NIGEL SHELTON

Are you where you want to be?

It seems that you have reached the very pinnacle in the art of mentalism, and so may I ask, what are your next long-term plans in this role?

MAX MAVEN

An interesting first question!

I hardly think I've reached the pinnacle of anything in my life, but I continue to journey upward.

The theater show that I am currently doing is a major move forward in my work. (In many ways, I think of this as a show that took thirty years to write.) So, my future plans include finding opportunities to mount this show in other venues.

Each New Year's Eve, I make the same resolution: "More of the same, only better." I think that covers my long-term plans.

GARY SCOTT

Why Mentalism?

What drew you to magic and your chosen field of mentalism?

MAX MAVEN

I think I was drawn to mentalism because it speaks to my personal interests. As much as I enjoy watching performers whose work is centered on the physical, I have a love of language and conceptual play, and thus I choose to explore that in my own work.

I should mention that there is a lot of physical detail in my work; blocking and choreography are key ingredients. But the nature of mentalism -- at least my version of mentalism -- speaks directly to me. And I figure, if it appeals to me, not only will I enjoy doing it but, in theory, so will my audiences.

GARY SCOTT

Influences

As a close-up worker my influences are Dai Vernon, Larry Jennings, Ron Bauer, Daryl, Tommy Wonder and yourself.

I would love to hear who your influences in magic are, past and present, and how they have influenced your past and present work.

MAX MAVEN

Regarding a list of influences, it's difficult to narrow it down to a manageable size. On a certain level, any good performer's work -- in or out of magic -- has influenced me. (For that matter, sometimes one can learn a lot from watching bad performers...)

When I began studying magic, I did not have contact with other magicians, so my earliest influences were via books. An obvious influence was Annemann (although, as I have stated in the past, his value to me really became useful when I reached the point where I could disagree with him).

As time went on, I was fortunate in getting to know some remarkable magicians. I met Jay Marshall forty years ago, and learned more about my profession from Jay than from any other source. I was lucky to develop a close relationship with Dai Vernon during the last fifteen or so years of his life, and his impact on my development was profound.

In the specific field of mentalism, I learned a great deal from Maurice Fogel and Chan Canasta. Fogel was a friend, who gave me some excellent advice during many splendid private conversations. I never met Canasta, but did have the opportunity to see him perform live once, and it was a revelation.

I could list so many more, but I'll stop here.

SAM X

Prism

It is safe to say that the book - Prism - has become some what of a phenomenon and a must have for every magician and mentalist. I personally have found the little "touches" that you add to the routines in the book very helpful whether performing mentalism or not.

When you were first writing the 5 booklets did you ever think that it would have such a great success and become so influential in today’s magic community?

MAX MAVEN

Nope. I was just trying to express some ideas, and share some things I'd developed.