reflects . Still , this understanding never translated into personal enthusiasm .

For years , Harary abstained entirely from card magic , not even learning basic techniques like the double lift . This aversion became a running joke among his friends , prompting Harary to finally confront it a decade ago . “ I said , all right , screw this , I ’ m going to do a card trick … and I ’ m going to do it with no skill .”

True to his style , Harary ’ s version of a card trick was anything but conventional . Employing the help of his choreographer and video designer Glenn Grillo , he created an elaborate LED video segment that doubles as an interactive dance performance . “ It ’ s firstly a dance segment . It ’ s firstly an interactive LED video dance segment that pays off with me literally pulling a jumbo card out of my pocket and holding it up to the screen .”

The genius lies in the misdirection . The LED display is so engaging that the audience ’ s attention is completely absorbed , allowing Harary to execute the simplest part of the trick unnoticed . “ By the time you look at me , I ’ ve already pulled it out of my jacket ,” he explains . The only technical sleight he employs is a basic force using a jumbo deck — a far cry from the intricate finger work typically associated with card magic . Rocco , one of Harary ’ s longtime friends , humorously dubbed it “ the most expensive card trick in history .” Considering the LED setup alone cost around $ 4 million , the title isn ’ t far off . Yet for Harary , the real value isn ’ t in the price tag but in the creative journey . “ It ’ s me doing a card trick after decades of getting crap for not doing card tricks but doing a card trick that I enjoy because the skill set is the LED interaction , not the double lift .”

THE MOST COPIED ILLUSIONIST

Despite Franz Harary ’ s groundbreaking contributions to the world of magic , one topic that continues to ignite his passion — and frustration — is the unauthorized replication of his illusions . Intellectual property theft is not just a professional nuisance for Harary ; it strikes at the core of his creative identity .

“ I ’ ve never stopped feeling as angry as ever ,” Harary admits , his candor underscoring the depth of his frustration .

He likens the rampant copying of illusions to broader societal issues , suggesting that a cultural numbness has set in , much like the global apathy toward pressing crises . Yet , his indignation remains vivid . “ There are two types of people who steal magic : those who know what they ’ re doing is wrong and do it anyway — to them , I genuinely hope each and every one of them dies on the side of the road in a pool of their own bile — and those who are just ignorant .”