The degree to which you consider this film a "10/10" or a "2/10" is based entirely on how much you emotionally connect to DelGaudio's life story. Rather, in-between these magic tricks, you will be treated to the real focal point, which is DelGaudio engaging in a monologue about his life in a manner that is designed to make you sympathetic and feel emotionally invested in the performance. DelGaudio only performs about four or five of these magic tricks throughout the whole hour and a half performance, and it is clear that the tricks themselves are not the focal point of the performance itself.
These are the highlights of the performance. They are sort of basic sleight-of-hand tricks, and they could probably be recreated by other high-level magicians, but they are definitely cool in the moment and had me stopping the film to see if I could figure out what happened. I will give credit where credit is due - Derek DelGaudio does some very cool magic tricks throughout this performance. Is this what it's like to believe in the unbelievable? Oh, and a late-era masterpiece from Oz, who I wasn't sure would return to filmmaking but, my god, the editing and mix of animation really does a trick here as well. I haven't been at all religious in my life, but. It is perceptive on a level that I can't put into words, except to add that in the 21st century, when everyone in life (or especially online) gets pigeonholed, it is. I can't explain what he does (the letters most of all), and I don't want to. Are you the dog, the wolf, or in that space in between? You're still somebody's son, or mother, non? What Id also add is Delgaudio is a master showman, but his greatest skill as an artist is empathy and connectivity. All I can think of put down here is this brilliantly written and designed theater-magic-show-cinema-confessional hybrid is about how labels create us (or may try) and how we either stick to them or transcend them. That was a long answer, I'm sorry.As many have said, go in knowing as little as you possibly can. That's how the newer EP and newer album songs are sort of bigger in scale and more suited for our 5-piece live show. And we're like, hey, people get really into this - they dance to this - why don't we write more music that's specifically suited to this, be this rock band instead of this electronic duo project. And then when we started playing those songs live, we wanted to give them more energy than just like electronic loops and drums, so we had our friends join us, adding in these big beats, adding in guitar. The recordings were like lo-fi - because of the technology we were using - lo-fi sounding songs, like these little pop songs buried under layers of drums and synth and things that made it sort of dreamy. And then we went to France, and we were writing our first song as Magic Man, and I was like, oh, we can record some vocals into the laptop. Now that I think of it, this was the start of our collaboration as songwriters. It was just so much fun to play, and we were kind of trying to like strike up emotion with just melody and no words. We'd hang out with our friends Brandon and Tyler, a couple guitars, bass, drums, and we would really just try to make the most bombastic, huge-sounding, sad, triumphant rock music - basically often very derivative of Explosions in the Sky. AC: Well, the first band that Sam and I were in that we took seriously was this band in high school that we called Airships.
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