Christopher Carter

When I see, like, Liam Montier, for example, I always say he's so brilliant at taking different methods, older methods that maybe we've not seen for a long time, and turning them into this great new thing.

When I watch your stuff, I see some of the older billet techniques, but you make them look new.

You make them relevant with the subject matter that you're doing.

The way that you routine some of those moves are so, so clever.

Again, I would put you in there with Mark Paul.

You very mu- Mark Paul, uh, suaveness.

[laughs] Well, th- first of all, that's incredibly flattering.

Uh, I am, uh, probably the ultimate Mark Paul fanboy.

Uh, you know, uh, I have been in awe over the years of his, uh, mastery of technique, but also mastery of, of performance and so that...

I do aspire to something like that, yes.

So when it comes to your material And wh- when I mentioned that you use some of the older techniques and stuff like that, how do you go about creating a new relevant piece of magic? Because even in, in one of your, uh, Penguin routine, uh, Penguin things, you've got a routine with a large, is it a broom or a, or a mop or something-

It's a broom, yes

... on the stage?

[laughs] It's, it's an unusual routine, uh, in which I, uh, balance a broom, which would be provided by the venue, on a, an inverted soft drink cup.

And then I, I make it rotate psychokinetically so that it mimics the hands of, of a watch.

How did I come up with that? Um, like I come up with anything, uh, uh, experimentation.

I, I think that rehearsal is crucial.

I rehearse all the time, and, uh, I think that rehearsal needs to have play.

And so that's what I do.

I, I'll get up, take something that's old or something I've been thinking about and just start to improvise around it.

And, you know, 9 times out of 10 it goes nowhere, but that 1 time out of 10 you get something really good, and that's what you keep.

Yeah.

When I see, like, Liam Montier, for example, I always say he's so brilliant at taking different methods, older methods that maybe we've not seen for a long time, and turning them into this great new thing.

When I watch your stuff, I see some of the older billet techniques, but you make them look new.

You make them relevant with the subject matter that you're doing.

The way that you routine some of those moves are so, so clever.

Again, I would put you in there with Mark Paul.

You very mu- Mark Paul, uh, suaveness.

[laughs] Well, th- first of all, that's incredibly flattering.

Uh, I am, uh, probably the ultimate Mark Paul fanboy.

Uh, you know, uh, I have been in awe over the years of his, uh, mastery of technique, but also mastery of, of performance and so that...

I do aspire to something like that, yes.

So when it comes to your material And wh- when I mentioned that you use some of the older techniques and stuff like that, how do you go about creating a new relevant piece of magic? Because even in, in one of your, uh, Penguin routine, uh, Penguin things, you've got a routine with a large, is it a broom or a, or a mop or something-

It's a broom, yes

... on the stage?

[laughs] It's, it's an unusual routine, uh, in which I, uh, balance a broom, which would be provided by the venue, on a, an inverted soft drink cup.

And then I, I make it rotate psychokinetically so that it mimics the hands of, of a watch.

How did I come up with that? Um, like I come up with anything, uh, uh, experimentation.

I, I think that rehearsal is crucial.

I rehearse all the time, and, uh, I think that rehearsal needs to have play.

And so that's what I do.

I, I'll get up, take something that's old or something I've been thinking about and just start to improvise around it.

And, you know, 9 times out of 10 it goes nowhere, but that 1 time out of 10 you get something really good, and that's what you keep.

Yeah.