stile unico, brillante e sempre sorprendente.
🎩 Il presidente del Museo di Robert-Houdin, insieme ad alcuni degli artisti che si sono esibiti negli anni in questo luogo magico, custode di storia, arte e illusione.
——————————————————————————————————————————————-
🎩🚴♂️ In the fifth episode of Magic On Bicycle, Andrea Speranza, Carlo Mago (Carlo Siffredi), and Emanuele Vittorio Lodi depart from #Paris, passing through #Chartres, and arrive in #Blois to visit the famous Maison de la Magie Robert-Houdin — a true temple of magic dedicated to the father of modern illusionism.
🎥 In this episode, you’ll find interviews with:
✨ David Stone – World-renowned French magician and inventor. He won FISM at a very young age and has since toured the world with his shows, inspiring generations of magicians with his unique, brilliant, and always surprising style.
🎩 The president of the Robert-Houdin Museum, along with several artists who have performed over the years in this magical place — a guardian of history, art, and illusion.
An episode celebrating classic magic and its evolution through to the present day.
Una puntata all’insegna della magia classica e della sua evoluzione fino ai giorni nostri.
We’re still in Paris. Security has arrived. Sécurité is the one who told us we have to leave and advised us, if we want, to go outside the park. But inside the park we can’t perform. Anyway, we’re here and we’re talking and writing. All the questions we need to ask. To David Stone. Ready. In 1 hour, less than 1 hour we’re ready. We had previously tried to contact David Stone via email to meet him. To our great surprise, he replied inviting us to his place. Who is David Stone? I’m asking you the question. Actually. Well, I think David Stone, He’s a kid that don’t want to grow up. He’s, a kid living the dream of, being a professional magician. He’s a kid. You don’t want to be an adult. Sort of Peter Pan,
maybe that, like Peter Pan. Absolutely. Just like, Robin Williams. What is my feeling with cinema? Oh, you mean, music? And cinema
is, the exact opposite from magic. Magic is the way to show a fake thing and to pretend to do them in the cinema. You show real things, but you, you, you
you act as if they’re real and so the most important thing, the most. The biggest difference
between acting and being a performer is, to be a good actor. You have to forget everything,
and you have to live the thing. When you’re a magician, you can’t do that. You have to think about everything
we have to think about. You know exactly that. Your deck of cards
or your cell phone will be here, and you don’t have to look at it
just to take it. If you do that,
when you when you act as an actor, people will feel that you already know
ways of fun. This is an act. So I mean, when you perform, the other performer,
you have to know everything. Even even when you step, when you stand,
when you act as an actor, you have to forget everything
and to leave. It’s. And this is the most difficult,
I think, to be a real, be a real actor. Between the difference
between the actor and the magician. And my feeling about cinema is that, cinema is my passion and magic is my job. Your philosophy studies? Did you have in your job of magician? Yes. I think my philosophy
study helped me. I have a professional magician
that maybe not only are the professional magician just, in life, when I did philosophies, it was at the University. So I met many different people from many different areas in France and from different ages. Ages? You know, there were
some were older, some were younger. So university open. My way of thinking. I was a kid
when I went through the university. I was 20, 22, 24, 25. And you think you know many things,
but you know nothing. In fact, how magic can help you,
how philosophy can help me in my magic. I think it in the way of thinking. When you have a problem in philosophy,
you have to think it in a different way. You have. You don’t have to think it
straight from A to B. You have to think a little bit
in a different way. And this is maybe the, the common point with magic and philosophy at the you just close up and acquire a kind of magic with many relationship with the audience. And the way, close up your mind. I think I did the magic when I was a kid
because I was very shy. I was a very shy kid. So, that was the opportunity
for me to impose myself and to go to see people
instead of staying alone and pretending to be a magician behind my my mother, you know, in front of my mirror. I did classic magic because it forced me to go through my shyness. I to to fight it and to be able to, to perform
live with people. What is magic for you? What do you mean, exactly? What is magic? Yeah, magic. To me, it’s, and expecting something happening
when you don’t expect it. Magic is not only
what you don’t understand because
you don’t understand nothing in life. I don’t understand girls. I don’t understand how the what to come out warm from from the machine. I don’t understand the microwave. How is it’s working. But it’s not magic at all. But if I press the button and when the microwave opens,
they the fucking rabbit in it. I will be surprised.
And that will be magic. So I think magic is surprise to me. Unexpected things surprise. Just like that. This is magic to me. Can you give us a definition of reality? I think reality is the illusion of truth. If you got I don’t remember us, a face. One of my best memory from freedom
was when I did the magic competition
in 2006, in Stockholm, and I was with my producer, sorry, but found I, who was my director,
you know, at that time. He’s the director of the movie
The Secret of Magic. And, before the competition, that Johnny wanted me to do a gag perfectly. So he practice and train
with me to improve my gag. But it appears that I was not very good
at doing the gang, so Johnny wanted to show me how it. And he said, come on, David,
you don’t understand nothing. So imagine imagine you’re right. And then fast. And he and he struck hard,
hit the wall like that when you fit. Because you wanted to do that. Just to show me
how I’m supposed to be surprised. But he. He hit the wall so hard that he broke his thing is to leave something like seven hours
before the wall competition. You would say that. Okay. You don’t. In this one,
I show you imagining that and then. Oh, God, I you broke his faith,
and we have to go to Stockholm Hospital. That was so crazy. Just because he wanted me
to understand perfectly. Agag. So it was not funny on the spot. But after all, that was a funny story. Yeah, sure. Yes. I almost fell. Wow, what a huge bike! I took Urca, what a hole. We visit the majestic Chartres Cathedral. We pass through Blois, a must-see for a documentary on magic. We go to see the Museum of Magic of Robert Houdin, one of the most important magicians in the magical world. Here is the Museum of the great and unique Robert Houdin A trapdoor. Wiggum laughed at its unnecessarily jingling. Glory to the mouse Dan and his companion. We are in the company of. Surya Yang. And Alexandre Tocqueville. Hello. And could you give us a little introduction of yourself if you… Would you? Of course. Um, my name is Surya, I’ve been a magician for ten or twelve years and I practice close-up, stage magic, grand illusion. A little bit of everything. Okay, everything. I could try. What do you mean? Dodo Réa you Alex, go ahead and introduce yourself. I’m not going to say much better if I’ve been doing magic for 18 years, since the age of twelve, likewise, I do close-up stage shows. And this year, it’s a first for me to perform in a regular show like this, in a theater. And it’s a very good experience. What does it change? I think it’s important today to be able to have spectators who come to see a show. Often, when we go to the Table en Table club, people are eating, they are not necessarily receptive and there we can really capture the attention and it is a pleasure to play like that in these conditions. So people come to see a magic show. Even for the club, that’s what it’s about. There is a growing wasteland to bring people to the table and watch the show. I think that there is a future in that and it is still much more enjoyable for them to be able to do tricks that we cannot necessarily do elsewhere. We have fun. Well, it is a great opportunity anyway. He says it several times anyway. But that is another question. What is magic? Can you give us a personal definition of magic? Magic? Magic, the marvelous, the extraordinary, the surprising too. When there are surprises, I find that goes with magic. Fun is important. There you go, for me it’s all positive actually. Often, even when we’re in universes with characters who are sometimes maybe serious, etc. When we add magic, I find that it’s always on the positive side. There’s something I like, I like myself, I like that side. That’s not what I want people to remember from my show. I prefer that people say to themselves, hey, I saw a scene and I forgot about everyday life. I thought of something else and that magic, yes, it illustrates a scene, but that it’s not just the thing, I think that not necessarily much at the stage level. Sometimes it’s a little something that makes the act completely different, that. It’s a real fact. Reality, what is it? Well, oh my, it’s difficult like that. Philosophical? Oh yes, it’s true that there is one. Inside, but I don’t know what reality is in magic, That’s the question. In general anyway. Yes, in general. Uh, for magicians, for magicians. So is it that. Do we continue to have magic or is it that. Does it have to do with that or not? The fact that we always have a fresh perspective, even if we know the tricks? Uh, I still manage to try to see a show without seeing the tricks, try to have perspective to try to have the real magic, the magic, to really have the impression that it flies away, that it disappears, that it does incredible things. There you go. Afterwards, yes, I manage to have real magic and. But then, where is it? And there you are afterward. Do you manage to have magic a. Maybe. There you go, afterward, I don’t know about you, and you, what is real magic for you? You magician. Full of. She’s full of smoke. Do you have a memory related to general fairy magic? In any way? A memory that’s magical in the sense of magic as a whole? Well, I have a good memory of Michelet’s Fismes in 2006, it’s good, so I’m not going to promote the books and I’m off, but it’s very good, it allows you to discover lots of different magic universes and when I came back from the office, but it really gave me a boost. I was already a professional, but it gives you a boost. Oh yeah, I’ve never been, I know, I haven’t been, but I haven’t been there. But I would like to go to Fismes one day. When possible. It’s still possible. Well, that’s difficult. Hey hey! Okay, so that’s it. Ah, that was a great magical memory for you. I don’t agree, OK. Yes, yes. Yes, that’s good with it.
Magicians and also storytellers and also competitions to do at French congresses. Ah, I started by presenting myself in competitions at the beginning and it’s the same, it’s a big challenge to present yourself in front of magicians. You have to, you have to dare to do it. And then after that we finished. Yeah, but that was it, it wasn’t good and all. And that really motivated me to break through, to continue at a good school and even more. Well, yes, and to finish, actually, we talk too much. No, no, no, no, no. We do light interviews . Oh yes, that’s it. And do you have any advice for someone who wants to become a magician? Who wants to become a magician? Well, I would say as advice that magic technique is necessary, you have to take all the basics. But today you have to know how to surround yourself with others, others don’t. We don’t have all the juggling, mime, dance plus a card artist plus everything to be able to do the right act. So magic and other things, yes, in addition, or other areas, yes. And then above all, I tell the children you have to keep your secrets, you have to practice, you have to be patient. Great, there you go. And above all, you have to have fun because if you don’t have fun, there’s no point in doing magic. Oh, but yes. There you go. Magic, above all, is something you have to do. So what? Thank you for coming to see us, it’s a great pleasure and good luck for your journey, your trip. And what is magic for you? So I’ll take as an example. I really liked it and we had young visitors, a group of children, and one child wrote in the guestbook: Magic. But it’s not magic, it’s science, science and in fact magic. For me, magic. What’s interesting is that we touch on all areas: science, technology, skill, manipulation. So sometimes we get asked questions, but magic, does magic exist there? So I try to explain that as long as we present magic as a show, there’s no problem. If we present magic as something real, of course, it’s something else entirely. And what is there, do you have a magical memory about magic? First of all, very close to here, 200 meters away, there is the house that belonged to Robert Buddha’s daughter, and Robert Houdin’s grandson had created a museum, a museum. Robert Wood. So, when I was about fourteen, I visited that. It was the first, one of the first emotions. Well, how to say. Discovery. And then here, there were many, many things, but meetings with many artists and there were many animals among many others. But above all, I will remember it for a long time. It was in 2000, 2000, at the meeting. You certainly know François Normal. Ah yes, that was a great meeting. And that’s a very important memory. Are you talking about this museum? How secret is this museum? We opened in 1998 in a house that is very old, from the 1850s. So it was the desire of the municipality at the time to create a place in homage to Robert Houdin. There were other people who were very important, obviously Georges Proust in Paris, Christian Fechner, the whole team who were at the origin of this great project of the House of Magic in the 1990s. It opened its doors in 98. So that’s it and it’s a great success over the years. How many people here have advice for those who want to become magicians? Being advice is always difficult. But at your place, there were young people who came here for training with the school, for example, discovered that what is, what is important is the exchange. Magic clubs, exchanges with other magicians and above all… How to say? Cultivating yourself, the art of magic, the history of magic, knowing the history of magic well is also important. Oh yes, and especially keeping that, it’s very important. Your personality isn’t necessarily good at the beginning, it’s a bit of a flaw. We learn tricks, there are DVDs, we try to reproduce exactly what another artist does, but then you have to get past that. You really have to maintain your unity. That’s important too. So, do you have a personal definition of reality, of reality? So, isn’t that why we appreciate magic, the stage in general? Well, I’m going to be a little crude, but it is. I have a friend who is a writer, an illustrator who said, “Oh, me, everyday life, reality bores me.” And I think we all need reality. We have to make sure that every day it’s magical. That’s reality. Seeing the good side of things rather than what the person isn’t isn’t easy right now. But for me, well. That’s my definition. But a personal definition and super beautiful. Thank you. . We’ve arrived here. We even thought it would rain. But no. A lot. But we went inside to see an exceptional museum. The Robert Houdin Museum. Yahoo! It moves us. It moves us to see everything that was created in an era in which anything could be created, something that everyone could truly believe in. In magic. In fact, what is magic? We don’t know.