The Magic of Grace

The stage lights were brighter than normal, limiting my vision of the sold out crowd. My nerves were on edge, knowing that my peers were salted in among the enthusiasts. The annual award competition between local magic clubs was always intense and provided great entertainment for fans, and this night was no different.

The Magic of GraceI had just taken another bow, extending the applause a bit longer.  My assistants flanked me, so I gave them the signal. The house lights came up and the women made their way into the audience, seeking volunteers for my final act.

The escape routine was straightforward to impress fellow magicians. I had no gimmicks or failsafe levers, just a simple timer release and a guillotine blade that swung down to slice open anyone seated on the wooden chair. The failsafe was removed to heighten the tension and capture the highest award possible from the show.

I had done the escape numerous times and typically got out of the chains and ropes within the first thirty seconds. This gave me ninety seconds to daydream before jumping out of the blade’s path a fraction of a second before it swung past the chair, which always generated applause.

But something didn’t seem right during this performance. There were too many volunteers bombarding my assistants for their attention. My assistants normally had to beg a few people to join me on stage, which works out well, as hesitant people seldom tie good knots and rarely figure out how to immobilize me with chains and padlocks.

Six volunteers followed my assistants to the stage. One looked familiar, but I couldn’t place him. My memory raced to figure out who the man was. In the meantime, my lead assistant demonstrated the power of the blade. She manually released the guillotine lever, which was followed by five quick clacking sounds and the blade swinging down hard and fast, slicing a watermelon that was set on the chair. The blade was so sharp that it split the watermelon in half without splattering any of it.

Once the assistant reloaded the blade into its cocked position, I took a seat on the chair and signaled the assistants to have me constrained. The assistants held up boxes of rope, straps, chains and padlocks for the volunteers. Within seconds all four limbs and my torso were secured. Then it dawned on me who the man was, but it was too late.

The volunteer tied my neck to the chair with a rope. His technique suggested that he knew exactly how to immobilize me. As he pulled his last knot taut, he whispered in my ear, “I’ve tied a knot that will tighten with every attempt to escape.” He walked away with a crooked smile. He was from the Elmhurst Magicians Club.

As one of my assistants helped the volunteers back to their seats, the other set up a four-panel dressing screen in front of me to block the audience’s view of my escape work. The lead assistant then hit the timer and the 2-minute countdown began. I immediately shifted my neck to determine the man’s ability and found that every move pinched the rope deeper into my skin. His assessment was accurate.

Thirty seconds into the routine, my lead assistant stepped back and glanced at me. Instead of daydreaming, she found me in the exact same position when the screen was set in place. Shock filled her face and the audience started whispering.

Since time was of the essence, I started to untie my hands, waist and legs. My right foot was freed, but my left foot was still in place. By shifting my weight around and twisting my torso, I was able to find the slack in the chain, freeing my right hand to work on the knot holding my neck to the chair.

The timer clicked down to sixty seconds remaining. My lead assistant nervously glanced behind the screen and gasped. The crowd’s murmur grew louder, driving the curiosity of my second assistant. She left her position and glanced behind the screen. A shriek bellowed from her mouth, causing one of the competition judges to stand and ask, “Is something wrong?”

My assistant quickly moved back to her position and tried to calm herself. The din of the audience increased. Another judge stood, not knowing what to do. My lead assistant noticed there was only thirty seconds left on the clock and glanced back at me. Our eyes connected. I wasn’t free. Her eyes welled and she turned abruptly to the timer. She grabbed the hand on the timing clock and tried to stop it from moving.

My other assistant turned pale and ran off stage in tears. Someone from the audience yelled out, “Don’t let him die!” My assistant returned to the stage with an axe to cut the ropes, but the clacking paralyzed her.

I stood and yanked my left foot from the ropes, twisting the chair slightly from its position. The rope’s chokehold was significant, but I lunged forward, knocking over the dressing screen as the swinging blade shattered the chair into pieces. I stood up and reached out my hands to both assistants.

We stepped forward into a grand barrage of applause, as the rope around my neck fell to the floor. The third judge stood with the other two applauding our climatic ending. Within seconds everyone was giving us a standing ovation. Both assistants were eating up the applause and reflecting their gratitude back to the audience with broad smiles.

My one assistant leaned toward me and whispered, “You know we won the competition.” I smiled and took another bow. My lead assistant turned and looked me in the eyes. “You’ve just retired that escape,” she quipped. “You’ll never be able to recreate such a memorable performance.”

Years later as I reflected back on that night, I remembered the incredible adrenaline rush in the final two seconds. It was during that specific moment when God’s grace allowed me to stumble forward out of the rope. I could hardly believe it.

The odds of my left foot slipping out of the rope in the exact moment the blade splintered the chair was amazing. It was something that could never be planned or recreated. It was greater than the awe brought about by any illusion. It was a magical moment in reality that was perfectly orchestrated by God’s grace.

Copyright © 2013 by CJ Powers
Photo © INFINITY – Fotolia.com

6 Steps to Avoid Shelving A Script

With the year in full swing, screenwriters are typing at a maddening pace to create their greatest story to date. Their compulsion and passion will drive them to create yet another story that will sit on the shelf – An unread masterpiece that doesn’t fit any need of the 1,000 cable networks that are desperate for good stories.

© ktsdesign - Fotolia.comI heard that last year over 10,000 scripts were considered in Hollywood for the silver screen, but less than 400 were given a green light to be made into motion pictures. Add to that the numerous scripts written for cable and syndicated stations that didn’t get produced and you start to wonder why screenwriters tend to write complete scripts to shop around instead of pitching a quality treatment.

Disney is known for approving films based on a three-page treatment, handful of storyboards and an art board or two that captures the essence of the film’s style. The sheer passion of the writer’s pitch coupled with the above materials is sufficient to solidify the idea and move the discussion into a development deal.

So why do screenwriters continue to crank out 120 pages that won’t be read?

Here are 6 steps to avoid shelving a script:

STEP 1: Write a three-page treatment that captures the thrill of the story. Write it like an around the campfire cliffhanger grabbing the attention of fellow campers.

STEP 2: The beginning of the story should captivate the audience with the energy catapulting them into the middle of the story. This requires a high concept idea launched with a “wow” factor opening.

STEP 3: Create a main character that every name actor in the business wants to play and put him on a journey that brings about positive change in his life.

STEP 4: Practice pitching your story to friends. Make sure it grabs and keeps their attention. Bring them to the edge of their seats as you move your story to its climax. Then give them a pleasant resolve that allows them to breath again.

STEP 5: Rewrite your treatment based on the elements that worked and quickly toss the segments that went flat. If you can’t tell the story with excitement, it won’t read well for the studio executives.

STEP 6: Pitch the story to the right network. If your story is about men playing poker, it wouldn’t be wise to pitch it to the Lifetime network, as they look for heartfelt stories with strong female leads. Nor would an intense dramatic thriller be appropriate for Nickelodeon.

While treatments are great for moving your discussion toward development, you will eventually have to write the screenplay. Some professionals keep at least one screenplay in the works on a quarterly basis and have at least one treatment being tweaked weekly.

Every writer must find his or her own pattern and take time to manage the business side of selling the script. Few agents today find work for their clients, forcing the writer to own the outcome of their own business.

Copyright © 2013 by CJ Powers
Photo © ktsdesign – Fotolia.com

Cirque Du Soleil: Worlds Away in 3D – Review

James Cameron was an active producer in the making of Andrew Adamson’s 3D movie. He oversaw all the 3D camera work and even was on the rigging high up in the rafters, while Adamson stayed on the ground inspiring the talent with his vision.

Mia and ClownThe film is a work of art that is built on a simple story, which draws from  “O,” “Mystère,” The Beatles – Love,” “Viva Elvis,” and other Cirque Du Soleil shows. It opens with Mia (Erica Kathleen Linz), a young woman who seeks to escape from her dull life. She enters a circus tent and becomes infatuated with a performing aerialist (Igor Zaripov). When their eyes meet, he loses concentration and falls into a vortex of swirling sand. Mia attempts to help him, but into another world with him. Mia and the aerialist become separated and search for each other in this fantastic place.

The performers in the film receive 5-stars for their skills and abilities. Unfortunately, the thin storyline was only put in place to connect the incredible performances drawn from each of the noteworthy Cirque Du Soleil shows and resulted in some dull moments.

For those who haven’t seen a live Cirque Du Soleil performance, the film is ideal and relatively inexpensive, as it gives highlights from several of their shows. For those who have seen one or two live shows, by the end of the first act you might realize that the film doesn’t live up to the impact of a live performance, even though you will be captivated by how close the camera allows you to get.