Welcome to Think, Feel, CUT.
Here’s the starting point:
I wanted to come up with new ways to cut to any four of a kind freelynamed by the spectator. Using no difficult methods and with just a borrowed, shuffled deck. And I didn’t want it to look like a demonstration of ability of any sort, it had to look like realmagic. To do that, I explored the theory, the psychology, the subtleties that can turn simple methods into memorable pieces of magic. It’s a three-year journey that I’m now sharing with you.
Here’s what you’ll find.
– In the hands work.
Routines that can be done entirely in the hands. You don’t need a table or any kind of surface to perform these two routines:
Simple cut. This is where it all began. A clean and direct four of a kind cutting sequence where you do not only locate the four aces but also remember the order of the cards in the deck.
Jazz cut. The deck is shuffled by the audience. You take it back and immediately start cutting to any four of a kind they name. The cards are never on top, never on the bottom, you use no breaks. This is incredibly fun to perform and fools magicians.
– Table work.
You’ll get three different moves that allow you to seemingly cut to any card. They are free and open, and super easy to execute. Included is my work on the Cross Cut force, with some touches and subtleties that completely changed the way I do it. In addition to the three moves, you’ll also get three routines:
Delayed cut. A four of a kind cutting sequence where you play with expectations and the delay in between productions and revelations.
Packets cut. A cutting sequence that revolves entirely around the flow and the framing of your actions. It’s SO deceptive.
Matching cards. The spectator handles the deck the whole time, yet you’re able to locate the three mates to a card he’s been hiding from the beginning.
The theory is crucial in this project. You’ll find an entire section dedicated to it, as well as a constant focus on it. Here are some of the things I’ll cover: effect and method; how to create powerful magic with very few sleights; how to frame your actions in a way that makes them believable and memorable; how to use the attitude to make your sleights deceptive; making mistakes and mistaking on purpose… and much more!