R0-3648 FDR OFFICIAL USE ONLY THE PROFESSIONAL MENTALIST'S FIELD MANUAL • Richard Osterlind HEADQUARTERS • OSTERLIND MYSTERIES SPRING 2014
©2014-0sterlind Mysteries. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photography, recording, or any information retrieval system or process, without permission in writing from the copyright holders. Layout, editing and cover design by Jim Sisti.
Dedication M y life is driven by love. Many, many years ago, I fell in love with Mentalism. That love continues to grow every day. Not as many years ago, I fell in love with someone named Lisa. My love for her grows deeper every moment. That is why I once again dedicate this book to her.
Contents Foreword ................................................................................... 7 Introduction ............................................................................. 9 01. Working Surrounded ..................................................... 11 02. A Magnifying Glass ......................................................... 15 03. Some Clothing Tips ....................................................... 19 04. Act Professionally Towards Fellow Entertainers ........ 23 05. The Real Secret of Overcoming Stage Fright .............. 27 06. Packing Up Your Show .................................................. 31 07. Don't Take Chances on Delicate Props or Methods ..... 35 08. Understanding What Effect Means .............................. 39 09. Imply But Do Not State Your Powers ......................... .43 10. The Audience Only Gets One Half of Your Show ....... .47 11. Composing Your Show .................................................. 51 12. The Osterlind Show ........................................................ 55 13. Be Careful of Who You Take Advice From ................. 67
14. Do Mentalism for the Right Reason ............................ 71 15. Make It Look Real .......................................................... 75 16. It's All About Perception ................................................ 79 17. They Will Remember What They See .......................... 85 18. Theatrical Distance ........................................................ 91 19. They Are Not Really Volunteers ................................... 95 20. How to Get a Standing Ovation ................................... 99 21. On Stooges and Pre-Show Work ................................ 103 22. You Have To Be Pragmatic .................. " ....................... 109
Foreword I've always been of the conviction that "comedy" is a very fragile thing. Take what's funny in one situation, country or venue. Change any of those factors in the slightest way, and the balance quickly shifts in the other direction. As tenuous as "comedy" is, I believe the field of"mentalism" has to be approached even more gently. At first blush, mentalism is shiny and appealing. There's not much to carry, and most of your props can be purchased at the local stationary shop. Its seemingly simplistic nature, however, belies a much more challenging pursuit. Having gently dipped my toe in the pool of mentalism (without much success I might add), I can say with some certainty that the skill set needed to be successful in this field is both unique and elusive. Richard Osterlind is one of the few people I've ever had the pleasure of seeing perform, both for laymen and magicians, who possess the very necessary quality of genuine conviction. Without coming across as self-deluded, Richard effortlessly conveys a strong and sincere belief in what he is doing, while at the same time making it irresistibly interesting to everyone around him - not something that's easy to do with a bunch of office supplies. I've been a full-time magician for almost 30 years. When I watch Richard Osterlind, all I can think is, "Man, I still have a lot to learn!" Thom Peterson "The Amazing Guy" Birmingham, England March 2014 7
Introduction The advice offered in this book is a compilation of ideas gained from over four decades of experience. Much of it was assembled from material I have been offering in my lectures and seminars. I claim no originality for these thoughts. I have learned from giants in our field and my goal is simply to pass on that information. There are, of course, some instances of personal opinion. How could it be otherwise? Whenever I have wandered into that area, I have tried to offer practical examples of why I have taken that position. You can trust my views were formed as a result of experiences gained in real performing situations and not simply pipe dreams concocted on my sofa. Everything found in these pages I have applied in my own professional work. Before I delve into the material, let me begin by offering a bit of observation about that often-debated topic - performance fees. Many believe their paychecks will be instantly determined by the type of material they present or how well they perform. More than anything, fees are determined by years in the business. The longer you have been around, the higher your fees will be. Longevity does, or should, make you a better performer, and there is no substitute for eexcellence, but it is the yearly raising of payment, combined with making contacts and gaining a reputation that will put you into the higher fee bracket. Like life itself, there are simply no shortcuts. I never try to fill a lot of space with redundant thoughts or scholarly language. Page count means nothing to me. I have written and re-written the following chapters time and time again, whittling them down in an attempt to leave 9
only the core of the matter. I have also attempted to use the clearest language and not tried to be clever or cheeky. For that reason, I encourage you to read each word carefully. I truly believe this book contains some of the best advice I have ever given. Although I have touched on some of these subjects before, those chapters are not just a rehash of previous writings. In most cases, I have approached a subject from a different direction or expanded on previous thoughts. My views, like everyone else's, are constantly maturing and that is reflected here. Finally, there is no rhyme or reason for the order of the chapters. I wrote my thoughts as they came to me with no consideration to arranging them in any kind of logical order. I have, however, tried to title each one plainly so as to make it easy to find what you might be looking for. Good luck and continued success. Richard Osterlind Falmouth, KY May 2014 10
01 Working Surrounded Years ago I attended a lecture by the great Art Emerson and he made the statement, "If someone wants to show me a new trick, I am not even interested if it can't be done surrounded!" At the time, I thought that was a verylimiting frame of mind. I have since come to realize that advice was worth hundreds of thousands of dollars to me. If you are lucky enough to normally work in a theater environment, you will still sometimes find yourself called to perform in a less than perfect situation where the audience is not positioned directly in front of the stage. Most performers work in banquet halls, auditoriums, private houses and similar situations. Even huge stage stars sometimes need to perform on television or are called to do a short spot at a less-formal gathering or party. The most important single factor to the success of your show is the proper staging. The audience must be able to see and hear you properly or you are doomed before you begin. Your first consideration must be where you are located in relation to your audience. If you are restricted, because of angle problems, in not having anyone at your sides or behind, you will be forced to set up your show in a position that may be far from ideal for that room. You might be stuck in a corner where some cannot see you at all or so far back in the hall that you are not in close proximity to those you are trying to entertain. Some rooms might not offer any suitable area, forcing you to leave out some of your effects. 11
Richard Osterlind If, however, you can situate yourself in the very best spot for maximum effect, your chances of succeeding are tremendously improved. This can only be done if you can work completely surrounded. True, being in the center of the audience is far from ideal, but that extreme will allow you to work anywhere. You can have some spectators seated on your sides, people can be looking down from a balcony, or you might even have others looking in from another room. You are safe. If you are going to be working on a dance floor, for instance, you can put your table and microphone right up front where you are close and everyone can see you. You will also be free to move around in your performance area to achieve the maximum benefit of your available space. Often, when I am working a smaller party, I will walk right into the audience to bend a spoon or perform a center tear. I can do this because all of my material is angle-proof. Not only does this help with the visuals, but getting into close proximity with the audience tends to gain their attention and quiet down any talkers in the group. Likewise, not being restricted to standing in a certain spot allows you to move around and address different areas of the audience. It is vital to keep everyone's attention throughout your show and not worrying about anyone seeing something from behind is liberating. Another side benefit from having an angle-proof act is you can perform your best material anywhere and at any time. I keep my entire show in a catalog case which is always close by. If I am at a trade show or doing strolling work for a company party and a large crowd gathers around me, I can transition into what I call a mini-show. Because all my effects are angle proof, I can reach into my case and perform some of the same routines I normally do on stage with no consideration to where people are standing. Being able to do that takes you out of the category of a close-up worker into that of a master showman because 12
The Professional Mentalist's Field Manual you are doing your first-rate material for a first-rate audience. I once performed my watch routine in the center aisle of an airplane while flying to a show! I later found out one of the people watching was the manager of a Nevada casino I later worked at. With the abundance of available material offered these days, there is no reason you cannot have a completely angle-proof show. It will be the best thing you ever did for your career. 13
CHAPTER 1 WORKSHEET List the effects currently in your repertoire that can be performed surrounded. What new effects could you add? 14
02 A Magnifying Glass For the last year, I have been giving the following advice in my lectures, telling the attendees if they only learned one thing from me, this would be worth the price of admission. You need to go out and buy a durable magnifying glass. Mine is a 2X Bausch and Lomb model with a 3.25 inch diameter that cost me under $20.00. Put this into your case and forget about it. Please don't design a routine for it and try to incorporate it into your show. Rather, just have it readily available for when you need it. This is what will happen. You will be on stage, doing a book test or some routine where your assistant needs to read a word, a date on a coin, or some such procedure. Even though you have been careful to choose someone who looks like they can see well - they may even be wearing eyeglasses - they will start to squint and finally say they cannot read it because of their poor eyesight. If your show is polished and professional, and it has been moving along smoothly, your audience will feel a twang of discomfort at the situation that both embarrasses the person on stage and suddenly jeopardizes your performance. They may laugh, but it will be a nervous and undesirable type of reaction. When that happens, you simply reach into your case, grab the magnifying glass and hand it to the person, saying, "Here you go:' The audience will burst into laughter and often applaud 15
Richard Osterlind while the person with you on stage will be totally relieved and you can go on with the routine. You will come across as the master of the situation and someone who is the ultimate professional. It tells everyone you know what you are doing and are ready for anything. Again, resist the temptation to purposely work this into a routine. Put the glass into your case and put it out of your mind. The situation where you can use it will arise soon enough and the process will play out spontaneously a hundred times better than if you planned it. By the way, when it happens, don't act smug about it or try to make it into a big deal. Just do it in a matter-of-factly way, as though you knew exactly what was going to happen. Come across as being simply helpful and not as though you are trying to make fun of or put down your assistant. Concerning this latter advice, let me expand on the general concept. Audiences do not like to feel they are getting the same exact act thrown at them as the group from the night before. They want you to treat them as special people and not as targets for the butt of your one-liners and jokes. They are as different from anyone else as you are and expect to be treated with dignity and respect. Yes, you do need something of a script for your show, but when it comes to comedy don't try to set up your helpers in such a way that you can turn it around on them to get a cheap laugh. Humor is best when it comes off the cuff and fits the exact situation you and they are in. It makes your audience feel as though you are paying attention and care about them. This is especially true for mentalism which is, perhaps, the most intimate of any performing art. One last thought: over time, if you use this idea enough, you will sort of get a feeling when it is about to happen. Usually, it's the look in the person's eyes that tells you they are having trouble, but don't want to say anything. If that happens, you casually walk over to the case, get the glass and hold it behind your back so no one can see it. Walk up 16 ,
The Professional Mentalist's Field Manual to the person and ask what's wrong. When they tell you that they can't see, wait a second or two for that to register with the audience, then bring it forward and hand it to them. That is best, as people will forget you walked away for a second and will wonder where the glass came from! After this happens to you a few times, it will be more valuable than that electronic gizmo you paid hundreds of dollars for. Trust me on this! 17
CHAPTER 2 WORKSHEET What parts of your show are open for adlibs? List places you can interact more with the audience. 18
03 Some Clothing Tips 0 f vital necessity is that you look your best when you take the stage. Here are some tips that you don't normally see mentioned. Whenever you are at a show, or on the way to a show in your car, bus, train or what have you,. drink only clear liquids such as water, Sprite, ginger ale, etc. Try to stay away from Coke, Dr. Pepper, or coffee. The reason is obvious. If you spill some on yourself, it won't stain like a darker beverage. A clear liquid will dry up and be gone. Remember, even a small spot can hurt your overall appearance. Worse yet, if you feel as though you aren't looking your best, it will hurt you psychologically. The last thing you need when you are trying to do the best job you can is not to be in the best frame of mind. Speaking of stains, you are much better off with dark clothing than lighter clothing. Not only do stains not show up as bad, but water will not be your enemy. Some time ago, I was at a show just about to go on. My suit was a beautiful new light grey pinstripe. I decided to go into the men's room just to check on myself to make sure I was in order. I leaned over the counter to look in the mirror and backed away in horror. The front of the counter top was wet and I now had a dark spot right across my crotch! I could hear the owner of the company begin talking into the microphone to welcome the crowd as I stood in front of the hand dryer that I had turned downward trying to dry off my pants. I also had to keep stepping back from the dryer so I could hear how far into the introduction he was! I did the first ten 19
Richard Osterlind minutes of my show with my jacket buttoned, just to make sure I was dried up. I now buy dark suits as that is not an episode I ever want to repeat again. Pay attention to your belt. I once had a meeting planner tell me she always knew if a person was well off or just faking it for a show. The suit and shoes and jewelry might all be top notch, but if the belt was old and worn, she knew the person wasn't a real pro. Spend a few dollars on a good imported leather dress belt. When you think about it, it is as visible as any piece of clothing. Speaking of jewelry, never buy a fake Rolex to wear to your shows. Real Rolex owners can spot it in a second and then you will just look foolish. If your watch is a fake, probably you are, too. Besides, the knock-offs are illegal and why would you want to be part of that? You are far better off with an average-quality watch like a Seiko or Citizen. That is what most executives wear. As far as what styles and colors of clothes to buy, such as suits, shirts, ties and shoes, just look to your late night television talk shows. The hosts are always outfitted with the latest fashions. Clothing manufacturers compete for the honor of dressing the stars and since the shows are happening that same day, the styles are always current. What's more, they always come out and do an opening stand-up monologue. They often button and unbutton their jackets. It gives you the chance to check out their complete outfit as well as how it fits. You can see how long they wear their tie, what kind of shoes they have, and what colors go with what. Take advantage of the free lessons of the latest styles on the market by just clicking your remote. If you are like me, you are very pocket conscious. When performing, either close-up or on stage, I have a definite pocket for each item. Be careful, when buying a new suit or shirt, that things are the way you need them. Some of the newer fashion dress shirts do not have a breast pocket. I need that for my linking finger ring routine so, if I plan 20
The Professional Mentalist's Field Manual to do that, I can't wear that style shirt. Likewise, I keep my Swami in my right trouser pocket. A suit I own has a change pocket within the main pocket that hinders me when I reach in. Take these things into account when you buy your clothes. Finally, always take the time to iron your clothes before a show. No matter how well you may have packed, folded clothes always pick up a few wrinkles. There is nothing that looks as good as a freshly pressed suit. Also, while we're speaking of such things, always keep a small sewing repair kit in your suitcase for loose buttons and the like and a tube of Tide-To-Go. That stuff is remarkable in getting out stains on the run. 21
CHAPTER 3 WORKSHEET Create a diagram of your pocket management. How could this be improved? 22
04 Act Professionally Towards Fellow Entertainers H ere, and throughout this book, when I talk about being professional I am not just referring to those of you who work for money. I firmly believe everyone who performs, regardless if they are an amateur, semi-professional or full-time worker, should act totally professional. When I wish to do a bit of home repair work, I try to do it as much like a trained electrician or plumber would. If I have to treat one of my children for an illness, I try to do it with as much proficiency as a real doctor. If I am going to cook my family a meal, I try to create as tasty a concoction as a top chef. I see no reason to ever set your sights short in any endeavor and believe we should all do our very best at all times. In short, to do a poor job performing with the excuse that you aren't a pro does no one any good, most of all yourself. Even if you never intend to work for money, you should approach each performance as though you are being paid handsomely, even if it is an impromptu show in your living room for family and friends. Along with that thought, if you are a professional, you should never do any greater or lesser job based on the size of your paycheck. Excellence always should be your motto. With that said, if you are ever in a situation where someone else is performing and a lay person asks you if you know how it is done or if you could do the same thing, never say yes. It is the worst thing you can do. It seems 23
Richard Osterlind to say that all mentalism can be learned by anyone who is in on it or what they just saw was really not that unique. It makes the performer look bad, it makes you look bad, and it cheapens the art. Instead, you should say that each and every mentalist has his own secrets and abilities and no one ever shares them with anyone else. That makes the whole art appear very mysterious and heightens everyone involved. We are the wizards, they are the Muggles. Let them think we all have secret libraries filled with dusty old books teaching incredible wonders. A private pet peeve of mine is when local guys insist on referring to Max Maven and Banachek as Phil and Steve as though they are "in the know:' How ridiculous is that? I have known both of these gentlemen my whole life and call them what they want to be called! I have even heard a few guys refer to Kreskin as "George"! For heaven's sake, he legally changed his name to Kreskin before these people were even born! I know we all talk about other performers among ourselves. That is only natural and, as long as it is in private, with some fellow mentalists, or perhaps at the local club meeting, it is to be expected. Everyone, in every occupation, probably does that. Never, however, talk bad about a fellow performer to a member of the general public, even if you think that mentalist is absolutely terrible. If you do, it will make you look petty and cheap. Acting professionally means you never put down your competition in any way. If you are talking to a client and he brings up another performer, tell them he is quite good. Then, if you are trying to sell yourself, explain what is unique about what you do. Advertise yourself on your own merits, not by putting down someone else. Jealousy is a very terrible trait. To see someone who has gotten their own TV show or who is doing great paying jobs while you are suffering financially, especially if you think you are better, might tend to make you resentful. You can't 24
The Professional Mentalist's Field Manual ]et that happen. When you see someone succeeding, you should say, "God Bless them!" and you should really mean it. If they are doing that good, they are raising up mentalism in the eyes of the public. That can only be good for you. Also, as I said in the introduction, pay scale is usually determined by how many years you have been around. It is only natural to raise your price year after year and make better contacts. When someone gets a big break, it is almost never by luck. They probably did a lot of hard work to get to that place. If you are around long enough, and if you work as hard as you can to always do your best, breaks will come to you, too. · Being constantly optimistic is the best way to make that happen. People want to be around people who love what they do and who are always happy and excited. Clients will be more willing to pay your fee and will want to see you again and again. And, even if you never get your own TV special or headline in Vegas, you can - and will - have a life more rewarding than 99% of the population. Very few people get to make a living doing what they love the most! 25
CHAPTER 4 WORKSHEET What do other entertainers say or do which upsets you? Are you ever guilty of the same? 26
05 The Real Secret of Overcoming Stage Fright H ow many times have you watched someone take the stage and they just looked nervous and unprofessional? Their speech is low and timid and they fumble with everything they do. Your eyes drop to the floor as you shudder and wish it was over. Then another entertainer walks on and the stage seems to light up. He seems confident and proficient. You know you are looking at a true professional and take delight in his every word and action. I have seen all kinds of advice given about overcoming stage fright and acting amateurishly. The most common recommendation is to say that the person needs more practice. Frankly, mechanics in mentalism are really not that demanding and fumbling is usually not the result of insufficient time spent in front of a mirror. Also, mentalism is perhaps the most personal of any art form and there is no way to rehearse and achieve interaction without a live audience. Memorizing lines is hardly the solution when what you say is entirely dependent on how the audience members react to your instructions. I have seen the term "jazz mentalism" tossed around a lot lately but, in fact, all mentalism is, by its nature, spontaneous and improvisational. Each routine takes on a different color based on the participants. No, the real solution to defeating stage jitters and nervousness is to lose all self-awareness. True, before the performance, it is imperative you do everything you can to know your act, have everything in place, dress impeccably, 27
Richard Osterlind and make sure your personal appearance is immaculate. Your shoes must be shined, your suit pressed, and your hair in place, but once you hit the stage, you must completely forget about yourself and think of nothing but creating the best mentalism you can. See, what is really going on inside your head when you are nervous is a sign of ego. You are worried the audience will not like you. You are concerned that they will feel you do not belong on stage because your act is not that good or you are not delivering it properly. You are terrified you will forget what to say, they will figure out your secrets, or your material won't work. Everything has to do about you. You are agonizing over yourself and not thinking about the audience or your material. If we analyze this situation with complete honesty, there is only one question that needs to be answered. What is your motive for performing in the first place? Do you love mentalism and want to create wonderful mysteries and give the audience an experience they will remember for years to come - or do you want to show off? Do you look upon our art as a thing of beauty you want to share with your spectators for their delight or do you want them to admire you and think you are someone special? This is the crux of the whole dilemma. If you think I am being unduly harsh, let me once again offer a comparison with another love of mine, which is music. When you go to see a concert pianist, is your reason for attending to see his personality, how he is dressed, and how he speaks, or do you go to hear to his music? When he is playing, do you want his ego constantly shining through, showing his own self-awareness and his desire to be admired, or do you want to see him lose himself in the music and be totally absorbed in making his compositions bring you to new heights? And, ifhe does, do you think there is any room for stage fright? Why should it be any different with our art? 28
The Professional Mentalist's Field Manual All mentalism should be thought of in terms of effect. What are you trying to accomplish and what do you want to leave in the minds of your audience? When you are finished, what do you want them to think they have seen? Are you completely comfortable with your goals and do you have a clear understanding of the validity of your aims? If you want to create a scenario that elevates the human spirit out of the everyday world of problems and hardships into one that transcends limitations, boundaries, and obstacles, and completely engulf yourself in that endeavor, you won't think of yourself and worry. If your goal is to demonstrate our art in the highest form, your voice and actions will ring out with authority and you will act with an assuredness that will put your audience at ease, knowing they are watching someone who knows what he is doing. Take yourself out of the picture and stage fright will simply disappear. 29
rCHAPTER 5 WORKSHEET What do you think about when you get on stage? List ways to concentrate on the mentalism. 30
06 Packing Up Your Show Everyone's situation is different when it comes to props and how to handle them. Coming from the background of being a professional drummer, I was used to carrying around a lot of equipment. I assumed the reduction in apparatus for a mentalism show would be substantial and didn't worry much about larger props. I found, however, as I began to do shows in different venues, that any prop that was too large or ungainly needed to be eliminated. I had my carpenter build, for example, a beautiful table I had planned to use in my shows. I soon found it was unnecessary and caused all kinds of problems I didn't need, and that was before I started flying to shows. One of those troubles was walking into a venue struggling with these cases. It didn't look appropriate and spoiled the persona of a successful mentalist. Later, when I started doing college shows, I would often be picked up at the airport and delivered to the school auditorium just moments before I was to be announced on stage. Although that is an extreme, it demonstrates what can happen and the need to always be ready. My own solution for carrying my props is what is commonly called a catalog case. You can find these at any large stationary or office supply store. They are the same type of case you see pilots carrying in airports. It is just small enough to be classified as carry-on luggage. The case opens at the top and allows me to reach in and get what I need at a moment's notice. (The size of my Ultra Board was actually designed to fit in this style case.) "
Richard Osterlind If I have time when I get to a show, and a small table is available, I will put some of my props on that and just leave the case on the floor next to it. If time or other restrictions make that impossible, and I have to simply walk into a show and begin, I just set the case on a chair and open the top. Either way, as I progress throughout my act, when I finish with each prop, it goes straight back into the case. That way, if there is something planned after my show, such as awards or other speeches, I can pick it up and leave immediately and not have to wait an hour or so to retrieve all of my stuff while leaving it around for meddling eyes. Because I am a minimalist when it comes to props, I actually have enough stage material in my case for well over three hours worth of show time and that is in addition to my hypnotism act and all my close-up material. Concerning the latter, the case is also wonderful when doing a trade show or hospitality suite. I can set the case close by and out of sight for any situation that arises. If I have to transition from my close-up act to something I normally do on stage because of a larger crowd, I can simply reach in and get what I need. Speaking of packing, I don't carry around back-up props as they are all virtually unbreakable, but I do have extra leads for my mechanical pencil, chalk for my chalk holder, and an extra deck of cards set up in the Breakthrough Card System. I also have what I call my Emergency Mentalism Tool Kit. Performers like Malini and Bert Reese gained their reputations doing magic and mentalism at any time and place. It demonstrated they were special and not some props. You can never tell when you might be called upon to do something. I always have one of my pads in my pocket so I am always ready to go with a center tear, billet routine, or to use it to write a prediction on, but I also keep my Emergency Mentalism Tool Kit somewhere nearby. This case is a leather men's toiletry case designed for carrying razors, after32
The Professional Mentalist's Field Manual shave and the like. My kit has a few spoons, a couple of Swami Gimmicks, a pencil, a deck of cards, ESP cards, some business cards and a few other small items I can quickly slip into my pockets. If I am out to dinner, or perhaps visiting at someone's house, and I see the climate leaning towards someone asking me to stand up and perform, I can quietly slip away, get what I need from my case, and come back all ready to go. It still looks totally impromptu, but it saves me from walking around 24/7 with huge bulges in my pockets. I used to do that with pride, but after years of performing, I realize that I am also a human being as well as a mentalist. I like to be ready, but I also like to be comfortable. 33 ~
CHAPTER 6 WORKSHEET Create a diagram showing your case and where each prop goes.
- 07 Don't Take Chances on Delicate Props or Methods 0 ne of the first things you learn when you are working as a professional is you can't fail in your material. Having a prop or gimmick go wrong in a magic show is bad enough; in a mentalism show, it can be disastrous. After all, you are the one with powers, not the "stuff' For that reason, I have always leaned towards equipment that has few - if any - moving parts and does not rely on any delicate mechanisms. I have seen my stuff get thrown around on planes, backstage by prop men anxious to set the stage, and other real-life situations, to trust my reputation on a piece of invisible thread or complicated clockwork machinery. The last worry I want on my mind is that my equipment might fail. My props are a blackboard, my ThoughtScan board, my metal blindfold, paper, pens and pencils, envelopes and cards. Nothing can break and it is all made of industrial-type materials. As an example, I used to use the wonderful Mental Broadcasting slate in all my shows. Although it is a marvelous piece of equipment, the complicated mechanism would jam at the worse possible moments. After rebuilding the prop time and time again to make it more reliable, I finally put it away and developed my Ultra Board. There is nothing that can go wrong with that even if the apparatus were dropped off the top of a table. The peace of mind that gives me cannot be overvalued. This is another reason I tend to lean away from elec35
Richard Osterlind tronics. Although I see our art as best demonstrated with the barest and most innocent apparatus we can use, the thought of a battery running out, or a jar causing an expensive piece of equipment to stop working, has always scared me off. Again, when you are being paid a pretty high fee to do a show, taking chances is to be avoided. Plus, I have yet to see one new microchip wonder that couldn't be accomplished by a more classic approach. Just the nail writer alone can achieve over 75% of all mentalism wonders. I have come to believe in that old adage that anything that can go wrong will go wrong! Sometimes it can be a prop failure, but sometimes it can be with a brain failure! A while back, I was invited to appear at a dinner for a local magic group. It was a small paying show, but it still was a professional show. I decided to open my act with my Linking Finger Rings. I borrowed the three rings from the audience, putting each one on my pencil, and got ready to link them. As I stood in front of the group, for some unknown and unworldly reason, I tipped the pencil downward and the three rings fell off the end onto the floor! I was frozen in amazement, starring at the rings on the ground. I must have performed this routine a thousand times in my career and had never once done that! All I could do was lean over, pick up the rings, put them back on the pencil, and act as though nothing wrong had happened. To this day, I have no idea what I was thinking and why I made such a stupid mistake. It taught me that no blunder is inconceivable. There is no such thing as totally infallible. For that reason, I refuse to do any of the new, in vogue, stabbing effects! I don't care how foolproof the method might be, I won't take a chance. If I can mess up something I know as well as my finger ring routine, I shudder to think what I might do with that! Since I just brought it up, let me finish this chapter with one more thought concerning any death-defying routines. When I performed my Acid Test on one of my DVDs, my dear wife, Lisa, refused to watch. She went into anoth36
The Professional Mentalist's Field Manual er room during the filming and called me ignorant! Even though I explained to her that there was no way I could make a mistake, she would hear nothing more about it. Her constant retort was, "Why would you want to do something that stupid?" I have learned to really listen to Lisa. To me, she represents the way most real people think. So, let me ask you. Why would you want to risk your well-being, even your life, on a mentalism stunt? Even if you could do everything you claim with actual powers, how does it make any sense to put yourself in jeopardy to prove that? Would a marathon runner purposely try to outrun a vicious wild animal to prove how fast he was? Would a star baseball pitcher face a charging bull, pitching rocks at it to show his abilities? Does that sound absurd to you? Think about it. 37
CHAPTER 7 WORKSHEET List all the props you use. Are there any that are liable to break or fail? 38
08 Understanding What Effect Means As I write each chapter, I am tempted to say that each is the most important one in the book. In the present case, however, I think I will still feel that way about this chapter by the time I come to the final page. How many times have you heard the expression, "You're thinking like a magician:' What I am going to talk about is the epitome of performers thinking like magicians instead of real people. I know I have said this before in my books, but not everyone reading this will have read my Trilogy or two Principles works. So let me restate this: The audience is most impressed when they see you do something that demonstrates a power they would like to have themselves! Imagine you were with Donald Trump and could give him the choice of having one of two powers. The first is the ability to have four half dollars in one hand travel invisibly to the other hand. The second is the ability to read a person's mind. Which do you think he would choose? Is there really any question what his answer would be? The ability to read a person's mind would be worth billions of dollars to Donald Trump! What would the half dollar trick be worth? Which one would most people choose? If you had telepathy, you would have incredible power. It would change your life overnight How often has someone said to you after a show, "Please come to Vegas with me!" or "Could you make my boss dis39
RkhanlO'"'li"d appear?" Yes, it is a joke, but with underlying truth to it. What the person is really saying is, "If you are so good, do something useful with your powers! Do something that has meaning!" Many mentalists don't seem to get this. They think the only criterion is how impossible something looks. The current trend among many newcomers, for example, is the belief there is no greater card trick in all of mentalism than Any Card at Any Number. Performers are always trying to come up with better ways to do it. I agree, it is a great card trick, but it is not the best card effect for a lay audience. It has no real-world meaning. What could you do with that ability if you really had it? It would be a long stretch to figure out a way it could make you money in a casino. Card Calling, on the other hand, represents pure mind reading. From across the room, you are apparently able to know all the cards a person holds in their hands and is looking at. Think of having that power in a poker game! It does not take a stretch to understand its importance. Any person could become rich by gambling. I always include it early in my show. It is not a card trick; it is my first demonstration of true mind reading with an obvious attachment to reality. I even drill that home when, after I finish the routine, I tell the audience I am getting up a little game of poker in the back room after my show. That always gets a laugh, but also makes the point. To me, Card Calling is the single most important card effect you can do in mentalism. When I bend a spoon, key or coin, I always talk about Karate and the focusing of power. I even imply I have accidentally bent my eyeglasses or jewelry in the past! I don't go into much detail, but the general reference is enough to bring home the point that this skill might actually be somewhat deadly! It then has meaning. People see a mentalist and wonder what it would be like living in his shoes. They wonder, with fascination, how things are for him in day-to-day situations. The more you 40
-The Professional Mentalist's Field Manual can relate your effects to real-world adventures, the more allure your show will have. My presentation is made up of many different powers. Clairvoyance is especially neglected by mentalists, but has great audience appeal. Being able to sense hidden articles is fascinating and is always a theme in books and movies. I can't tell you how many times people have asked me if I could find a lost article for them. Likewise, mind control, a form of hypnosis, is a powerful skill. It suggests you could cause people to do what you want even against their will or knowledge. That comes across as an awesome ability. I am going to talk more about this as we go along, but for now, please just be aware of what powers you are demonstrating and try your best to make them seem meaningful. 41
CHAPTER 8 WORKSHEET List all the routines in your show. Can you describe every effect in a straightforward way? 42
09 Imply But Do Not State Your Powers This is a subject I have talked about many times before, but still needs further clarification. I said in the last chapter that I demonstrate many abilities when I perform. These powers are in my inner script. I know exactly what these are and how they work, but I never state openly what they are. I imply them. If you come out and explain (claim) you are going to demonstrate telepathy - the ability to pick up another person's thoughts and then do some routine that appears to accomplish that - it is totally reasonable for someone to say, "If you have telepathy, please tell me what I am thinking of right now!" Frankly, given that situation, I would probably say the same thing. It is not even an attempt to catch you, but just a natural reaction to what you have done. Why wouldn't that happen? If, however, you simply do your act, much in the same way you would perform magic, without trying to define the mental processes you are supposedly using or trying to give some type of scientific slant to your show, you do not open that door. Since you claimed nothing, there is nothing to prove. The effects stand on their own merits. A disclaimer becomes pointless. If you never claim anything in your show, why disclaim anything to begin with? I never liked the idea of a disclaimer. It always seemed counterproductive to the atmosphere of the show. Why would I want to tell anyone I wasn't doing what I appear to be doing? 43
Richard Osterlind Why would I want to start my show with what is basically a negative statement? If anything, I have a "claimer:' I tell the audience I am using abilities we all have. That is an absolutely true statement. I don't say that to protect myself, but rather to tell the audience we are all special - which we are! Along those lines, since I never try to explain the powers that allow me to perform the feats I accomplish, I almost never have to lie during my show! It is very hard to be a good liar and I don't want to learn. If you were to watch my act from beginning to end, you would find that 99% of all the statements I make are the absolute truth. I come across as totally believable because I don't lie. This approach is not new or unique to me. If you read Practical Mental Effects, it's the exact way Annemann stated that Bert Reese performed. To paraphrase Annemann, Bert Reese never claimed anything and left it up to his audience to decide what powers he possessed. This concept works, and works better than other approaches! It never gets you in trouble. It has held me in good stead for over 40 years. Look at the many DVDs and recordings I have made. I have been told time and time again, by mentalists, they never realized I was taking this approach. The effects seemed so natural that it never occurred to them I completely avoided giving any explanations of what was happening. This tactic also negates that commonly seen question that always appears on the silly magic forums, "What is your justification for doing that?" The question ceases to exist! There is no need to justify anything when no claims are made in the first place. Let me reveal something to you that I have never talked about before. Please digest this - it is gold! My own mental state when performing is that I have powers of ESP, but I try to conceal them! I don't want my audience to know what I am doing. I accomplish this by using the basic everyday language to steer the person into doing what I need them 44
The Professional Mentalist's Field Manual to do, given my hidden powers, such as, "Can you see the person in your mind?" Then I look into their eyes, look reflective, and do the reveal. The end. I don't connect the dots - I let the audience do that. That is fascinating for them! Read novels about psychics. Watch movies where people have powers of ESP. Are they constantly analyzing and explaining how it is they can do what they do, or do they just do it? They have a power and then they do something useful with it. They don't say, "Here is telepathy, now here is clairvoyance, and now this is telekinesis:' How absurd. Finally, like Bert Reese, you don't get anyone mad at you. Regardless of what their own beliefs are, pro or con, if you don't claim anything, they can't take issue with you. They can each assume you did this or that while you go merrily on your way. Your job is to entertain, not be confrontational. 45
CHAPTER 9 WORKSHEET Construct a script for your show where you never lie. 46
10 The Audience Only Gets One Half of Your Show H ave you ever gone to a movie you wanted to see and really enjoyed it and then either bought the Blu-Ray version of it later or watched it on Netflix when it came out? Did you notice a lot of details you initially missed? Did you pick up on plots that went right by you the first time around or completely forgot about whole scenes or characters? If that were the case for you, when you sat in complete silence in the theater paying rapt attention to the movie, what do you think are the chances that your audience, who have probably been drinking and are carousing with one another, will take in every small aspect of your show? That's why I conservatively say they miss about one half. Why do you think, when you hear someone relating what you did in your show to another person, they almost never even get close to what you actually did? You are lucky if they can remember the basic effect, let alone the details. To be successful, you have to be aware of this "half factor" and base your show on that knowledge. Many mentalists see only performers on TV or the Internet, where they can rewind the show time and time again to see every second of the performance. They then try to base their own performances on that kind of situation. That is totally wrong and illogical. Almost all television shows are heavily edited and do not come close to reflecting the real-life situation that took place. Besides, I hope you have 47
Richard Osterlind the good sense to never let your show be video recorded by anyone outside of yourself! These days, with YouTube, you are likely to see some embarrassing moment broadcast to the entire world! Don't ever take that chance and stop the show immediately if you see someone pointing their phone at you or wearing a device like Google Glass! With that said, let me get to my point. In an effort to make a lot of new mentalism foolproof and replay proof, especially with the new dealer trailers that all begin with what appears to be the opening of a horror movie only to turn into a shot of a kid wearing jeans in an alley, creators often try to eliminate basic misdirection and stagecraft with heavily concocted plots that hide the secret of the effect. This is usually accomplished at the expense of turning a straight forward and direct performance plot into a convoluted collection of procedures that, given the half factor, cause the audience to not understand what is happening or to lose attention entirely. Your plots have to be simple and direct. You have to read someone's mind, predict a choice they will make, bend a spoon right in front of their eyes, and the like. Long-winded explanations and complicated directions to the volunteers that seem to go on forever will bore an audience to death in no time. I also have no room in my show for many of these new, linguistically-based, methods. Influencing your audience, with proper language, is a core ingredient of any stage performer who interacts with the audience, but to base the outcome of an entire routine using language to direct the spectator to a choice, is far too chancy for my tastes. For a professional, routines have to be sure-fire show after show. The old adage, "It's OK to miss once in a while with mentalism" should only be applied to minor fishing you might use during a longer routine to enhance it. If you completely fail in one of your major routines, you will look incompetent and unprofessional. It is another example of 48