Ask Simon Drake

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Ask Simon Drake

Postby EddWithers on Wed Sep 05, 2007 6:37 pm

Hi Guys,

I am pleased to announce Simon Drake as agreed to answer your questions on TMW. Simon has never answered public questions before, and rarely gives interviews, so this is an amazing opportunity and a real honour.


Here is Simon's Bio -

Simon Drake first dazzled a wide audience, with his own unique style of magic and illusion, in Kate Bush's award winning tour in 1980 for which he co-devised visuals and played seven characters. He has worked across a very wide range, from the legendary Terayama’s Tenjo Sajiki theatre in Italy and in Japan to the Royal Variety Show at the Palladium before HRH The Queen Elizabeth II. He advised Nic Roeg for the film Castaway, with the tricky task of coaching Oliver Reed in sleight of hand and was magic advisor to Harvey Keitel on ‘Fairy Tale, A True Story’. In his two series of the highly acclaimed ‘Secret Cabaret’ for Channel Four, a series which he conceived and starred in, he won an international cult following as one of the most original and shocking illusionists in the world, setting a completely new style of the presentation for magic internationally. He has performed and consulted with a host of names including: Elton John, Phil Collins, Madness, David Gilmour, Madame Tussauds, Kenneth Branagh, Meatloaf, Richard Branson, Steve Miller’s Abracadabra for BBC’s Top of the Pops, Darryl Hall, Bill Wyman, George Harrison, Julian Lennon, Ringo Starr, Dame Edna Everage, Peter Gabriel and Princess Diana. He was the first and so far the only British illusionist to go out live on coast-to-coast American TV in his special ‘Raising Hell’ in which he co-starred with Iron Maiden. The same month he performed with Carl Davis and the Bournemouth Symphony Orchestra. Simon has performed twice as a special guest with The Royal Ballet at The Royal Opera House, Covent Garden and the London Coliseum performing as a virtuoso cameo guest with his own version of The Dancing Cane. He has headlined at festivals and tours in Canada, New Zealand, Europe and in the UK and has had residencies at many of the most prestigious international nightclubs as well as a month as special guest in the exclusive cabaret at The Casino in Monte Carlo, Paris and Dubai. Simon was the magic and effects supervisor to Cameron Mackintosh for the West End production of The Witches of Eastwick.
In 1996 he opened his own 4000 square foot venue ‘Simon Drake’s House of Magic’ in a secret central London location, specialising in light-hearted amputations and decapitations of senior executives and celebrity guests. In 2006 The House of Magic was voted 6th in the top 300 venues in the UK and is now firmly established as the finest venue in the UK for enchanting, mind-blowing, magical entertainment and unrivalled in its atmosphere and attention to detail. Recent consultations have included an acclaimed production of Dr Faustus and Simon was the brains behind making £5 million vanish while it appeared to be still there for the most recent series of the BBC prime time hit ‘Hustle’. In September 2007 Simon released his own edit on DVD of the, now cult, Secret Cabaret and his office was swamped with orders even before the official release date.

http://www.houseofmagic.co.uk

----------

Edd Withers
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Hello

Postby remy on Wed Sep 05, 2007 7:00 pm

Pleased to meet you mister Drake. What is your favorite stage illusion?
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Postby carlos the shadow on Wed Sep 05, 2007 9:25 pm

I loved your effect on WGM where all the swords were placed into your body. I loved the coldeness of the effect . Is this effect marketed?

Also I was supposed to go to your house of magic a few years ago, but I couldn't make it. :cry: Hopefully will soon.

Thanks.
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Postby magicmanpaul on Wed Sep 05, 2007 10:43 pm

Hi Simon,

I've just purchased your Secret Cabaret DVD (brought back many memories!!!). You are obviously busy with the House of Magic but would you ever consider touring a show again?

Many thanks and see you soon at The House of Magic (wedding anniversary present in March!!!)

Cheers

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Postby lozey on Wed Sep 05, 2007 11:55 pm

Hi there Mr Drake

I just got your dvd and I think its fantastic. I love the illusions where you push swords through different parts of your body. I also love the indian needles trick that you performed. On the larger scale, I loved the fact that you included some of the old sideshow-type attractions like the living dismembered hand and the snake woman. Since the old sideshows died out, I don't think we'll ever see the like of these ilusions again.

I wanted to ask about the automaton toys that you used in the cut sequences. I see your name was listed in the credits for these. Did you make these yourself or are they things from your private collection?

Also, is it true that you had an accident with the french guilotine trick?

I'm going to see your show for my birthday in November, so I'll look forward to seeing your show live.

Thanks for Your Time
Lauren
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Postby MitchellStafiej on Thu Sep 06, 2007 1:20 am

Hello Mr. Drake, how do you do?

What would you recommend to a close up magician wanting to move away from the close up aspect and into grand illusions.

Not saying that that's what I want to do.

Mitchell
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Postby Brendon on Thu Sep 06, 2007 9:44 am

Simon,

I'm trying to put an illusion show together at the moment, and mine - like yours - is quite different to what you'd see in any given church hall on a Saturday night.

My show has a story running through it, with a script that's been written by an award winning horror author, and one of the narrators is a well known british movie star.

However, I'm having difficulties in meeting the right people to help me take this show to the next level.

Is there any advice you could give me on meeting producers or theatrical directors, and what has been the general reaction to horror magic in your experience?


Many thanks,



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Postby daleshrimpton on Thu Sep 06, 2007 10:31 am

Hi Simon.
Ive recently re watched Raising hell. ( fast forwarding through much of it, because musicaly, Im no rocker! LOL)
you managed to get quite a bit of press at the time, with the girls from fly production.( i may even have the cuttings somewhere)
was this show fun to do?

Also, I know you advised on witches of eastwick.Im doing the same sometime over the next couple of years.( the productions been put back a while. I dont mind, i get more thinking time :) )
Im thinking of having a razor blade swallow, ( blades and cotton go in the pot on one side of the stage, they exit, on the other side of the stage, via the characters mouth)

whats the best way to persuade the performer, that poping things in their mouths is ok?

( lord most actresses ive met wouldnt have this problem :oops: )


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Re: Hello

Postby Simon Drake on Fri Sep 07, 2007 3:27 pm

remy wrote:Pleased to meet you mister Drake. What is your favorite stage illusion?


Remy: pleased to meet you too. I don’t have a favourite but I would have loved to have seen De Kolta’s Expanding Die, or Dante, Devant or Cardini live. I would also have loved to have met Jarrett and Robert Houdin. I used to really like the man who filled the entire stage with flowers who was on the Daniels show years ago and Moretti’s cardboard box.
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Postby Simon Drake on Fri Sep 07, 2007 3:28 pm

carlos the shadow wrote:I loved your effect on WGM where all the swords were placed into your body. I loved the coldeness of the effect . Is this effect marketed?

Also I was supposed to go to your house of magic a few years ago, but I couldn't make it. :cry: Hopefully will soon.

Thanks.


Carlos the shadow: Thank you Carlos. No my version is not marketed. I built that swords effect myself and all it entailed. It was not an easy thing to make in many ways and took a lot of trial and error, especially error. Shame you couldn’t make it to the House of Magic hope you can come another time and I will look out for you and your shadow.
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Postby Simon Drake on Fri Sep 07, 2007 3:30 pm

magicmanpaul wrote:Hi Simon,

I've just purchased your Secret Cabaret DVD (brought back many memories!!!). You are obviously busy with the House of Magic but would you ever consider touring a show again?

Many thanks and see you soon at The House of Magic (wedding anniversary present in March!!!)

Cheers

Paul


Magicmanpaul: No sorry it’s unlikely I will tour again. I really only perform in my own theatre now. Look forward to seeing you here in March. Although The House of Magic is mainly about the show, there is so much more that goes on during the six hour evenings that we put on.
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Postby Simon Drake on Fri Sep 07, 2007 3:31 pm

lozey wrote:Hi there Mr Drake

I just got your dvd and I think its fantastic. I love the illusions where you push swords through different parts of your body. I also love the indian needles trick that you performed. On the larger scale, I loved the fact that you included some of the old sideshow-type attractions like the living dismembered hand and the snake woman. Since the old sideshows died out, I don't think we'll ever see the like of these ilusions again.

I wanted to ask about the automaton toys that you used in the cut sequences. I see your name was listed in the credits for these. Did you make these yourself or are they things from your private collection?

Also, is it true that you had an accident with the french guilotine trick?

I'm going to see your show for my birthday in November, so I'll look forward to seeing your show live.

Thanks for Your Time
Lauren


Lozey: Thank you Lauren I am very happy to hear that you enjoyed the DVD and delighted you mentioned the automata. Yes some are from my collection and many were filmed from a few other collections. Most are the so-called ‘Working Model’ type of automata, which are not strictly automata as they are electric and not clockwork and mostly English and built mid last century. I am fascinated with them. During filming there was a very rare Peppers Ghost model I saw that I badly wanted to buy but the collector couldn’t part with it, so I spent a month building a similar version myself. I have now built 6 models with different themes in about 7 months and each one got more complex than the last with many more movements each time. They are all on show in my venue apart from one of a young Houdini’s ghost appearing before his elderly widow which was a gift for an old friend (a female singer who once sang a song about Houdini). This model was a further application of the peppers ghost idea. The last one I finished was an ancient Egyptian tomb and took 2 months and I do long days of between 9 to 16 hours a day. And that’s when we haven’t got shows to do because everything gets packed up then. When I have done enough I may exibit in the west end and will certainly be featured on dvd at some point. If you make it here in November please make yourself known to my staff and I will happily show you them myself at some point during the evening.

Yes I cracked a couple of ribs on the guillotine, nothing that serious but it hurt when I laughed for about 2 weeks and if you ever crack a rib DON’T even think of sneezing.
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Postby Simon Drake on Fri Sep 07, 2007 3:32 pm

MitchellStafiej wrote:Hello Mr. Drake, how do you do?

What would you recommend to a close up magician wanting to move away from the close up aspect and into grand illusions.

Not saying that that's what I want to do.

Mitchell


Mitchellstafiej: Hello Mitchell, I do well thanks and hope you do too. Christ! It’s a whole other world and if you are not thinking of doing it I am not going to go into that much but learning stagecraft and all the many things you need to know to do good stage work is a whole other thing from close up work. It’s like a plasterer becoming a plumber. Both still in the building industry but a whole new set of skills, equipment and conditions required.
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Postby Simon Drake on Fri Sep 07, 2007 3:32 pm

Brendon wrote:Simon,

I'm trying to put an illusion show together at the moment, and mine - like yours - is quite different to what you'd see in any given church hall on a Saturday night.

My show has a story running through it, with a script that's been written by an award winning horror author, and one of the narrators is a well known british movie star.

However, I'm having difficulties in meeting the right people to help me take this show to the next level.

Is there any advice you could give me on meeting producers or theatrical directors, and what has been the general reaction to horror magic in your experience?


Many thanks,



Brendon.


Brendon: Interesting. I have a script somewhere of Lafayette’s magic in story form and have done the same myself although never took it to conclusion. Look up Lafayette as he was a fascinating man, if not slightly odd. I gave Jim Steinmeyer my script and together we plundered effects from it for Secret Cabaret, like the laser bending and the man in a bottle at the end of series one. Your first obstacle is getting a reputable producer to take it on and he will toddle off and raise the revenue. It’s after that you get a director normally. However if you can get a ‘star’ director behind you, that may bring in the other elements. It’s a long slog and you have to be persistent and be prepared for rejection. However if you believe in it and it’s a good script then you have a chance. Normally these things start in provincial theatres where rents are cheaper and if it works, more money is raised and you may (and it’s a BIG ‘may’) get it to the west end. So you start with a simple clear script which you send to theatre producers which are not hard to find addresses for. Make sure your script is registered with the writers guild to protect yourself as much as is possible in this age of rampant plagiarism. I wish you all the best with it and remember if you believe in it, it can happen.


My reaction to horror magic? If it’s done well and with style and sometimes humour people love it. People love to be scared and thrilled as it brings out endorphins and adrenaline in their bodies, so it’s like a natural high in a way. If it’s done badly and we have seen many examples of that in the last few years, it’s embarrassing and sad.
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Postby Simon Drake on Fri Sep 07, 2007 3:33 pm

daleshrimpton wrote:Hi Simon.
Ive recently re watched Raising hell. ( fast forwarding through much of it, because musicaly, Im no rocker! LOL)
you managed to get quite a bit of press at the time, with the girls from fly production.( i may even have the cuttings somewhere)
was this show fun to do?

Also, I know you advised on witches of eastwick.Im doing the same sometime over the next couple of years.( the productions been put back a while. I dont mind, i get more thinking time :) )
Im thinking of having a razor blade swallow, ( blades and cotton go in the pot on one side of the stage, they exit, on the other side of the stage, via the characters mouth)

whats the best way to persuade the performer, that poping things in their mouths is ok?

( lord most actresses ive met wouldnt have this problem :oops: )


D.


Dale Shrimpton: Hello Dale, was raising Hell fun to do? Yes it was mostly great fun but very hard work as I was a co-producer too. I had a really good relationship with the main producer and the band and it all went well. There was however one huge disappointment for me. I had spent months wading thru about 200 heavy metal CDs Tommy Vance lent me and found some incredible pieces of Metallica, Joe Satriani and Marty Freedman etc etc and spent weeks rehearsing with full team in a warehouse to that music only to find that the producer who was in charge of music clearances at the very last minute (literally overnight) dubbed f***ing library rock music over many of my pieces. I had accepted their warning that not all the music would be cleared but they had made out it would only be a couple of routines. They just wanted to save money and the egg ended up on their faces as it affected the quality of the work at the end of the day. If you look at the cremation as an example you can see us all moving slowly in a deliberate way but the music is fast and naff. It totally spoiled the experience for me as music is vital for atmosphere and many of my routines are choreographed to it. So the answer to your question is yes and no.


Re actors co-operation with magic. It’s a minefield of diplomacy and tact. Gentle persuasion is the way and a good director is a huge ally in this. However, please be warned! You will not have any control once they get on that stage and they can screw up which means the trick can be revealed. They may want to get it right but if they are the type of actor who wants to ‘keep it spontaneous’ or worse still a ‘method’ actor you may well regret ever getting involved. Plus the extent of pure drudgery professional magicians are prepared to go thru in order to perfect an effect is not usually the case with most actors, whatever assurances they may give. I say ‘most’ as there are a few who know how much mind-numbingly repetitive slog it takes to be expert at a craft. There are also a lot of other egos flying around in theatrical ventures and it can be very difficult to get ‘your idea’ on that stage as you would like to see it. I rarely take on these projects for these reasons. However break a leg but not a thread and I do hope it goes well for you.
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