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#MOVIE MAGIC MEANING SERIES#
(Stay for the credits there's a series of photos and videos that reflect the way the show sends a bit of itself out into the world, out into the places where its specific illusions don't persist.) But the feeling was entirely genuine, in that it activated a part of me that craved that moment of being seen and identified and recognized as myself, and that's what you see in the often emotional reactions of DelGaudio's audience in the film. The things you're seeing aren't literally what they seem, in the same way a body is not literally being sawed in half in another show, or a rabbit isn't really spontaneously appearing in a hat. You'll see that feeling in the climax of the show, which starts about 15 minutes from the end of the film, and I can honestly, truly tell you it felt just like that to me when I saw it. It's that the unreal is used to create the super-real: an experience you know not to take literally creates a truthful feeling of connectedness in an audience.
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The place of magic in In & Of Itself is not to amaze for amazement's sake, although I was certainly stunned by some of what happened. It's about seeing people and being seen by them, and about how your own narrative of who you are - I AM a novelist, I AM a gamechanger - collides with stories about who you are that you didn't get to write. And with magic, what are your choices once you've seen something flashy other than to either forget about it or fuss over how it was done? Once it's over, what can you do with it, with the fact of it, other than try to ruin it for yourself? What's special about this magic relative to a lot of lesser presentations is that it's about something. But once you see that a couple of times, the effect quickly fades. One of the traps of watching magic is that it can be like watching fireworks: At the beginning, there's the startle that comes from just being reminded that a particular thing - explosions, or card tricks - can be really impressive and grand. (The film is assembled from several live performances, so you'll glimpse a handful of the many famous people who made their way into the theater at some point or another, but no attention is drawn to them unless you're looking for it.) So I don't want to tell you too much about the elephant, or the brick, or the boat, or the moment in the film when you can see a familiar audience member's hand shaking with emotion. But I knew essentially nothing when I first saw it except that it was kind of magic-adjacent and several people I trusted had recommended it.
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I don't mean to stall with the basics I want to describe the show to you, because of how badly I want to persuade you to watch the film. I know both sequences have earthly explanations, but I don't need them. I don't want people to tell me their guesses. I have tried not to make too many guesses. I don't understand - at all - how either was done. I might describe it as a series of vignettes, punctuated by some basic sleight-of-hand, some card tricks, and two of the most extraordinary audience-involved sequences I ever expect to see. Those things are all technically true, but they're desperately incomplete. You'll hear In & Of Itself referred to as conceptual magic or interactive theater or a one-man show. well, he's a storyteller, and he's a performer, and he's a magician. And they've managed to do something that's always hard with filmed theater and seemed like it was going to be almost impossible here: They've made this version feel very, very much the way one of the most powerful theatrical experiences I've ever had felt when I was in the room.ĭelGaudio is. Now, a filmed adaptation is available on Hulu. I ultimately saw the show one more time with a friend in January 2018 (that time, I believe I chose "I AM a gamechanger" or something), because I couldn't bear that no one I was close to had seen it and could talk about it with me.