SUE-ANNE: Legally, I'm Sue-Anne Ellis... but I started performing in the entertainment industry as Sue-Anne Webster, so the name kind o' stuck.

SUE-ANNE: In a broom factory (where the Nimbus 1000 was invented), Northcote, Victoria, Australia.

TIM: 28 and a half.

TIM: When I was 10 years old, I was given a Merit Magic Kit by my Grandfather. It fascinated me as I began to play with the various tricks inside it. I remember going in to a magic shop at that age and being blown away by the 'Ball and Vase'. I think that was the moment the magic bug first bit me. I just couldn't even begin to fathom how that ball disappeared from the vase a reappeared somewhere else. Once I bought the trick and it's secret was explained to me, I felt as though I'd been given a peek into a whole new world I never knew existed. I bought more tricks, I even got the 'Hanky Panky Magic Set', and I shared my new found passion with a friend from Church, Mark Glassborow. Together we went out and performed at libraries, fetes, even a few children's birthday parties. I even have the original poster my Dad made to advertise my services: "Hire Timothy, an experienced young magician, from only $10 per 30 min show."

SUE-ANNE: My art teacher (Turoa Walmsley, Sydney, NSW) turned out to be a magician. I guess he thought I had a better chance at magic. He showed me a few amazing tricks and gave me a whole pile of really good magic books to read and drummed the importance of originality into my head. That didn't take too much convincing as I love doing stuff no-one else does and I get too embarrassed doing other magicians' material. Every week we'd listen to wonderful music for inspiration and then set about making props, backdrops, scenery and rehearse magic shows for themed magic nights in Turoa's studio. It became 3D fantasy for students, family and friends the moment they set foot on his property. Roving, birthday parties and restaurants were also part of my training before I joined up with Tim Ellis to do magic in the corporate market. He taught me how to get excited over dull rooms with no atmosphere and turn them into exciting theatrical experiences

SUE-ANNE: Dad taught me the "Pull-my-finger" trick (Tim hates me doing that one). But seriously, I cannot remember the very first trick I learned. I was a kid of about eight when Dad showed me a few cool things...and the typical magic set, that a lot of kids get, only had me playing for a few hours. So, I guess when Turoa became my teacher and showed me how magic can be performed, I sat up at took notice. Turoa also taught puppetry as part of my training so, the first trick I remember learning was the Zombie Ball. I always believed the Zombie should be done without the scarf!

TIM: A whole heap of them. Obviously Lyndsay was a big influence as far as stagecraft and "the real work" goes. He knocked the timidity out of Tim and showed me how to really enjoy the moment when things go wrong. Tom Ogden, and later Jeff Hobson, are possibly the two magicians who have influenced me stylistically. Strangely enough there are so few Australian performers who just get up in front of a crowd, talk, do tricks, and have fun! It's a pity, because there is a ton of work for this type of act in the corporate market. David Williamson is someone who, perhaps, inspires me rather than influences me directly. I love the way he takes risks and will literally do anything for a laugh. I often get into a situation of stage or doing walkaround where I find myself thinking "Now, what would David do here?" Tommy Wonder, Ali Bongo, Max Maven and Teller are probably the most brilliant thinkers in the art. Their ability to come up with solutions constantly amazes me. Teller, with Penn, has formed a partnership which is a lot closer to what Sue-Anne and I hope to achieve than, say, a Pendragons relationship (not that there's anything wrong with that.) David Blaine is fascinating in that his choice of material is exquisite. He seems to choose magic that has incredibly high impact on those who take part. He is a living example of how important it is to always put the effect before the method. Finally, The Flicking Fingers… a delight to watch, whatever they do. They combine magic and theatre in a way that Sue-Anne and I really relate to. Their use of presentation is usually so interwoven with their magic the two become inseparable… and they love MagicSports too! What more could you want?

SUE-ANNE: Firstly, the David Nixon TV specials had me yearning to become a magician. Then Turoa, for drumming it into my head about originality. Tim Ellis, (because I can't get out of magic now, even if wanted too) for showing me creativity, persistence, hard work and being able to make anything happen. He's a true master of magic and a pure genius with his ideas... there are not many people who can consistently blow me away with a never-ending stream of ideas and creativity...although the Flicking Fingers (theatricality) and Penn and Teller (ingenious ideas and wit) also top my list of brilliance. Jeff Hobson inspires me with his showmanship and Rudy Coby is comic-like - I love that. These are a few magicians who help renew my hope in the entertainment value of magic and influence my decisions in performance and presentation, to constantly think about what I'm doing and keep my mind searching for improvement.

TIM: Close up, because of the immediate reactions you get and the fact that, if a trick doesn't play quite right, you can modify it and try it again immediately for the next group. Stage, because nothing beats the buzz of being able to bring a group of 800 people to absolute silence one moment, and uncontrollable laughter the next. Illusions, because of the impact they have on the audience's memory and because they make great selling points when you're promoting your show! Escapes, purely for the adrenalin rush you get when you're hanging 30 metres above concrete by your ankles, or being slowly lowered underwater in a crate. You can keep your extreme sports! Bury me alive anyday!

TIM: No favourites. The other effects all get jealous.

TIM: If they specifically ask to see a trick… and I have no props or gimmicks or gaffs on me. I'll ask to borrow their watch and do Steve Shaw's 'Psychokinetic Time'. If they have no watch… Card Warp with business cards, and if they have no business cards… "Okay! Pull my finger!"

SUE-ANNE: HA! None. I usually rehearse to a deadline, or it's done on stage in front of a corporate audience. Seriously! Tim and I can only really rehearse effectively with a mediator (although, we're taking Teller's advice of never giving up because it definitely pays off in the long run). When I get creative, I usually invent, practice and rehearse to inspiring music...but, the magic I create is not usually suited to corporate work.

TIM: Well, I've been doing the Misers Dream for over 25 years, the Bill to Banana at least 20 years, but they all continue to evolve. We look for weaknesses and eliminate them, make the tricks stronger, more effective. It is crucial to listen to how the audience "thinks" the trick is done and seriously address those issues. As a result, the reaction most of my close-up stuff is getting now is weird… stunned silence (Card to Wallet for example. I show them the card folded in the wallet before the trick begins, so when it turns out to be their signed card, they can't even begin to comprehend how it could have happened). A lot of these changes have come since I've been working with Sue-Anne. She is brutally honest about the tricks I do, a bit like Lyndsay, and as much as the truth hurts… I'd rather she tell me that a trick is done badly than the audience go away thinking it. Working solo is easy, but it has it's limitations. Magicians, with the exception of The Fingers and Penn & Teller, aren't really exploring the possibility of sharing the stage. Sharing is really hard. However, having two equal-status performers on stage interacting opens up so many new possibilities. The biggest change in my magic has been it's direction. I'm trying to unlearn all my old magical habits of "dominating the stage" and "pulling focus" and learn to work as one half of a duo. It's an incredibly difficult new trick for this old dog to learn.

SUE-ANNE: Evangelism, renovations, study in occult fraud, keeping the house clean and the plants alive.

TIM: If no-one does anything. Nowhere. For a while, late 80's early 90's, magic got together and presented itself as a whole, and the profile went up. Then everyone started turning inward, looking after #1. The community fell apart and everyone got into competition with each other instead of co-operating. Unless the community bands together, magic will stagnate. Maybe one "identity" will have to emerge as "THE Australian Magician", like Ian Buckland was in the 70s. The spirit of co-operation we encountered at Fechter's was unlike anything we've come across in magic anywhere else, yet that's exactly what magic needs. We need to develop a sharing atmosphere and get rid of the "I won't do my good stuff because someone might steal it" attitude. Magic needs to grow up.

TIM: It brings it together. It let's you chat to your overseas friends and not feel "out of the loop". It is also a great way of getting your promotional material into your client's hands instantly through a well put together web page. Some internet forums, like the 'Electronic Grymoire' have started to become like one big magic club. You get great access to the top names in magic, but like a regular magic club, there are the usual loudmouths drowning everyone out, criticising the "pros", and turning people off. The internet gives you the chance to talk directly to the experts, but so many blow that opportunity. Also, the internet is an excellent tool for bringing the Australian magic community together. Through OzMagic anyone anywhere can find out what's happening, who's doing what, who's working where at anytime! It really gives magicians all over the country a chance to feel as though they belong. I really hope they realise what an opportunity they have, and continue to support it and send in news, articles etc without even waiting to be asked!

SUE-ANNE: Magic By Misdirection, Mark Wilson's Complete Course In Magic, any old magic books (to see what's been done before), any good book on ethics... and a good theatre book that inspires a fledgling magician to study drama!

SUE-ANNE: Grow a thick skin.

SUE-ANNE: Taylor's Super Day (one day convention) where I met Tim. It literally changed the direction I was heading. There are many other memorable moments: being voted the MVP (Most Valuable Performer) along with Tim at the FFFF Convention, Batavia, New York was a knockout, performing in New York city was pretty good, and having magicians in the US comment on how Tim and I come across on stage gives me heart that all the trouble that comes with working in a partnership (both personally and professionally) is all worthwhile.