The Scot: Hi Duncan, thanks for taking the time to answer our questions.

I was interested to know how much practise you put into your magic, say per day?

How do you practise, in front of a mirror? video camera? or in front of family friends?

As the saying goes 'practise makes perfect', how do you know when you've 'practised' enough for the routine to be 'perfect'?

Thanks in advance.

Duncan Trillo: Hi Kevin,

Good question. At the moment I have a deck of manipulation cards by the computer and do a few productions when waiting for things to load or whatever (trouble is I've just bought a new Dell and it is so fast I've got no practise time anymore!).

For actual performance practise I've used a mirror and a video camera to check moves in the past but these days I only have a quick run through occasionally. To be frank I don’t really practise anymore as every show is practise in itself.

The best advise re practise is to get a booking where you have to do 4 - 6 shows a day for 6 months such as in a Theme Park at home or abroad (there are 1,000's world-wide).

All the best,

Duncan

The Scot: Hi again, just wondering how you 'went about' going pro, and what advice you would give to a fellow magician wanting to make it in the magic industry.

Did you have a back up plan if magic failed for you? If so what?

Thanks again,

Duncan Trillo: Hi Kevin,

I worked in Hamleys magic department in London for 18 months when I started out. It was a great way to practise, to get rid of any nerves, to feel confident about my own abilities and so on. That's when I did all my real practise come to think of it. I then went back to my parents house in Hampshire and put together an act with doves, cards and fire, wrote letters to agents (advertising in the back of 'The Stage') and got my first week's bookings in Torquay, that same agent booked me for a Summer Season and when that ended I auditioned for a cruise and got that and so it all went on.

I never had a back-up plan, but if you can have one then so much the better.

Good luck with it all.

Duncan

The Scot: I was just wondering if you have any tips/pointers for introducing original ideas/concepts into magic acts?

Have you found a way to come up with original effects, which haven't been seen before? If so are you willing to give us a taster of how?

Thanks in advance.

Duncan Trillo: Hi Kevin,

Another good question, but one that can't easily be answered in a few lines.

I would say start with the effect in mind and then set about working out a method. I invent all the time and have notes everywhere but only a few ideas ever actually get made. Following through is as important as the idea itself - as the guys who sent the first man to the moon know too.

Yesterday when handling some cards I came up with this: Someone takes a card and signs it. It is handed back to the magician who passes it through his hand, when it comes out the other side all the ink has "smudged" yet the card is dry and the signature is intact. They can keep the card. Now the method... so far off the top of my head the "out to lunch" principle could be used but that's not good enough (and there we have it - another one for the note book!)

The idea for the above was sparked by an ad I'd seen with a card that was half blue and half red on a magic banner ad somewhere.

There are logical processes that can be used to invent, I think that there are a few books on the subject in relation to magic too; maybe someone can help. When it comes to illusion ideas I like to sit down with a blank sheet of paper and a pen and just see what happens, much as an author does.

All the best,

Duncan

Rich: Hi Duncan, and a big thank you for your visit here.

I've seen your stunning act on a couple of occasions at the Magic Circle, and I've noticed that although you perform traditional effects such as card manipulations and thimbles, you wear what looks to be a Japanese/Chinese style costume and an equally 'ethnic' looking pillar and box for a stand. Has your visual style always been like this, and if so, what made you stray away from the stereotypical image of the classical magician?

You are also one of only two magicians I've ever seen performing the Dancing Hanky routine (which for me and many others is the highlight of the act), so what attracted you to this rather unusual and unheard of item?

Thank you in advance

Duncan Trillo: Hi Rich,

Really the outfit came about because my wife, Keiko, is Japanese and we perform some illusions together, so I wanted to tie in the look with hers. I've been through lots of different outfits over the years... from a black velvet suit(!) or tails, to black jeans and black sweat shirt (and all sorts in between!). I'm thinking of changing the pillar to a darker one actually - I've gone off the white(!)

Re the Dancing hanky I think the fact that as a silent magician it gave me something to 'bounce off' during the show was why I worked on the routine. It gives me something to react too as it dances around, it's magical. The same with the diminishing cards. To a lay audience who have never seen cards 'shrink' they are funny - this allows me to 'play' and 'connect' with the audience. For a lay audience, live, nearly all magic is fresh and new.

I know you are really into silent magic so best of luck with it all,

Duncan

The Scot: Hi Duncan, I was wondering if your family and friends were supportive when you decided to the step from 'hobby' to 'profession'. Did anyone give you any advice on being successful?

Were your parents disappointed, or thought your heads were in the clouds when you decided to make a living out of magic?

Thanks for taking time out to visit us here at Magic Bunny.

Duncan Trillo: Hi Kevin,

My parents would have preferred it if I'd worked harder at school and taken a more normal career path I am sure. Now they've had long enough to get used to it I think they quite like it!

Magic is about more than just "doing tricks" - for me being self employed and, as far as is possible, free of the system, has always been just as important as the magic.

All the best,

Duncan