Duncan Trillo: Hi Elwood,

Great question and one that I'll enjoy trying to answer.

"Do you feel that the cult of Blaine, and "Nu-Magic" (Monkey Magic, etc) is killing traditional manip acts off, or do you sense a return to the physical skill and dexterity in Magic that was once commonplace in the Music Hall and Vaudeville era?"

Lots of manip acts probably deserve to be killed off! Some of the worst magicians I've ever seen have been silent acts devoid of personality or anything else. The reverse has also been true - for me some of the very best have been manipulators: Pollock, Cardini, Ross, Hart, McBride, Nielsen, Burton, early Copperfield...

Having said that I really do think that David Blaine coming onto the scene a few years ago was the best thing that could have possibly happened in the UK to get things going; magic really had hit an all-time low. Traditional manipulation acts never worked that well on television anyway, magic is so much better live, up close in a night club. There's a lot more going on in Europe. I'm not sure if an opportunity for visual acts to present their work will ever come back in the UK, we seem to be stuck with a pub/club (club as in disco) culture. Most of my professional work has always been either in Europe, Japan or on cruise ships - three markets that are still solid.

"Although what you perform is Magic in the sense of the impossible, to many younger Magicians I suspect that the time and dedication needed to develop the skills required by this branch of the Art are what pushes them towards the Blaine style of quick tricks and minimal presentation."

I think you're right. When I grew up it was seeing Johnny Hart's card manips or Finn Jon's floating ball that did it for me, now young magicians see Blaine so take that route. Like any skill learning to back palm a deck of cards takes dedication but you can practice in front of the TV if you want, it's not too bad, unlike a juggler - now those guys really have to work hard.

"However, there may come a time when this youngest generation of Magicians grow tired of the same old, same old, and come back around to the old way of thinking."

Yep - sleight of hand magic, be it close-up or on stage, will out last the latest novelty long term - put Channing Pollock, as he was, on stage at any venue in the world today and he'd still storm it.

"So, do you see yourself (and your contemporary manip artistes) as the last in line, a refreshing alternative or (playing devils's advocate) the Magic equivalent of self-indulgent Jazz music?!"

The last in a line? Self indulgent? Hope not! No not at all really... magic is ever evolving and a good manip act can still be contemporary if it wants to be.

Quality in anything lasts. Look at music. How would it be if all we listened to was whatever was "the latest" in the top ten? Instead people listen to Blues, Classical, Opera, Country, Dance, Disco, Rock-n-Roll, Folk, Garage, Psychedelic, Glam Rock, House, Techno, Indie/Brit Pop, Instrumental, Jazz, Latin, New Age, Pop, Punk, R&B, Soul, Rap, Hip-Hop, Reggae, Ska, Rock in all its forms, Movie Soundtracks, Theatre Soundtracks, and so on! And we are all better off for it.

In other words fashions come and go but if you master magic in any form then so long as you are good a bright future awaits!

Thanks again for the questions Elwood,

All the best,

Duncan

Elwood: "In other words fashions come and go but if you master magic in any form then so long as you are good a bright future awaits!"

There's a very important point being made here, that I shouldn't have to point out, but will just in case anyone misses it.

Do what feels right to you, and do it until you are good at it.

Forget fashion, forget what your mates think, do what you do best, and do only that.

Sometimes, you might be best at something you don't enjoy as much as something in which you are only good, but it's up to you to decide what route to take at the crossroads this realisation presents you with.

As far as the bright future, yes, there is always a future for the very good, but as the late great Barry Sheene said, "Don't wait for your ship to come in - swim out and meet it!"

Mouser: The issue of exposure continue to be an active topic for magicians. I must admit that I was particularly impressed by Peter Marucci’s comments about the damage that poor magicians make far outweighing the damage of public exposure programmes. What in your opinion is the greatest threat to “sound magic”?

Duncan Trillo: Hi Mouser,

I’m not 100% sure if I understand your question, but I’ll have a go! Without the secret there is no magic. Magic can also be exposed through poor performance but that for me is a separate argument.

It’s wrong to drop litter, but sometimes when someone puts a sweet wrapper in their pocket to take home it may fall out onto the street by mistake… but you wouldn’t call that person a “litter bug” – it was a mistake.

"What in your opinion is the greatest threat to “sound magic”?"

Magic exposed on TV.

All the best,

Duncan

Sean: Hi Duncan

I know that you've had one TV appearance (if only your hands) in the Va Va Voom advert. Did you enjoy doing that? I guess it didn't take too long though I could be wrong! Have you had any other TV time? Or connections with other magic programs?

Duncan Trillo: Hi Sean,

The Va Va Voom ad was fun to do. The actual card work was recorded in about 10-15 minutes but I was in the studio for a couple of hours. I actually like the ad as well, and magic is seen as being "va va voom" or cool. I've done a number of commercials involving card manipulation, four I think.

TV wise I've done quite a lot over the years, normally as a guest with a spot of silent magic. Wayne Dobson's series was good to do, and lots of odds and ends about 30 spots, plus some TV in Japan. Really though, unless you are talking, television is pretty limited for a silent act.

All the best,

Duncan

Sean: A question I like to see all the guests answer, even though its a very old one , is; How exactly did you get started in magic? Who were your most major influences? Was there any one moment when you just got interested or did it develop over time?

Duncan Trillo: Hi,

My actual interest, as far as I can remember, was sparked by seeing a boy in the school play ground when I was about 6 showing some other boys some tricks. A plastic sliding coin case, the Chinese wallet and a trick with three coloured luggage tags. He kept the secret to himself and I really wanted to work it out!

I got started by putting together a silent act and performing it during a show that my local magic club, based in Southampton, were putting on. I was about 16 and rather than use the organist and drummer as everyone else did I recorded 'Shaft' back to back on a cassette and got someone to hold a mike to the cassette player! Fantastic!!

Major influences for me were Finn Jon's floating ball routine, Johnny Hart's card work, Victor Burnett’s fire act and FISM world champion Richard Ross.

There have been periods in my life when I've "switched off" from the magic - not a bad thing to do every so often I guess!

All the best,

Duncan