Television

TV work has streamlined my understanding of performance. From hidden camera work to hosting shiny floor shows; grand illusions to extreme stunts... I’ve worked with some of the best names in production including; John K Cooper; Phil Peotrowski; TwentyTwenty Television; Objective Producions; SpunGold; BBC Television; Carlton Television and BSkyB. The pressured world of TV means that you learn a lot of material very fast, you think on your feet and deliver a crisp performance every time.

In 10 years of television work I have advised; written; invented; performed and contributed to a number of successful TV formats.

I made my debut in a show that was shot for a new Gaming Channel on Sky in 2002 and then a cheaply shot 4 part series called ‘Max Somerset’ that aired on that channel 4 times a day to fill the blank spots. Then, I gained the confidence of the commissioners for a 6 part primetime Sky One series, ‘Max Magic’ which went out on Friday nights. Another Sky One series with character comedy called Undercover Magic, followed before starring as the Sorcerer in all 3 series of the BAFTA-nominated, award-winning BBC show, The Sorcerer’s Apprentice.

It takes a fresh approach to perform magic for today’s TV audience and my versatility, originality and professionalism make for happy crews, producers and programme commissioners.

No one on location wants the talent to act like a diva and when I have a vision for the project, I relentlessly problem solve; working with and not against the crew, until we find the solution that best fits the vision. I am not one to settle for any less than the best it can for the material and budget that we have. Whether it’s reading an auto cue or writing pieces to camera, I like to deliver tight quality performances without being responsible, on my part, for re-takes.

Magic is an odd medium to shoot. A magician can misdirect the human eye to look in the wrong place but he can’t misdirect a camera because it sees everything all the time without bias. Furthermore, If I am locked in a trunk and the camera ‘cuts’ rather than ‘sweeps’ at the crucial moment, viewers can get suspicious. That’s why many very competent, brilliant and experienced directors and camera operators who are new to magic show formats, have not been ashamed to ask in terms of approaching them.

Television