But the magic wasn ’ t just in the mechanics — it was in the isolation of the effect . “ When an object or person appears , you need to isolate it , so the audience doesn ’ t suspect it came from anywhere else ,” he explains . This led to the creation of what he affectionately calls the “ eggbeater ,” a spinning mechanism that served as both a visual focal point and a psychological misdirection .

Hidden within the intricate machinery was a load chamber , cleverly designed into the arms of the pod . Franz chuckles as he recalls a personal detail : “ Inside that chamber , I kept gummy bears and chocolates . It was my little stash while waiting to go on .” He recounts one particularly memorable incident : “ I had a gummy bear in my mouth , trying to chew it quickly before the reveal . I couldn ’ t finish in time , so I tucked it into my cheek . When I started speaking , it flew out of my mouth like a Christmas tree light , perfectly backlit , and landed on a woman ’ s shoulder in the audience . She never noticed .” The illusion , despite its high-tech appearance , was deceptively simple . “ When the pod opens initially , you ’ re looking right at the load chamber — you just don ’ t know it ,” he reveals . By the time the illusion reaches its climax , that load chamber has effectively disappeared , dismantled into the design itself . “ Where I was literally no longer exists ,” he says with a grin . Remarkably , despite its complexity ,