• last year
Transcript
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00:39 - And of course you can feel my hands.
01:01 Please examine my hands.
01:03 I have nothing here.
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01:49 It's not many times in someone's life
01:58 that he's full of joy and pride for something he created.
02:02 A piece of astonishment,
02:03 something where it's method
02:04 is just as wonderful as the effect.
02:07 I guess it was my time for that
02:08 and it makes me really happy.
02:10 I would like now to thank some people
02:12 that have worked really hard for this project.
02:15 Paul Harris for his enormous contribution.
02:17 If it wasn't for his help,
02:19 this project would have never been as it is now.
02:22 Mark Callen for his superb engineering of the gimmick.
02:25 Ben Harris for being a good friend,
02:27 a great advisor and an amazing art designer.
02:30 And lastly you for purchasing this effect and supporting us.
02:34 Enough with the words already.
02:36 This is Vangelis.
02:37 I'm ready to give you the finger.
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05:26 I would like now to mention that the first time
05:29 that you're gonna try the effect,
05:30 the impression is not gonna be perfect.
05:32 This happens for two basic reasons.
05:35 First is that when I ask from people to try this
05:37 for the first time, they tend to do it lower
05:40 than it's supposed to be.
05:42 So please remember to do it near the edge
05:45 of the tip of your finger.
05:47 Second, the more you use the effect,
05:49 the harder your skin becomes,
05:51 which not only allows you to get a more realistic impression
05:54 but also will make the impression disappear faster
05:58 than it normally would.
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06:50 There are two basic positions
06:56 of where you can place the gimmick beforehand.
06:59 One is place the gimmick on your keys like that
07:04 and you can put your keys in your pocket
07:06 and let the gimmick hang out.
07:09 So it's ready there for whenever you need it.
07:14 All you have to do is get the impression
07:16 and place it back into your pocket.
07:18 The other way is you can use the chain
07:24 and place it on your loophole like that.
07:28 So you're always ready to go.
07:29 I have experiment with other solutions
07:33 like placing the gimmick because it's really small
07:36 under a card case with double sticky tape
07:38 or even under a coin, a big coin.
07:42 So the limit is only your imagination here.
07:45 The way that you get the impression
07:47 is at least from what I'm doing is I'm adjusting my shirt
07:51 and as I'm doing this move, I'm getting my impression.
07:55 So there you have it.
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10:45 When Titan first showed me his wonderful,
11:11 wonderful twisting the finger routine,
11:14 I was researching a book on the use of martial arts
11:19 and trickery.
11:20 How trickery is used within martial arts
11:23 to create the illusion of both mystical powers
11:28 and the illusion of pain control.
11:32 And of course, this is where Titan's twist comes in
11:36 and fits beautifully.
11:39 One of my favourite gags has always been
11:41 the old nose cracking gag.
11:44 Oh, where you pretend to actually crack
11:51 the cartridge of your nose.
11:53 It adds an element of sound,
11:55 an element that allows people to key in with pain
12:00 because we all know what it's like to pop a joint
12:03 or bend a finger back too far.
12:08 If we pop a joint, we often hear it,
12:10 we certainly feel it.
12:11 And this is what we want to key into.
12:14 And by adding an element of sound,
12:17 the apparent dislocation of the finger at the beginning,
12:22 I think we help take it to that next level
12:25 and it makes the twist become an almost possible event.
12:30 Maybe you're actually doing it.
12:33 Maybe you are that much of a Zen master
12:36 that you can control the pain to that degree.
12:39 Who knows?
12:41 But the dislocation without any gimmicks sounds like this.
12:45 And I think it just helps to set it up.
12:51 Here's how I like to move into it with a full explanation.
12:56 I'll actually get into this effect by starting off
13:00 with a bit of a joke or a gag
13:02 or the implication that one is to come
13:06 and so I just hold out my forefinger
13:08 and ask a spectator to pull on it.
13:11 He assumes normally that you're going
13:13 into the old flatulence joke, but you're not.
13:16 You're actually just seeking somebody to pull your finger
13:19 just hard enough to dislocate it.
13:24 And it's quite funny actually because when you do that,
13:28 it becomes all floppy.
13:33 And you then take the finger and twist it
13:36 and twist it back.
13:39 And then pop it back in its joint and you're finished.
13:49 So you've just added that layer of sound
13:53 and it's very, very easily achieved without any gimmicks
13:56 simply by snapping your finger.
13:59 Take the finger, snap the finger.
14:03 And just like the paddle move where a larger action
14:06 is disguising the smaller twisting action,
14:08 here the larger action of pulling
14:11 or pretending to pull the finger
14:13 disguises the smaller action of snapping.
14:17 Just like that.
14:18 Now that's an exposed view.
14:20 Obviously you're doing it so that nobody can see
14:23 that you're snapping your fingers.
14:25 Just put tight and basic twist handling
14:28 in the middle of a dislocation
14:31 and then I guess a relocation.
14:33 And you have added an element of sound
14:36 that I think just gives it that gut feeling,
14:39 adding that possibility that hey,
14:42 maybe he really is twisting his finger.
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14:47 All right guys, here is the impromptu method
15:11 of Titan's Finger.
15:12 For months of completeness of this product,
15:14 I decided to include it in the DVD.
15:17 It's a great method.
15:18 Actually it's how it all started.
15:20 And it's a method that you can use
15:21 either you have the gimmick with you or not.
15:24 So here it comes.
15:25 You just need this.
15:26 Yes, that's a marker.
15:30 And there are available in many different sizes.
15:32 So you need to experiment to find the size
15:34 that's right for you.
15:36 You don't really need the rest of the marker,
15:38 simply the cap.
15:39 You can attach the cap to your belt
15:43 using the clip.
15:45 And you will get your impression
15:47 by putting your thumb on the back of the cap
15:52 and your finger over the hole.
15:54 The hole is what creates the impression
15:56 and allows you to achieve the effect.
15:58 That's right.
16:00 This is the impression that you get.
16:02 And although it doesn't have the half moon,
16:04 it still kills.
16:05 I hope you enjoy.
16:12 There are various ways to make the impression
16:15 on your finger disappear
16:17 so people can examine your hands
16:19 immediately after the performance.
16:21 One is to simply take your time
16:23 when you twist back your finger
16:25 and the time will allow the impression to disappear.
16:28 The second is a great way that I came up with
16:30 that uses makeup.
16:32 So here it comes.
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18:48 Usually when I perform this effect
19:01 I don't really use a specific script.
19:03 But if you're a person that likes to use scripts
19:05 in all his effects by any means,
19:08 please be free to do so.
19:11 I normally just approach to a random person
19:13 and without giving any further reason
19:15 I just say that I wanna show them something weird.
19:18 I do that in order to build the right suspense
19:22 and let them realize by themselves what they're watching.
19:27 I realize that the more silent I am,
19:29 the more wow they're gonna be.
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19:45 Okay, so let me get this straight.
19:49 He had nothing on his fingers
19:50 and then he held his finger, twisted it
19:54 and then it was the wrong way around.
19:56 Yeah, it comes over here with his little finger trick.
19:59 It starts showing off.
20:01 Hey, look at my finger, look at this.
20:04 Starts showing off.
20:05 I don't know, maybe he, no hang on.
20:08 No, that doesn't work either.
20:12 Ah, (beep)
20:14 Look, hi, I've told you a hundred times, man.
20:32 Titans finger, yeah, it's awesome.
20:34 Titans finger's great, right?
20:35 I'm on the phone, please, please.
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20:42 Titans finger, it's sort of like listening
20:52 to Cannibal Corpse while getting your eyes kicked in
20:56 by like a really burly squirrel.
20:59 It's a grim effect, really awesome.
21:03 Look at that, (beep) wicked.
21:08 - I'm sorry. I'm just kidding.
21:11 - No, no! Absolutely! I saw him, he take his finger and he twist his finger. I can see the nail to the other side! Yeah!
21:28 Oh, I saw in my eyes! Live! Yes, no, no, no, no, no, no, no, no gimmick, no. No gimmick at all, no. No, no tantic, nothing! Just finger, twist, in front of me, nail to the other side!
21:42 Oh, really? I don't know. I don't know. Yes, yes. Okay, ma'am. Yes, ma'am, don't worry. Don't worry, I tell you, don't worry. I'm eating, yes, I'm eating, ma'am. Okay. Bye, ma'am. Bye.
21:55 - I'm walking.
21:57 - I'm walking.
22:00 - I'm walking.
22:03 It's not many times in someone's life that he's full of joy and pride for something he created. A piece of astonishment, something where its method is just as wonderful as the effect.
22:15 I guess it was my time for that, and it makes me really happy. I would like now to thank some people that have worked really hard for this project.
22:23 Paul Harris for his enormous contribution. If it wasn't for his help, this project would have never been as it is now.
22:30 Mark Callum for his superb engineering of the gimmick. Ben Heiss for being a good friend, a great advisor, and an amazing art designer.
22:39 Mark Packe for his additional routine, and always been there to give his valuable advice.
22:45 It's leaking, man!
22:49 - Where did that thing come from?
22:51 - I don't know, man, but it's leaking.