I have a bunch of islands in the Bahamas that we made into this amazing, magical place. And we have these birds; they're trained to do certain things on the island, which is awesome. These toucans had a baby toucan, and the baby toucan, every hour that you'd look at this toucan, he would change.
You lose your sense of wonder the more you learn, right? When you go to film school and learn about moviemaking, you go to see movies and then only see where the lights are, where the cuts are, watching it from a technical basis, nodding your head, "Oh, that was good." The feeling of surprise, the feeling of being transported is further away.
I'm really happy that I had the foundations of knowing where I came from.
I see people's need to dream, people's need to escape - you see it! That's why people come to comedy shows, that's why they come to your movies ... We're so needed in this world. Not as much as medicine , but to dream for a while.
I wrote an op-ed piece in The New York Times about the amazing effect of shared wonder - how I have an audience filled with people who you'd think would hate each other, people from every religious category, all at the same show at the same time. And it's an amazing phenomenon to watch this shared sense of wonder, where these people who really don't like each other - for good and bad reasons, reasons that make sense and that don't make sense - are in the same room, experiencing this unification.
[Producers] took me to Chicago at 18 to star in a show that ran for almost a year. And that's when my parents said, "Okay, I guess you can quit Fordham." Of course, when that show closed, as you can imagine, I came to New York and starved for years, but it's never an easy road.
To make [parents] happy, I went to Fordham University for three weeks, while at the same time running ads in Variety, "magician-actor David Copperfield."
Later on, towards the end of their lives, I thanked her. I said, "Mom, you were really tough." She said, "I wasn't tough! I always believed in you."
My father kind of encouraged me through that. Exactly,[work] not as an actor, obviously, but as someone in show business that had some success. He told me to live the impossible. "Live the impossible!"
Tommy Chong connects to the pipe a lot.
When the time came to say, "Mom, I want to do this as a job," it was brutal. She was really against it. There were screaming matches. Some people are shut down by that and get defeated by it, and other people are empowered by the negativity. My father kind of encouraged me through that.
I invented magic stuff; it came very easily. Now, I sucked at everything else, but I was good at magic as a kid.
I was published in Tarbell Course in Magic when I was 12.
I was teaching magic at NYU when I was 16.
When I started doing magic as a kid, my parents had no problem.
My father wanted to be an actor, dreamed about being an actor, but he gave it up because my mom and his family told him, "You're never going to make it; it's too tough out there."
My mother was really loving and wonderful and tough as hell.
I got to watch Frank Capra, in his eighties, in action. You read all the stories about Frank Capra fighting with the head of Columbia, Harry Cohn, "It's my way or the highway." I got to watch that. He lambasted me, "You cannot do this. You will fail." Finally, after another hour of conversation, I convinced him to help me write the speech.
I went to visit Frank Capra, one of my idols, and did a kind of Judd Apatow interview with him. I said, "I'd like the Statue of Liberty to disappear, but I want to do it as a lesson in freedom, how valuable freedom is and what the world would be like without liberty." And Frank Capra looked at me and said, "David, I love your idea, but here's what you're going to do. You're going to try and it's not going to work; it's not going to disappear." And I said, "Mr. Capra, I can't do that."
Everyone was talking about having airplanes disappear. And I said, "Wait, wait, wait. That's what you like? I'd tell you a story about something like my girlfriend leaving me, and the magic was really hard. The airplane thing was comparatively easy, and people liked that thing?" I realized at that moment, the power of the simple idea.
For one of my specials, I said, "I'm going to make an airplane disappear." Okay! And the next day, everything went crazy - it was like breaking the internet before the internet.
I'm trying to change theater, in my own way - not just magic. I say that humbly, because I'm learning every single day. I do 15 shows a week, and every single audience I have is like a test screening for you, when you listen and go, "Really? They laughed at that?" All over the stage I have lines, written onstage, that I'm changing every single day.
I'm a big fan of the Pixar movies, and Ed Catmull, who wrote a book about his experiences producing them, talks about how it takes three or four years to get it right.
The more educated you get, the better shot you have to get it right, but if you're really trying something different, it's a challenge every time.
I'm inventing new principles. The audience has a point of view that no one can predict.
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