Alakazam - The Director's Cut

The Director’s Cut

© Simon Shaw

Contents What You Get ................................................................................................... 4 The Main Effect. The Directors Cut .................................................................... 5 The Effect.......................................................................................................................... 5 The Peek ........................................................................................................................... 5 The Reveal ........................................................................................................................ 6

The Workings ................................................................................................... 6 The Stack .......................................................................................................................... 6 False Shuffles and Cuts ....................................................................................................... 7 The Choice of Films............................................................................................................. 7 Alternative handling............................................................................................................ 7

Bonus Effect 1. DeMille’s Drawing Duplication ................................................... 8 Overview ........................................................................................................................... 8 The Effect.......................................................................................................................... 8 Additional thoughts............................................................................................................. 9

Bonus Effect 2. Polanski’s Prediction............................................................... 11 The Effect........................................................................................................................ 11 The Method ..................................................................................................................... 11 Further thoughts. ............................................................................................................. 12

Bonus Effect 3. Coppola’s Calling .................................................................... 12 Overview ......................................................................................................................... 12 The Effect........................................................................................................................ 12

Bonus Effect 4. Hitchcock’s Mental Push Out ................................................... 14 Overview ......................................................................................................................... 14 The Effect........................................................................................................................ 14 Alternative Presentation .................................................................................................... 14

Revealing The Films (Presentational ideas) ..................................................... 16 Overview ......................................................................................................................... 16 Where were you when you first saw the film?....................................................................... 16 The Classic Reveal of a film ............................................................................................... 16 Specific Film Information ................................................................................................... 17 (A) Alien....................................................................................................................... 17 (B) Bambi ..................................................................................................................... 17 (C) Casablanca.............................................................................................................. 17 (D) Die Hard ................................................................................................................. 18 (E) The Elephant Man..................................................................................................... 18 (F) A Fistful of Dollars .................................................................................................... 18 (G) The Godfather ......................................................................................................... 19 (H) Halloween ............................................................................................................... 19 (I) I, Robot ................................................................................................................... 19 (J) Jaws........................................................................................................................ 20 (K) King Kong ............................................................................................................... 20 (L) The Life of Brian ....................................................................................................... 20 (M) Monsters Inc. .......................................................................................................... 21 (N) Notting Hill .............................................................................................................. 21 (O) Octopussy ............................................................................................................... 21 (P) Pretty Woman .......................................................................................................... 22 (Q) The African Queen.................................................................................................... 22 (R) Rain Man................................................................................................................. 22 (S) The Silence of the Lambs .......................................................................................... 23 (T) Top Gun .................................................................................................................. 23 (U) Unforgiven .............................................................................................................. 23 (V) Vertigo.................................................................................................................... 24 (W) It’s a Wonderful Life................................................................................................. 24 (X) Taxi Driver .............................................................................................................. 24 (Y) The Bodyguard......................................................................................................... 25 (Z) The Wizard of Oz...................................................................................................... 25

The Film Check List......................................................................................... 27 Credits ......................................................................................................... 28

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WHAT YOU GET A deck of 26 Cards, blank on one side and with a poster of a well known film on the other side. These cards are arranged in a stack so that if you know the film on one card you will always know the name of the film on the next card down (or for that matter the previous card). Using a Stack is a well known principle in Mentalism (and indeed magic). The main effect that can be performed with these cards is strongly influenced on a combination of Richard Osterlind’s ODDS (Osterlinds Drawing Duplication System) and Peter Nardi’s Stealth Assassin Wallet effect called “Hollywood or Bust”. The cards can be false shuffled or genuinely cut any number of times before being spread and offered to the spectator for a free selection. As long as the cards are cut at the point of selection then the only work involved is peeking the bottom card as it will always lead you to the card selected by the spectator. The fact that the backs are blank prove that cards are not marked. I never draw attention to this fact as I feel the spectators are quite capable of coming to this conclusion themselves. The strength of this effect lies in the amount of detail that can be revealed about the selected film. This is one reason why “Hollywood or Bust” has always been one of my favourite effects although you do need a knowledge of current films which I know puts some people off. With the Director’s Cut you not only have a sure-fire hit every time but there are numerous other effects you can perform with the cards that allow for a whole routine to be put together.

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THE MAIN EFFECT. THE DIRECTORS CUT The Effect For many years now there have been experiments into mind reading carried out at Duke University where they found out that an increase in positive results can be achieved when the sender is able to strongly visualise that which they are trying to transmit. They found that one of the things that gives the best results are Movies. Films are something that can genuinely bring out a strong emotion in the viewer. Up to this point I will have the cards in my hands and will be slowly shuffling them, in actuality I am just cutting the cards repeatedly, but if done right it will appear like a slow overhand shuffle. At no point will I be looking at the cards, so from the spectators point of view they are just being casually mixed. I have a deck of 30 or 40 cards, and on each card there is a poster from a different film. The cards are spread and shown to the spectators. There is a mixture of old and new films. Some could be considered classics whilst others are perhaps not quite as well known, but as you can see they are all genuinely different. The cards are turned back over, and once again the cards are given a few cuts, or if you prefer any false shuffle that maintains stack sequence. In a moment I will ask you to randomly take one. If it is a film you have not seen or a film you feel you won’t be able to visualise then you can put it back and take another one. Does that sound fair? Spread the cards and let the spectator freely take one. Once they have one, move your hands apart so you have the top half in the right hand and the bottom half in the left hand. As you do this ask the spectator to look at the card they selected and decide if it is a film they know. You can, if you wish, slightly turn your back at this point, but as you ask them to look at their card bring your hands back together replacing the left hand cards on top of the right hands cards. All you need to do now is to glimpse the bottom card, but this isn’t yet the time to do that. Patience my friend. Is that a film you have seen and are happy to think about? If you don’t like it we can put it back and you can take another one. If they don’t like the selected film just have them drop the card back on top of the deck and repeat the selection process. If this happens, it does in many ways enhance the effect as it not only confirms they genuinely have a free choice, but it also highlights that you could only do this if it is a film they know well. Once they have a movie they are happy with, have them place it face down between their two hands. I usually mime this with the remainder of the deck and my own hands, again the glimpse doesn’t take place yet. This miming should be done with the cards face down as you need to iterate to them that they place their own card FACE DOWN in their hands. This serves two purposes. One is that their card is now totally hidden from your view and two, it puts you in a nice position for peeking your key card that should now be on the bottom of the deck you that hold in your hand. The Peek The peek I use is an idea by Marc Spelmann and Peter Nardi. The cards are held in the left hand in a loose dealing position. The action is to adjust the spectators hands so that they hold them slightly higher. Turn the right and left hand over simultaneously so that they are both face down and then use the back of the hands to push the spectators hands up slightly (at the same time asking them to hold their hands up a little). It is

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quite natural to look at their hands at this point and consequently quite easy to glimpse one end of the bottom card of the deck. The work is now done. The rest is fun. Naturally any peek could be used. Richard Osterlind has an excellent one he uses with Breakthrough Card System (BCS) effects that involve putting the cards back into a slightly modified card box (see Mind Mysteries vol 2). Another way to go would be to use “The Glimpse” by Marc Spelmann. The Reveal The reveal of the selected Movie is the fun part of this effect and I am sure everyone who performs the Director’s Cut will have their own personal ways of doing it. The real power of any mentalist is, I believe down to their acting skills. The standard way to go is the usual, “imagine a big white screen in front of you, imagine seeing on that screen a medley of scenes from the film…” etc. There is nothing wrong with this approach, but it should be remembered that each film has such a lot of unique information about it that if performed well the mentalist can genuinely appear to be delving into the mind of the spectator. I have also found that by picking out snippets of information almost as if they are clues as to what the film might be, sometimes another spectator who hasn’t seen the selected movie will actually guess the name of the film before you do. This is in my mind an extremely strong moment as it can appear that one of the other spectators has also picked up a mental image. Asking the spectator to view a medley of scenes from the film means that the performer can then pluck different scenes to describe with a much better chance that the scene was actually one that the spectator thought of. As it happens, it doesn’t really matter if the spectator thought of the scene or not because by the time you actually reveal the film, all that will be remembered is that you correctly visualised various aspects of the film before naming it correctly. As an aide memoire later in this manuscript I have scripted some of my own ideas for revealing the films in question. It goes without saying that this shouldn’t be repeated parrot fashion but exists just as an idea of how the reveal of each film could be presented. Another important thing to remember is that you should also be reading the reactions of the spectator as you are performing. If you were doing this for real you would after all be constantly looking for visual clues to see if you are getting close. Andy Nyman has a wonderful idea for revealing if the spectator first saw the film at the cinema or on Television (DVD or Video). I mention that and other presentational ideas in the “Revealing the Film” section of this manuscript.

THE WORKINGS The Stack To keep it simple there is one film for each letter of the alphabet. Mostly this is the first letter of the first main word of the film, but there are a few exceptions to this rule to help throw the spectator off the scent (Not that I have ever had anyone ever suspect a stack is being used). Obviously the cards could be placed in pure alphabetic sequence, but I recommend using the sequence Richard Osterlind uses for his wonderful ODDS routine, that is to say to always skip two letters so that the sequence is ADGJMPSVYBEHKNQTWZCFILORUX

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It goes without saying that you should never mention you have exactly 26 cards. I either say I have a deck of 30 or 40 cards, or simply that I have a deck of cards. Most people are aware that a deck of playing cards has 52 cards and will assume the same. False Shuffles and Cuts Obviously being a stack any number of cuts will make no difference so at the very least the deck should be cut a number of times. Also any False Shuffles that retain the stack are a bonus and if you can do them, then they should be included. The Choice of Films I have tried to select popular films that are both old and new, films that the spectators will genuinely be able to visualise scenes from. I could easily have included films starting with X, Q, Y, Z (X-Men, Quadrophenia, Yanks, and Zoolander for example), but I didn’t want to make it obvious that there was one film for each letter of the alphabet, hence my thoughts on using The African Queen for Q, Taxi driver for X, The Bodyguard for Y and The Wizard of Oz for Z. In case you are wondering, the thinking behind The Bodyguard for Y is that the Japanese classic film Yojimbo literally means “Bodyguard”. In fact at one point during the Bodyguard film, the Kevin Costner character is watching Yojimbo. Funnily enough I found these exception films actually the easiest ones to remember. Alternative handling. I personally like the idea of selecting a card at random. If they ask why they can’t just choose one, my response is that if they chose the film, it could be for a number of reasons such as who they saw the film with or something that happened in their life at that time and this thought process would be detrimental to what I am about to demonstrate. Having said that there is an easy way for them to freely select the film, and I do know some people prefer to perform Director’s Cut that way. If you spread the cards at head height so the faces are in front of the spectator, and the backs are facing you, they can take a card out of the mix and you can cut at that point in exactly the same way as you would if they where choosing at random.

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BONUS EFFECT 1. DEMILLE’S DRAWING DUPLICATION Overview This is a drawing duplication effect that uses the poster image. It is heavily based on Richard Osterlind’s “Corinda Effect” (Mind Mysteries, Volume 2). Normally I perform it at tables after I have shown The Director’s Cut so the cards are already in play, but there is nothing to say it can’t also be performed as a stand alone effect. The Effect Let’s now try something a little different. Hand the complete deck of cards to the spectator and ask them to hold them as if they were about to deal them out. Now ask them just to quickly look through them and make sure that they are all face down. What I would like you to do for me please is to hold the cards face down under the table so that you can’t see what you are doing and I can’t see what you are doing. Will you do that for me now please. Thank you. Now I would like you to cut the cards anywhere you want and complete the cut. Now do that again for me please. And now one more time. So just to clarify there is no way that you or I could know the top card at the moment, is that correct? Excellent. If you wish you can cut the cards one more time. Please take the top card and turn it over so that it is face up. Have you done that? Excellent, now take this face up card and push it into the middle of the deck for me. Have you done that? Fantastic. Thank you. So now we have a face down deck with one card that is face up somewhere in the middle. Please can you turn all the cards over so they are all face up, except of course for the one you turned over, that way when you bring them out there will be no way that I could accidentally see the card you turned over as that card will be face down. Is that fair? Excellent. When you have done that please bring the deck back up and drop it on the table. Thank you. As soon as the cards hit the table, make a mental note of the top face up card and immediately cover them all with a napkin (or card box). This doesn’t always work, but I am now going to try and sense the one card you turned face down. Take out a small pad of paper and do a drawing duplication with the Movie poster in question. I will always ham this up as much as I can by first placing my hands over the covered cards in a mystical way as if trying to divine something. I also carry a small packet of coloured pencils for those film posters where the colour is important (Vertigo for example). Mostly though I will just use a black sharpie and do a very rough sketch of the movie poster in question. I find being representational here is more important than artistic accuracy and you certainly never need to actually write the name of the film. In fact after I have finished my drawing I will always look at it in a quizzical way and will explain that I have no idea what the film is, but this is what I sensed. Let’s see if I am close. I place my drawing face down on the table and then ask the spectator to find the one card that is turned over in the deck and to place it face up next to my drawing. I leave it for a few seconds so everyone can note what it is.

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Now let’s see what I drew… Additional thoughts As I mentioned before, I will more often than not perform this at tables after performing the Director’s Cut. On several occasions I have found the card that is cut to in this effect is the same one that was selected in the previous effect. When this happens I forget about the drawing dupe and claim that I instead influenced them to turn over the exact same card that was selected before. It doesn’t happen that often, but when it does it is very powerful. Some people may be put off performing this effect as they will assume it requires a good knowledge of the posters involved, plus the ability to draw. In fact the images on the posters are remarkably easy to remember. Apart from the fact that these images are almost iconic now, it only takes a few performances of any of the effects using the cards before you realise that they almost subconsciously get committed to memory. As for the ability to draw. Well that is almost a disadvantage. I myself am not a gifted artist by any stretch of the imagination. I have found though that an almost abstract style is best. Lots of shapes, like circles for heads work fine, plus, if you wish, crudely drawn stick men, and solid blocks of where the text would be written. Usually after I have drawn the image, I will claim not to know what the film is, but this is what I got a sense of. Pretending not to know what it actually is. Unless the film is something really obvious (like Jaws), it is unlikely that the audience will know the film at this point either. This is good, because it sets up the possibility of failure, making the finale of the effect that much stronger. When the card is finally turned over and compared to the image I have drawn, it becomes obvious that the two are of the same thing. I think this works so well because the drawing isn’t perfect. If it was perfect it may seem to be a trick. I have to say that after the Director’s Cut, this is my favourite effect with the deck. On the next page there are some examples of the type of drawings I do.

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BONUS EFFECT 2. POLANSKI’S PREDICTION The Effect A selected spectator and myself are seated at a table. I explain that I have in my wallet a prediction sealed in an envelope. I take out the wallet and remove the prediction envelope which I place on the table in front of me. I put the wallet away. I instruct the spectator to take the deck of movie cards and to give them a good mix. When she is happy they are mixed up, I ask her to deal the cards face down to the table in a pile in front of her. After a few cards have been dealt I tell her she can stop dealing wherever she wants. When she stops I pick up the prediction and place it in front of her, but ask her not to touch it yet. I explain that before she does this she should look through the cards and see that they are indeed all different and that if she had dealt just one more card, the result would have been different. I then ask her to pick up the prediction and tear it open. Inside are three small sealed packet envelopes, numbered from one to three. I ask her to open the first prediction and read what it says. It reads… “The film you stop at will be a timeless classic” I ask her to turn over the film she stopped at and to tell everyone what it is. The film is Casablanca. I smile knowingly and say there can be no doubt that this film is a Timeless classic. The audience is not convinced though. The deck is littered with timeless classics. I ask her to open the second envelope. It reads… “The film is in Black and White”. I spread the other cards to show that actually that wasn’t bad, as most of the films are in Colour. I ask her to open the last envelope. It reads… “Please uncover the easel to your left”. Looking around there is a large easel on the stage, covered by a cloth. When the cloth is removed there is an A3 sized poster of the film “Casablanca” The Method The method I have explained here uses the principle from Arthur Carter’s “Out of this Wallet”, I believe published in a 1963 Magic Circular. Effectively in the wallet, under the envelope is the Casablanca card, previously removed from the deck. When the envelope is removed from the wallet and placed on the table the card remains concealed under the envelope (which I place quite close to the table edge, so I can be sure to slide both off when I need them). When the spectator finishes dealing and I place the envelope in front of her, I am actually placing it on top of the cards she dealt, thus depositing the force card on top of her pile. It is as simple as that. Obviously any force can be used though. As there is built in time misdirection, even a cross cut force could be used, or equally a riffle force works well. The Arthur Carter force though, I feel works particularly well as it makes it into less of a card trick and more psychological.

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Further thoughts. To make the prediction slightly more credible, you could take the cards after they have been shuffled, and pretend to re-arrange them slightly. This way it looks like you are predicting where they are going to stop by placing your card in that position. The prediction itself can be made in many ways. I went for a three way prediction that leaves a little bit of ambiguity, but gets stronger and stronger until the final reveal of the poster. You could equally just have a postcard image of the film poster in the envelope, or even a business card with the name of the film written on the back. Another method would be to have a clapperboard on the table (these can be bought really cheaply from a variety of sources), and have the card in the envelope tell the spectator to turn the clapperboard around, which would have the name of the film written on it.

BONUS EFFECT 3. COPPOLA’S CALLING Overview This effect is based on Richard Osterlind’s “Card Calling” Effect which in turn is I believe, an idea presented by Chan Canasta. This one is great for getting more than one spectator involved and works in almost any environment, be it stage, parlour, strolling or table. I would never perform this as well as “The Directors Cut”, but rather instead of, when I want to involve more people. The Effect The pre-amble is the same as “The Directors Cut”, but when I spread the cards I ask them to take out a clump of four or five together, then without looking at them hand them out to other people, but keeping the last one for yourself. All the performer needs to do is to note the order in which the people are handed the cards as this will dictate who gets what card. When all four (or five) spectators have a card I ask them to look at their card without showing anyone else and to hold their card in their hands as per “The Directors Cut”. Once I have peeked the bottom card I know what card the first person has, and consequently what card everyone has. I then ask everyone to start thinking of the Movie they have, or if it is not a movie they know that well to picture the poster. I ask this up front so I know with each person if I am meant to be describing the poster or the movie. I never reveal the cards in the same order they were handed out. This is one advantage that the stack used for the Movie Cards has over a more complex stack such as the BCS. For example once I know the name of the key card movie (let us say it is “Jaws”) I immediately know the next movie, the first person to be handed a card, has “Monsters Inc”. Rather than calling this card first though I go on to calculate the next in the stack (“Pretty Woman”) and call that one. I can move backwards and forwards in this way to make the revelations in any sequence I want. I can even read several at the same time which also makes for a very powerful and entertaining piece. For example if I had Monsters inc, Pretty Woman and The Silence of the Lambs the patter could be along the lines of… OK, please all think of the movies now – think of the main characters for me. The main character in the movie. That’s great – OK I have one that is very fuzzy – I am not sure about that one I will come back to that, but I think that is the one you are thinking about sir (pointing to Monsters Inc man), we also have – oh – he’s quite scary. A very

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disturbed person - one of you is thinking of a person who I can only imagine as one of the most disturbed minds in film history. (I look left and right along the line) that must be you madam. (pointing to Silence of the Lambs woman) and let me see… is that a woman? You are thinking of a woman? Am I right in thinking it is a woman with loose morals? Not a nasty character though is she? Quite sweet in fact, but a woman of loose morals nevertheless? And so on… With this effect I don’t let them put the card back if they don’t know the film, but instead get them to picture the poster on the card, and will instead either read that or do a drawing dupe with it depending on how many other people in the group don’t know their films. I actually find this quite rare though, as mostly people are happy to think about the film.

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BONUS EFFECT 4. HITCHCOCK’S MENTAL PUSH OUT Overview This is an effect influenced by a Paul Hallas trick. It isn’t one I perform all that regularly as it destroys the stack, but it is very powerful and if I do have time for a reset or, it is the last effect of the night then I always include it because it always gets such strong reactions, especially amongst a group of spectators. The Effect Once again the pre-amble can be the same as “The Directors Cut”, but rather than get them to select a card I hold them out for them to cut the cards and keep the top block. When they have done this I ask them to look at the card they cut to (the bottom card) and to remember that film. If it is not a film they want they can put the cards back and cut again. When they have a film in mind I ask them to put their card back in the half they have and to shuffle them whilst at the same time I am shuffling the bottom half. What I am actually doing is overhand shuffling the top card to the bottom and keeping it there whilst I continue to shuffle. At some point in this process I will peek the now bottom card so I will be able to calculate the film that they were thinking of. I won’t go into details of this shuffle as it is a basic sleight and explained in, amongst other places, the early chapters of the Royal Road to Card Magic. However, if you didn’t want to do this, just get them to keep the bottom stock of cards after they cut and to look at the top card. The card you now need is already on the bottom. Once you have peeked the key card, hand the spectator your cards and as if it is an after thought tell them they may as well shuffle all the cards together. When the spectator is happy that the cards are all mixed, take them and spread them face up on the table. It is as you are spreading the cards out that you need to spot roughly where the spectators card is. Ask the spectator to relax. Ask them to close their eyes and to concentrate on the film they selected. Make sure their eyes are closed then ask them to visualise scenes from the film. To hear music or to think of any dialogue associated with the film. As they do this and as you keep talking to them, hold your hand over the first card and slowly move your hand up and down the spread. The trick is not to look at the cards, but to concentrate on the spectator’s face and what you are telling them. Once your hand has travelled back and forth a few times ask them to imagine that their eyes are open and to imagine that they are looking at the spread of cards. Ask them to imagine finding their card in the spread and to push it forward. As you say this, your hand will eventually rest over their card and you pull it out the spread towards yourself. You can now ask them to open their eyes, and look down at the spread. Once they confirm the card pushed out is their card you should get a really nice round of applause. I have found that there is a certain amount of dual reality going on with this effect, as quite often the spectator will believe that they actually pushed the card forward themselves. As I said, it destroys the stack, but nevertheless it remains a very powerful piece. Alternative Presentation Another way of performing this is as a muscle reading effect. As I spread the cards out in front of them I ask them to glance down at the cards but then to look up and not to look at the cards again . I ask them if they know where their card is in the spread. More often than not they will say no. To which I say –

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Maybe not, but subconsciously I believe you do. We will try a little experiment. If they say yes then I say – Well please don’t look down at the cards again, as I don’t want you to give me any visual clues where your film may be. I hold my hand over the first card, pull my sleeve up and ask them to grip my wrist quite tightly. I then ask them to think about the film (as with the original effect). I then move my hand up and down the spread repeating to them the instructions about thinking about the film. Once my hand has been back and forth at least once I narrow the search to within two or three cards of their card before moving my hand down so I can pull their card out.

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REVEALING THE FILMS (PRESENTATIONAL IDEAS) Overview Each film has its own unique way that it can be revealed. Utilising this fact is, I believe, the key to a good presentation. Your performance raison d’etre (be it mind reading or body language etc.) will dictate how you do the reveal, but I offer some possible ideas below as a way to get your own creative juices flowing. Each film has been chosen to be both well known and to have some potential for elaboration during the reveal phase. One of my favourite ways of doing this is to play an imaginary game of charades with the spectator. To imagine them acting it out and trying to guess what they are showing me in their minds. The whole performance is very satisfying. If one of the other spectators who hasn’t seen the selected card guesses the film before me then all the better as it makes it seem that they too are getting a real sense of what the first spectator is transmitting. The following outlines are merely suggestions as to how the reveal could be performed. It has to be remembered though, that there is a certain amount of fishing going on as you do not know how well the particular spectator knows the film in question, so a lot of it is down to watching how the spectator reacts to what you are saying and pouncing on the hits and dismissing the misses. I may even throw in a few things that are wrong so it doesn’t seem I am just reading facts from a script, but it is these subtle errors that help make the entire process more believable. Where were you when you first saw the film? Depending on the age of the spectator and the film chosen you should be able to make an educated guess as to whether they first saw the film at the cinema or on TV/DVD or Video. Andy Nyman has a great ruse for revealing this sort of information. Think back to where you were when you first saw the movie. Imagine for a moment that you are there now watching it. That’s great. Thank you. Immediately I get a feeling, a sense almost, that you first saw this film at the cinema and not on TV, is that correct? I thought so. You see when I asked you to think back to when you first watched the movie I was watching your nose, and although it was very subtle you tilted it up slightly, almost as if you were looking up at the big screen. If you had first watched it on TV or Video your nose would have tilted down slightly . If they did see it at the cinema (and sometimes even if they saw it on Video) it puts you in an excellent position as by knowing when the film came out you now have a very good idea of when and how old they were when they saw the film. It makes sense to use this information in the reveal. The Classic Reveal of a film Imagine you are at the cinema now for me please. Imagine a big screen in front of you [you draw the screen with your hands] and imagine you are sitting there with your popcorn looking up at the opening credits. The lights start to go down. The music plays the film begins… From your composure I immediately get a sense that this is an [Action/Horror/Comedy/Romantic Comedy/Romance] movie am I correct? Depending on the genre of the film, this can in fact be elaborated on even more by adding extra details such as.. “You seem tense, this is a horror film isn’t it?”

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“I sense a certain level of excitement building, this is an Action movie isn’t it?” “Your smile tells me this is probably a comedy isn’t it? Maybe even a Romantic comedy? Am I correct?” Specific Film Information (A) Alien. Date: 1979 Stars: Sigourney Weaver. Genre: Horror Points: Stomach Ache. Alien from Stomach. In Space No one can hear you scream. The Reveal. Imagine the film. Imagine watching the film now. OK, I am getting a slight sense of fear? No that is perhaps too strong, but there are scary moments aren’t there? I thought so. We’ll come back to that in a moment. Imagine the star. The main actor … or actress? It is an actress isn’t it? That’s good. Let’s go back to the fear thing for a moment. Imagine a scary scene – OK. I am getting a strong sense of stomach ache here. Keep thinking about that scene for me… Oh my goodness. That’s horrible. OK I have a good idea about the film now. It’s dark. It’s in a dark place isn’t? A place where no one can hear you scream? That’s right. The actress you were thinking of is Sigourney Weaver isn’t it? And the film. The film is Alien… (B) Bambi Date: 1942 Stars: Genre: Cartoon, Points: Walt Disney. Cute, Sad The Reveal. Please think of the film for me. Please think back to when you first saw the film. I sense you may have been quite young. Am I correct? It’s a light hearted film. Very colourful. Although it is also tainted with sadness. I get the feeling of a lot of colour. Please think of the actors for a moment. Ah, I sense some confusion there. No actors as such. It’s a cartoon isn’t it? Yes I feel I am getting closer now. There are lots of animals. It’s a very cute film. There are, rabbits? A badger? No that’s a skunk isn’t it? oh yes and the main character, a deer. It must be Bambi? You are thinking of Bambi? (C) Casablanca Date: 1942 Stars: Humphrey Bogart, Ingrid Bergman Genre: Love Story. Points: As Time Goes By (A Kiss is just a Kiss). Rick’s Café American The Reveal. I feel you know this film well. I suspect you have seen it more than once? That is good. Imagine the film. Imagine watching the film now. OK, I am getting a slight sense of the atmosphere. I am thinking moody bars in far off places. And love. I am getting a great feeling of love. It is a sentimental film isn’t it? No? Not really? But it is a love story, I sense a very strong connection between the main characters. Think of those characters for me now please. Think of the main actors.

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OK – there is a man and a woman. This is a classic film isn’t it? Let’s go back to this moody bar. Most of the film takes place here. Close your eyes and imagine yourself there for a moment. That’s good. It’s very smoky; is that a piano playing? I can’t quite make out the tune – think of the tune for me please. Hum it to yourself for a moment – not out loud. That’s it – keep doing that in your head for me…[start humming a kiss is just a kiss from as time goes by, slowly getting louder until you reach the “A kiss is just a kiss, a miss is just a miss” line which you can say out loud. Ahh…As Time Goes By. The film is Casablanca, isn’t it? (D) Die Hard Date: 1988 Stars: Bruce Willis, Alan Rickman Genre: Action Points: Guns, Bombs The Reveal. Please imagine the film for me now. Imagine watching the film. OK, I am getting a sense of Action. This is definitely an action movie right? Lots of guns and bombs. Something like a film Arnold Schwarzenegger would be in maybe? Yes – but not him. Another actor. The main character is a male actor right? OK this is difficult as it is like so many films – I sense lots of guns and bombs and a building? A building right? It mostly takes part in one building? Am I getting close? Think of this main character. He’s some sort of cop? Great that narrows it down? Dirty Harry? No – not Clint Eastwood. Think of the actor again for me. That’s right. Make him clear in your mind. Who is that? Is that Bruce Willis? It is? Is the Film Die Hard? (E) The Elephant Man Date: 1980 Stars: John Hurt Genre: Period. Points: Ugly, Deformed. John Merrick, Paper Bag. Matchstick buildings. The Reveal. It’s an old film? Or maybe a film set a long time ago? Think of the main character for me. It’s an animal? No sorry, it isn’t an animal? It’s a man? That’s an interesting way of thinking about it. It’s not an animal? OK. I am confused now. Think of the main character again for me please. OK I am getting a great deal of sadness from the main character? It is as if he has been in a fire or something? No that’s not right, but he is deformed in someway? In fact he is heavily deformed isn’t he? Think of the main character for me again. Think of the actor. OK, I don’t recognise the actor – so I assume a lot of make-up. I am right aren’t I? I think I know the film now. Is it The Elephant Man? (F) A Fistful of Dollars Date: 1964 Stars: Clint Eastwood Genre: Western (Spaghetti) Points: Theme. The Man with No Name. Poncho The Reveal.

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Please imagine the film for me now. I get a sense of it being quite warm. Maybe a little dusty? Please think of the main character for me. You are doing that now? OK – I sense the strong silent type. It’s a man right? Think of his name. The name of the character he plays. You seem confused? You don’t know the characters name? But it is a film you know? OK. Think of the actors name then for me please. I sense that this is a popular actor. He’s been in a lot of films hasn’t he? Mainly action films? Is this an action film? You’re not sure. Possibly not, but this was a defining role for him. I see a beard and – what is that? Imagine the actor in the film. This main character. Is that a blanket? He’s wearing a blanket? Oh I see – it’s a poncho. That must be Clint Eastwood. Is it a Fistful of Dollars? (G) The Godfather Date: 1972 Stars: Marlon Brando, Al Pacino Genre: Gangster. Points: Italy. Mafia. Make an offer you can’t refuse. Horse’s head in bed. The Reveal. Please concentrate on the film for me. OK. I am getting a strong sense of brotherhood. Is it a war film? No? But I sense that is close. It is like a war film. There are definitely feuds going on, am I right? Think of the main character for me please. OK that’s good. This really is a central figure. He (it is a he isn’t it?) I get a strong sense that he is like a king? No not a king. A general maybe? But no, then we are back to war films and we know it isn’t a war film. Please think of the actor that plays this man. he’s a big man isn’t he? Or maybe that’s just the part he is playing. Someone like Brian Blessed maybe? No? He’s not English. I get a feeling of Shakespeare? No that isn’t right. Romeo and Juliette came to mind, but I know that is wrong? But something is close. Italy? It was set in Italy, or Italy plays a strong part of the film. This character. It’s Marlon Brando isn’t it? Yes. That’s right. And the film is the Godfather? (H) Halloween Date: 1978 Stars: Jamie Lee Curtis, Donald Pleasance Genre: Horror. Points: Halloween. Jack-o-lanterns, Knife The Reveal. Is it a film you have seen? It is? Excellent. OK. Please think about the film for me now. Oooh. It isn’t a particularly nice movie is it. The hairs on the back of my neck have just stuck up. OK, Concentrate on the movie for me again please. This is definitely not a family movie. I see a lot of fear. Fear and – and a knife. A very bloody looking knife. This is quite a disturbing movie. Not one I would choose to watch. That’s weird. I see a lot of round orange faces? No that’s not right. What are they? Pumpkins? Yes pumpkins with faces. Oh I see. Is the movie Halloween? (I) I, Robot Date: 2004 Stars: Will Smith Genre: Science Fiction Points: Robots The Reveal.

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Please think about the film for me now. I see a lot of characters. No, that’s wrong. There are a lot of something though. Please think of the main character for me. OK – that’s an actor isn’t. The main character is a man. Is there another main character? Maybe? Not a man though? Not really a woman? Definitely not. It must be an animal then? No that isn’t correct either. This is confusing. OK, I get it is human-ish – but in shape only. He is more…more what. Mechanical? A Mechanical man? What, like a Robot? Oh yes. I see it is a robot. The film is I, Robot? (J) Jaws Date: 1975 Stars: Richard Dreyfruss, Robert Shaw, Roy Schneider Genre: Horror. Points: The theme song. Just when you thought it was safe to go back into the water. The Reveal. Please think about the film for me now. I get the feeling it was mostly shot outside. I sense a lot of open space…and danger. There is definitely danger involved in some way? It is not a traditional horror movie though is it? I see big teeth. My first thought is dinosaurs – but that isn’t right is it? No, I didn’t think so. Think of the movie for me again. OK. I hear music. Is there a tune you associate with the movie? Please hum it or sing it, just in your head – not out loud – just in your head? OK I am getting something. I am not sure yet it is just a noise – very distinctive though. It’s like a heart beat? Boom-boom, boom-boom. I see water. A lot of water, and oh I see. A shark. It’s Jaws. The movie is Jaws? (K) King Kong Date: 2005, 1933 Stars: Naomi Watts, Jack Black. Fay Wray Genre: Monster. Points: Remade. Giant Ape. Empire State Building The Reveal. Just think about the film for me now please. Just think if it is an old film or a new film? Old? New? OK, I’m not sure about that. I got the feeling you were saying yes to both then. Is it perhaps a film that was recently remade? Maybe. OK. Concentrate on the film. Think of the main character. Oh yes. A big guy. Oh. A really big guy. This isn’t a porn film? No no no, not that sort of big. But the main character is big? Very very big. In fact a giant – but I still don’t think I am quite there with this. What do I have wrong. Concentrate on this main character again for me please. OK. This isn’t a man at all is it? But he is big. And hairy? Big and hairy. Are you sure it isn’t a porn movie? No – seriously though this isn’t a man at all is it. It’s an ….Ape? It’s an Ape? Ahhhh. I see. It must be King Kong? (L) The Life of Brian Date: 1979 Stars: Monty Python. John Cleese, Eric Idle, Michael Palin, Terry Gilliam, Graham Chapman Genre: Comedy. Points: Banned. What did the Romans ever do for us? The Reveal. I am getting a strong sense of laughter. You found this film very funny?

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[note – some people didn’t find the film funny at all, which can easily be gleaned from their reaction, in which case.] No? But other people did? Or Yes? But some people didn’t? I sense there was a lot of controversy over this film. Was it banned at one stage? In some places? Think of the main actor? There wasn’t one – there were many? Maybe like the Marx brothers? No? More recent than that? But a team of people nevertheless? It was a kind of silly movie – but not slapstick. Let’s concentrate on the controversy aspect of it for a moment? Ah religion. Did it star Michael Palin? John Cleese? Yes. It must be “The Life of Brian” (M) Monsters Inc. Date: 2001 Stars: John Goodman. Billy Crystal Genre: Comedy, Animation. Points: Monsters, Comedy. Animated The Reveal. I am getting a strong sense that it wasn’t a dark film. In fact it was a comedy? Am I right? Can you picture the main characters for me? OK, that is just confusing. I am not sure what that was. Was it even human? Again confusion. But definitely a funny film right? OK. I see lots of colours. It is very vivid. Was it a cartoon maybe? Sort of? I see – it was an animated film though right? And the characters weren’t human? Something like ogres and a donkey? No, but that is close. They were monsters though weren’t they? A big hairy blue one and one like en eye with legs? Yes. I thought so. Was it Monsters Inc? (N) Notting Hill Date: 1999 Stars: Hugh Grant, Julia Roberts Genre: Romantic Comedy Points: Rags to Riches love story The Reveal. Please think about the film for me now. That’s great. I am getting a feeling of, I’m not sure. There isn’t a lot of action. It is a feel good movie though? A love story? Maybe a romantic comedy? OK think of the main characters for me now? We have a man and a woman. I guess that was fairly obvious. Think of the man. Think of the actor that plays that part. The name of the Actor. Don’t say anything out loud. Who? I feel you are asking me who? Who? OK, that doesn’t help much. Let’s try the female lead. Think of the woman who plays the lead for me. Think of her name. Jane? June? Julia? Something like that. Julia? It is Julia. Is it Julia Roberts? Yes? And the lead actor again. Think of his name. Who? Ahhh Hugh? It’s Hugh Grant and Julia Roberts. Is the film Notting Hill by any chance? (O) Octopussy Date: 1983 Stars: Roger Moore Genre: Spy Points: James Bond, Shaken not stirred, Martini. 007, Licence to Kill. Gadgets The Reveal. Please think about the film for me now. That’s great. I am getting a lot of action. Fast cars? Think of the main character for me? This is a man isn’t it? A very cool man? Smart clothes. Impeccable manners? Think of the actor that plays this character for me please.

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Interesting. I sense a little confusion at first. It is almost as if you weren’t too sure who the actor was. Almost as if it could have been two or even three different people. That’s interesting. That should tell me something although I am not sure what that is at the moment. Think of the character again. Think of the characters name for me. That’s interesting I was getting a number. Does the number seven mean anything to you? No – not seven. It’s 007 isn’t it? It’s a James Bond? Great. That narrows it down to about 20. Think of the actor that played Bond? OK, not your favourite Bond was he – was this Roger Moore? The film is “Octopussy” isn’t it? (P) Pretty Woman Date: 1990 Stars: Richard Gere, Julia Roberts Genre: Romantic Comedy. Points: Pretty Woman Song. Roy Orbison. The Reveal. I am already getting a sense that it is a light hearted film. Nothing too serious. No guns or anything like that? Think of the main actor or actress for me please? Ok – I sense a little confusion there – almost like you couldn’t make up your mind, so I am guessing it has more than one star. Two? Three? No, definitely two. Are they both men? No, there is one man and one woman. That’s right isn’t it? Ok, please concentrate on the actress for me for a moment? June? Judy? No that’s not right. She’s tall though. I definitely get a sense of her being tall. It’s Julia isn’t it? Julia Roberts? Ok let’s see if we can narrow it down. Is there a tune associated with the film? There is – think of the tune for me now please. Can you hear it in your head. [nod your head in time to the music as if you too are listening to the tune] “Pretty woman, walking down the street. Pretty woman, the kind I like to meet” Roy Orbison? The film is Pretty Woman isn’t it?

(Q) The African Queen Date: 1951 Stars: Humphrey Bogart, Katharine Hepburn Genre: War, Love Story Points: Alcohol. Love. Boats. Water. A journey The Reveal. Please think about the film for me know. OK – immediately I sense it is a dramatic film. Very moody. It has a lot of atmosphere. Of course that description could apply to a lot of films, so let’s narrow it down a little bit. Please think of the main character for me. OK, I sense a little confusion there. I am guessing it has two main characters? A man and a woman perhaps? It does? That’s excellent. OK – let’s go back to the film for a minute. I get a strong sense that is warm. Very warm. Hot even. What else. Think of where the film takes place for me. OK, I am sensing a slight feeling of motion. Up and down – it’s almost as if I am on a boat? The film takes place on a ship or something like that? No, Not a ship. Much smaller. A boat. We’re on a boat somewhere hot. Not out at sea though is it – it’s on a river somewhere – maybe in a jungle? I think I know what this is. A fantastic film. Is that Humphrey Bogart and Katharine Hepburn? It’s The African Queen isn’t it? (R) Rain Man Date: 1988 Stars: Tom Cruise, Dustin Hoffman Genre: Drama Points: Idiot Savant, Autism, A Journey

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The Reveal. Please think about the main character or characters for me. It is characters isn’t it? There isn’t one main character in this movie there is two? Three? No, definitely two. OK, please concentrate on them both for me now. That’s good. I am getting a sense of one being very clever and one being a little stupid. No that’s wrong. There is this clever and stupid thing happening though, but it is one of the characters only? That doesn’t make sense. How can one character be clever and stupid at the same time? Clever and Stupid isn’t quite right either is it? He isn’t stupid, just different. I do get though that this one character is very gifted and yet at the same time has no common sense? The two characters go on a journey is that right? Is that a physical journey or a journey of understanding? Maybe both – oh I see. Think of the other actor for me now please – the one that isn’t gifted – think of the actors name – concentrate on the first name. It is a short name isn’t it – something like Bob? No not Bob, Ron? Tom? It’s Tom isn’t it. The actor is Tom. Tom Cruise? And the other actor must be Dustin Hoffman. The film is Rain Man. Is that right? (S) The Silence of the Lambs Date: 1991 Stars: Anthony Hopkins, Jodie Foster Genre: Thriller Points: I ate his liver with some fava beans and a nice Chianti The Reveal. Excellent. OK. Immediately I get the sense that it is quite a disturbing film. This isn’t a comedy. Think of the main character for me please. OK – I got a little confusion then. You weren’t sure who to think of. Is there a main male actor? Yes – please think of him for me now. Oh I see. He is the disturbing one. I see something around his face – what is that, a mask? He is wearing a mask? Something like Batman maybe? No definitely not Batman. He’s a bad guy isn’t he? But there was a mask wasn’t there? To hide his identity? No – not to hide his identity. I get the feeling that this is a very interesting character. There is something that makes him different though. He’s a killer isn’t he? Very cold blooded, but there’s something even more disturbing than that isn’t there? What could be more disturbing than that? Oh gross! He’s a Cannibal isn’t he? It’s Hannibal Lector – The film is “Silence of the Lambs” (T) Top Gun Date: 1986 Stars: Tom Cruise, Kelly McGillis Genre: Action Points: Speed. Boys toys. F14s The Reveal. Immediately I get a strong sense of speed. It’s an action movie and loud. It’s very loud. I see a lot of open space. The action takes place outside. I am getting up? In the sky? The action takes place in the sky? There are planes – is it a war movie? No, not as such, but there are planes. Powerful planes. Think of the main character for me please. I see. Think of the characters name. The first name. It’s a short name isn’t it? Something like John? Ron? No, but that’s close isn’t it? Think of the first name again. Is it Tom? Tom Cruise? The film is Top Gun. Am I right? (U) Unforgiven Date: 1992 Stars: Clint Eastwood, Gene Hackman Genre: Western Points: Hero. Good overcoming evil

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The Reveal. Please concentrate on the film for me now. My first impression is a sense of wilder times. This isn’t a modern film – but then it isn’t particularly a historical film either. I get the feeling that it mostly takes place outside? OK – please concentrate on the main character for me. There is one that sticks out for you. This is a man. The strong silent type? I get the feeling there are a lot of guns in this movie. Guns and [sniffs the air] is that horses? I am guessing this is a western? Let’s go back to the lead. The obvious choice here would be John Wayne? But I immediately sense that is wrong. It is someone that has been in a lot of westerns though isn’t it? Someone more like…Clint Eastwood? So is this a spaghetti Western maybe? No? OK. That dismisses that idea, but it is a western. Clint Eastwood. Western. Is it Unforgiven by any chance? (V) Vertigo Date: 1958 Stars: James Stewart, Kim Novak Genre: Suspense Points: Hitchcock. Suspense. Dream Sequence. Fear of Heights. The Reveal. Is it a film you have seen? It is? Excellent. OK. Please concentrate on the film for me now. My first impression is a sense of unease. I can’t explain it, but I feel, I don’t know. Not quite safe? It isn’t particularly an action film. In your mind how best would you describe it? Thriller? No not really. Suspense maybe? OK that is interesting. Let’s go back to the main character for me. Think of that person for me now please. It’s a man isn’t it. I am getting a feeling that he is high up. In a tower maybe? But now the feeling of being unsafe is coming back (reach out to hold the table). In fact, my heart is really starting to beat fast. It’s this tower. I don’t like being in the tower. Is that because I am locked up? Is it claustrophobia maybe? No – not that. It is outside that I get scared – high and outside. It’s a fear of heights. The main character has a fear of heights? Is that right? Like Vertigo? Oh that’s it isn’t it? The film is Vertigo. (W) It’s a Wonderful Life Date: 1946 Stars: James Stewart, Donna Reed Genre: Romantic, Family Points: Feel good film, Christmas The Reveal. Please concentrate on the film for me. I See. I sense you were moved by this film. It has a warmness about it. Could I describe it as a feel-good movie?. It is? Excellent. Keeping thinking about the film for me please. That’s good. I get a feeling that it is set around Christmas? Am I right? That makes me think of something like…Scrooge? No, I can see that is wrong – but there are obvious similarities I think. Keep thinking about it for me. I get the feeling you would describe it as a great movie – no stronger than that. A wonderful movie. Oh I see. That’s the movie name isn’t it? “It’s a Wonderful Life.” (X) Taxi Driver Date: 1976 Stars: Robert De Niro, Jodie Foster Genre: Points: You talking to me? Violence

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The Reveal. The first thing I feel is a sense of violence and guns. It’s quite a dark film, isn’t it? Think of the actor. Actors? OK one comes to mind immediately. It is a male star you are thinking of isn’t it? (Well I had a 50-50 shot at that didn’t I?). Think of the character this actor plays? I get a little confusion. I am not sure if it is from you or the character. The character seems to be a bit of a loner, but there is more than that. He is in his own way quite scary? Is that right? Keep concentrating on this character for me. OK. I get a sense you want me to back off. You don’t like me looking at you? No. Not you. The character. The character seems a little paranoid to me. I see guns again. This character likes guns. “Are you looking at me?” what does that mean? Oh I see. It must be De Niro in Taxi Driver. Am I right?

(Y) The Bodyguard Date: 1992 Stars: Kevin Costner, Whitney Houston Genre: Action Points: Love story. The Reveal. Please think about the film for me now. OK. I am getting the sense of action. Maybe not from start to finish, but this movie definitely has it’s moments. Please think of the main character or characters for me? It is characters isn’t it. We have two main characters. A man and a woman? That’s good. Think of the male lead for me now please. OK – I feel he is a strong leading character. I guess the sort of person you would expect to play the lead in an action movie? But not typical lead for a movie like this, it isn’t someone like Bruce Willis, Schwarzenegger or Stallone is it? No I didn’t think so. We will come back to him. Please think of the leading lady for me now? That’s interesting. This woman is a star isn’t she, but she isn’t known as a movie actress - she is known for something else? Singing? She’s a singer isn’t she? Maybe someone like Madonna? No, not Madonna – but it is someone like that. Perhaps more…Soul? We will come back to her. Think of the movie again for me – the plot of the movie. OK – I get the feeling that the leading man wants to save her. She’s in danger? He wants to save her, maybe because he is in love with her? Hhhmmm. He is in love with her, but that’s not the reason is it. He wants to save her because? Because it’s his job. Ahhh. He’s her bodyguard isn’t he? The film is Bodyguard? With Kevin Costner and Whitney Houston? (Z) The Wizard of Oz Date: 1939 Stars: Judy Garland Genre: Children’s Points: Ruby Slippers. Wicked Witches. Yellow Brick Road. Were off to see the Wizard. Kansas. Were not in Kansas anymore Toto. Somewhere over the Rainbow. I’m melting. Tin Man, Lion, Scarecrow. Hurricane. A journey. The Reveal. I am getting a strong sense that you have seen it many times. I assume that means it is an old film. Was it Black and White? No? Colour? It was in colour but I sensed hesitation there. We will come back to that. Think of the main character for me please? An actress? The lead was a lady, am I right? Yes – but again hesitation? OK let’s try something else. Think about some of the imagery in the film. OK. I see a lot going on.

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I see shoes? [if it is a woman – then I will dismiss this as follows] – please try and think about the movie and not your next shopping trip. Oh it is part of the movie. Interesting. Is there a song you associate with the film? Maybe a soundtrack? Not a soundtrack, but there is a song? I see colour in the song am I right? [this is a hit for Yellow brick road and Somewhere over the rainbow] Think of the film again for me please. It is a very busy film. There are lots of characters. Witches. I see Witches and a Lion, but it isn’t the Lion, the Witch and the Wardrobe is it. What else is there. A Robot? Is that a straw doll? No – of course it isn’t. That’s the tin man and scarecrow isn’t. The film is the Wizard of Oz?

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THE FILM CHECK LIST Film A: Alien B: Bambi C: Casablanca D: Die Hard E: The Elephant man F: A Fistful of Dollars G: The Godfather H: Halloween I: I Robot J: Jaws K: King Kong L: Life of Brian

M: Monsters Inc. N: Notting Hill O: Octopussy P: Pretty Woman Q: The African Queen R: Rain Man S: The Silence of the Lambs T: Top Gun U: Unforgiven V: Vertigo W: It’s a Wonderful Life X: Taxi Driver Y: The Bodyguard Z: The Wizard of Oz

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Date Details 1979 Sigourney Weaver. In Space no one can hear you scream. Stomach pains 1942 Cartoon, Walt Disney 1942 Humphrey Bogart, Ingrid Bergman. A Kiss is Just a Kiss (As Time goes by). Love Story. Moody. Bar in exotic location. 1988 Bruce Willis, Alan Rickman, Action. 1980 John Hurt. I’m not an animal, I’m a Human Being, I’m a man. Sadness 1964 Clint Eastwood. Spaghetti Western. Man with no name. 1972 Marlon Brando, Al Pacino. Gangsters. Mafia. I’m going to make him an offer he can’t refuse. Horse’s head in bed. 1978 Jamie Lee Curtis, Donald Pleasance 2004 Will Smith, Science Fiction 1975 Richard Dreyfruss, Robert Shaw, Roy Schneider. Theme Tune. Humming. Just when you thought it safe to go back in the water. 2005 Naomi Watts, Jack Black. Also 1933, Fay Wray. Large Ape. 1979 Michael Palin, John Cleese, Graham Chapman, Eric Idle. Always look on the bright side of life. Monty Python. What did the Romans ever do for us. 2001 John Goodman. Billy Crystal. Blue Shaggy, One Eyed EyeBall.. 1999 Julia Roberts, Hugh Grant, Love Story 1983 Roger Moore. James Bond, Spy, Shaken Not Stirred, Martini 1990 Richard Gere, Julia Roberts. Pretty Woman. Roy Orbison 1951 Humprey Bogart, Katharine Hepburn 1988 Tom Cruise, Dustin Hoffman. Idiot Savant. 1991 Jodie Foster, Anthony Hopkins. I ate his liver with some fava beans and a nice chianti 1986 Tom Cruise, Kelly McGillis. F14s Aircraft 1992 Clint Eastwood, Gene Hackman 1958 James Stewart, Kim Novak. Vertigo. Hitchcock 1946 James Stewart, Donna Reed. Feel good. Christmas. 1976 Robert De Niro, Jodie Foster, You Talking to me? 1992 Kevin Costner, Whitney Houston 1939 Judy Garland, Somewhere over the rainbow, We’re off to see the Wizard…Yellow Brick Road, Ruby Slippers, Wicked Witches. Lion, Tin man, Scarecrow.

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CREDITS As with any effect the inspiration is always sparked from somewhere and in that respect the Director’s Cut is no different. The main inspirations were…


Richard Osterlind for “ODDS” (Osterlind’s Drawing Duplication System) and various Stacked Deck effects from his Breakthrough Card System booklet.




Peter Nardi for demonstrating “Hollywood or Bust”, a Stealth Assassin Wallet effect.




Paul Hallas for his Blind Stop effect that inspired Hitchcock’s Mental Pushout




Iain Dunford, whose own ideas are a constant inspiration to me.




Andy Nyman who offered many presentational ideas, most significantly the “Nose Ruse”




Dr. Todd Landman for general encouragement.




Dr. Paul Cooper for proof reading.




Everyone who gave feedback at the London Mentalism Meeting on 7th July 2007.

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