The key to acting - from what little I know about that wonderful craft - is listening, and interacting with the other person in order to achieve magic. One way to do that is almost to provoke.
The moment that we realize our attention has wandered is the magic moment of the practice, because that's the moment we have the chance to be really different. Instead of judging ourselves, and berating ourselves, and condemning ourselves, we can be gentle with ourselves.
I definitely enjoy the kind of magic that happens being on stage with a group when everything's working. The vibe when that's happening gets even better if the audience is involved and you can feel that interaction. That's something you don't get with your headphones on in a studio; it's much different.
There's just some magic in truth and honesty and openness.
Ten years ago, TV cookery shows were about a man or a woman following recipes. Now, it's all about journeys and campaigns and less about the actual chopping and dicing. That's what I'd like to do with magic.
You're never going to get the amount of CO2 emitted to go down unless you deal with the one magic metric, which is CO2 per kilowatt-hour.
I can play multiple instruments. I love a cappella. I love barbershop. I love magic.
Same with anyone who's been flying for years and loves it still... we're part of a world we deeply love. Just as musicians feel about scores and melodies, dancers about the steps and flow of music, so we're one with the principle of flight, the magic of being aloft in the wind!
I don't know what to think about magic and fairy tales.
I started performing when I was 9 or 10, doing magic.
For someone who works in theatre, the rehearsal is where you discover everything. It is where magic happens, where the script enters you and becomes part of you.
When you hear the words 'magic' and 'story', they will probably evoke thoughts of your favourite fairy tales from childhood. Storybook pages abound with all manner of magic: fantastical fairies, wish-granting genies, or even a certain boy wizard.
I am a fan of magic and fantasy, particularly when it's grounded in reality.
I always believe a woman should have 5 non-negotiables that she should stick to when attracting a mate. If the guy does not have these five major things - then she should not give the guy a chance as she's wasting her time. The rest is up to the magic and wiggle room the universe gives.
I believe in illusion - I don't believe in magic.
Bridging the virtual world with the physical word is really when social media channels come to life and the magic happens. Because whoever coined the term 'social media' didn't do us any favors. It's not really media. It's more like the telephone, less like the TV.
Magic symbolises the subconscious - that part of us that is creative and powerful that we sometimes don't tap into.
Just like those little Viewmaster slides, there's a inherent magic that's captured in 3D that you can't get in drawn animation or in CG.
I've always been a huge fantasy fan. I was always interested in fairy tales and anything with magic or dragons... I was always drawn to those types of stories.
There's also the tradition of voodoo, the Haitian magic arts, in New Orleans. And because New Orleans is below sea level, when they bury people in New Orleans, it's mostly above ground. So you have this idea that the spirits are more accessible and can access you more easily because they're not even buried.
My father made sure that I had lots of levels of education - from ballroom-dancing to painting, commando training, theatre and magic.
I mixed hypnosis and magic together to try and create a new area. I'm not trying to reinvent the wheel.
The state of childhood resonates with life inside a fantasy novel. If you have no control over how you spend large chunks of your day, or are at the mercy of flawed giant beings, then the desire to bend the laws of the world by magic is strong and deep.
I have always loved magic realism as a form of writing. I have also been fascinated for a long time with the intersection of science and religion.
Not to say people shouldn't get rich from art. I adore the alchemy wherein artists who cast a complex spell make rich people give them their money. (Just writing it makes me cackle.) But too many artists have been making money without magic.
Much of the magic of language, of course, lies in its fluidity.
Other people can write grown-up, political plays about the troubles in the world. My plays deal with magic and hope.
The sad thing is that, for many writers of fantasy fiction, the inclusion of magic seems to mean that logical ramifications and real-world laws both go out the window.
Magic is really performing special effects live.
I've been on enough sports teams in my life to have experienced the magic of what can happen when a group of people care for and love each other.
Art gives us an opportunity to not have to leave or go somewhere or do something to experience the magic in our lives. It actually gets us to sit back and be where we are and recognize we're already magical.
Dinner is where the magic happens in the kitchen.
One day, I'll disappear and hide in a corner of Britain. I'll own a bakery in a village, live above it, have a big garden because I like mowing. I want to get up when I feel like it, let people queue for my products, and when they're gone, shut the shop and think about tomorrow. Creating magic - that's my dream. And I'll do it.
I have dictated stories from an airport after writing the story out in longhand on the plane that I got from phone interviews and then was applauded by editors for 'working magic.'
I believe that misconceptions about oneself that one does not correct where possible act as a bad magic.
I have been writing fairy tales for as long as I can remember. Not much has changed in terms of my natural attraction to the narrative techniques of fairy tales. My appreciation of them in the traditional stories has deepened, especially of flat and unadorned language, intuitive logic, abstraction, and everyday magic.