Japanese Ice Shows: 2024 Collection

[synesthesia]

I like Shizuka’s part (the red battle ones) from this year’s show.

I noticed her voice, too. It was pretty much the vocal highlight of the show. Well, just like the decisive battle should be.

The scene with Eliana as the character representing Scorpio is indeed excellent! Eliana is a fantastic, powerful singer, whose voice fits perfectly with this scene, in which Tokio resists the urge to seek revenge on Shizuka's character who cheated him out of his money (and in which Shizuka's character is "converted" and ends up sacrificing herself). It is one of my favourites too, along with the sequence in the first act, from when the shady business deal happens up to Tokio finding himself on the train with Kakeru, "Irotoridori" (in which Koshiro's queer character advocates free self-expression and emphasizes that "everyone is free to love whoever they like"), "Inochihaterumade" (Until my life ends) with Kazuki's character, who sacrificed his life to save a family from a tsunami and “Kakeru”, which is introduced by Kakeru's a capella lines telling Tokio that he is not alone, which persuades Tokio to choose life in the end (in my personal interpretation this one is probably the decisive "battle" as you will as in this moment Tokio is accepting his best friend's death and forgiving himself).

I wonder who the composer of the music is. Was it composed specifically for the ice show or adopted from another production?

The story was told through the pre-existing songs by popular folk-pop duo “ゆず from Yokohama (who named themelves after the Yuzu fruit in the 90s ). The songs were selected by Amon Miyamoto, who was originally set to direct the show (and later replaced by Kikunojo Onoue), in accordance with the original script he developed with script-writer Riko Sakaguchi (the story is only very loosley based on the source material) and then re-arranged for the show by Kenji Kawai (composer of many anime, movie and video game soundtracks, like Ghost in the shell, Ringu (The Ring) etc.), who also composed and played additional synth and guitar parts. (Kawai also specifically composed the original music for Hyoen - Like the moonlight in 2019.)

 

[TallyT]

If I cannot stomach some genre of music I can’t really expect others to enjoy all types of music/genre.

With that being said, the production quality for Echoes of Life is indeed excellent. As you said several posts above, it is TV/Stream/DVD worthy (and Yuzu’s Ice Stories give all those, his fans are lucky).

I was at the venue for all three shows in Saitama and am in awe even now. Will definitely write more about it once the Mods make a separate thread for each show. But for now, this Edit can show you some of the VCRs.

GIFT and Prologue both came out on DVD/Bluray and from what I hear sales were excellent, so there's an good chance RE_PRAY and Echoes will too. While this makes me happy, I do wish there was some way more skating, competitive or show, could get preserved in this way.

As it stands, download download download... where we can. I have the soundtrack to Torvill and Dean's show Fire and Ice saved from years ago before I was even into figure skating but because I was and still am a Carl Davis fan.

 

[Magill]

With that being said, the production quality for Echoes of Life is indeed excellent. As you said several posts above, it is TV/Stream/DVD worthy (and Yuzu’s Ice Stories give all those, his fans are lucky).
I was at the venue for all three shows in Saitama and am in awe even now. Will definitely write more about it once the Mods make a separate thread for each show. But for now, this Edit can show you some of the VCRs.

Holding you to your word on it and waiting for a report

 

[Anna K.]

I do wish there was some way more skating, competitive or show, could get preserved in this way.

I think this is where everything is going. It is only a matter of time. Right now, it is important to break the ground and set the path and prove the world that skating deserves a place in the modern show business. That's why it takes greater effort and the bar is raised very high. But, once the path is set, it will be easier for more shows to follow.

 

[Anna K.]

The scene with Eliana as the character representing Scorpio is indeed excellent! Eliana is a fantastic, powerful singer, whose voice fits perfectly with this scene, in which Tokio resists the urge to seek revenge on Shizuka's character who cheated him out of his money (and in which Shizuka's character is "converted" and ends up sacrificing herself). It is one of my favourites too, along with the sequence in the first act, from when the shady business deal happens up to Tokio finding himself on the train with Kakeru, "Irotoridori" (in which Koshiro's queer character advocates free self-expression and emphasizes that "everyone is free to love whoever they like"), "Inochihaterumade" (Until my life ends) with Kazuki's character, who sacrificed his life to save a family from a tsunami and “Kakeru”, which is introduced by Kakeru's a capella lines telling Tokio that he is not alone, which persuades Tokio to choose life in the end (in my personal interpretation this one is probably the decisive "battle" as you will as in this moment Tokio is accepting his best friend's death and forgiving himself).

The story was told through the pre-existing songs by popular folk-pop duo “ゆず from Yokohama (who named themelves after the Yuzu fruit in the 90s ). The songs were selected by Amon Miyamoto, who was originally set to direct the show (and later replaced by Kikunojo Onoue), in accordance with the original script he developed with script-writer Riko Sakaguchi (the story is only very loosley based on the source material) and then re-arranged for the show by Kenji Kawai (composer of many anime, movie and video game soundtracks, like Ghost in the shell, Ringu (The Ring) etc.), who also composed and played additional synth and guitar parts. (Kawai also specifically composed the original music for Hyoen - Like the moonlight in 2019.)

I just wanted to make a note that Kazuki's character was underrated

Once we talk about it, do you have a full list of episodes and performer names? I know that I might be asking too much but... Could you post it? (Maybe you should start a separate thread about Hyoen 2024? Nothing has ended here - it's going to cinemas and there will be DVDs, apparently. Or, should there be one thread for whole Hyoen series for not to repeat general information?... What do the admins say?)

 

[synesthesia]

I just wanted to make a note that Kazuki's character was underrated

He got a lot of well-deserved praise from his co-stars, the production team, many Japanese fans and ... Takahiko Kozuka (who watched the show live in the arena with Javi Fernandez)! What's most impressive to me is that not only did he and Koshiro play the young versions of Kakeru and Tokio and portrayed another prominent character with their own scene each, but that they were also part of several ensemble numbers (e.g. as sheikhs in the first scene with Shizuka or as blackhooded "villains" in the "black hole" scene towards the end).

Once we talk about it, do you have a full list of episodes and performer names? I know that I might be asking too much but... Could you post it?

I compiled Act I with the help of a playlist that was shared by a kind Japanese fan (this was more time consuming than I thought though, so I'll do Act II another time ):


Act I

1. Opening dialogue (Takuro Ohno, Daisuke Takahashi, with: Koshiro Shimada, Kazuki Tomono)
2. HAMO (Main actors: Kazuki Tomono, Koshiro Shimada / Main singers: Kai Hasegawa, Eliana, Marie, Masahiro Ehara)
3. 友 〜旅立ちの時〜 (engl. “Friends – Time to depart/start the journey”) (Main actors: Kazuki Tomono, Koshiro Shimada, Ayumi Urabe, Daisuke Takahashi, Takuro Ohno, Kana Muramoto / Main singers: Kai Hasegawa, Eliana, Marie, Masahiro Ehara)
4. うたエール ( “Uta Yell”) (Main actors: Daisuke Takahashi, Takuro Ohno, Kana Muramoto / Main singers: Takuro Ohno, Kai Hasegawa, Eliana, Marie, Masahiro Ehara)
5. Dialogue “Project in America” (Takuro Ohno, Daisuke Takahashi, with: Kana Muramoto)
6. With you (Main actors: Takuro Ohno, Daisuke Takahashi, Kana Muramoto, Kazuki Tomono, Koshiro Shimada / Main singer: Takuro Ohno)
7. 守ってあげたい (engl. “I want to/will protect you”) (Main actors: Daisuke Takahashi, Kana Muramoto, with: Kazuki Tomono, Koshiro Shimada / Main singer: Daisuke Takahashi)
8. 陽はまた昇る (engl. “The sun will rise again”) (Main actor/singer: Takuro Ohno)
9. Award ceremony (Main actors: Masahiro Ehara, Daisuke Takahashi, Takuro Ohno, Kana Muramoto)
10. レトロフューチャー (engl. “Retro-future”) (Main actors: Takuro Ohno, Daisuke Takahashi, Shizuka Arakawa, Kana Muramoto / Main singer: Takuro Ohno)
11. Motorcycle accident (Main actors: Daisuke Takahashi, Takuro Ohno)
12. 表裏一体 (engl. “Two sides of the same coin”) (Main actor: Takuro Ohno / Main singers: Kai Hasegawa, Eliana, Marie, Masahiro Ehara)
13. Tokio finds himself on the train with Kakeru (Main actors: Takuro Ohno, Daisuke Takahashi)
14. 終わらない歌 (engl. “Never ending song”) (Main actors: Masahiro Ehara, Daisuke Takahashi, Takuro Ohno)
15. SEIMEI (Main actors: Marie, Daisuke Takahashi, Takuro Ohno / Main singers: Marie, Ayumi Urabe, Yoji Nakano)
16. Dialogue “Centaurus” (Main actors: Masahiro Ehara, Takuro Ohno, Daisuke Takahashi)
17. イロトリドリ (engl. “Black bird”) (Main actors: Koshiro Shimada, Kai Hasegawa, Takuro Ohno, Daisuke Takahashi / Main singer: Kai Hasegawa)

​

(Maybe you should start a separate thread about Hyoen 2024? Nothing has ended here - it's going to cinemas and there will be DVDs, apparently. Or, should there be one thread for whole Hyoen series for not to repeat general information?... What do the admins say?)

There was a separate thread at first, which was then merged back to this one to avoid interrupting the flow of conversation, which I'm ok with. Unfortunately I don't think there will be a DVD release (as we didn't get one for any of the previous Hyoen productions), so after the cinema screening, which just ended, there's only the tv-broadcast of the possibly re-edited version at the end of January left. I assume that the news will then shift entirely to the new production.

A general Hyoen thread would be a possibility, although this could lead to getting too chaotic and news about the new production getting buried...

 

[DizzyFrenchie]

(...) Unfortunately I don't think there will be a DVD release (as we didn't get one for any of the previous Hyoen productions), so after the cinema screening, which just ended, there's only the tv-broadcast of the possibly re-edited version at the end of January left. I assume that the news will then shift entirely to the new production.
(...)

Thank you!
Did people in attendance notice cameras, and camerawork? When there are, it normally means that there's a footage "buried" somewhere, a Sleeping Beauty waiting for a kiss to become a DVD or a streaming. Kisses nowadays are more brutally commercial and profit greedy than they used to be in fairy tales, but it may well come.

 

[Anna K.]

Thank you!
Did people in attendance notice cameras, and camerawork? When there are, it normally means that there's a footage "buried" somewhere, a Sleeping Beauty waiting for a kiss to become a DVD or a streaming. Kisses nowadays are more brutally commercial and profit greedy than they used to be in fairy tales, but it may well come.

If there is a cinema version and a TV version, then a download/dvd version is there as well. But it can't be released sooner than after the TV premiere. Too late for Christmas gifts, but what to do?

 

[synesthesia]

Did people in attendance notice cameras, and camerawork? When there are, it normally means that there's a footage "buried" somewhere, a Sleeping Beauty waiting for a kiss to become a DVD or a streaming. Kisses nowadays are more brutally commercial and profit greedy than they used to be in fairy tales, but it may well come.

If there is a cinema version and a TV version, then a download/dvd version is there as well. But it can't be released sooner than after the TV premiere. Too late for Christmas gifts, but what to do?

The show premiered on pay TV with its live-broadcast on June 11 on Nitteleplus. After the live version was re-broadcast a couple of times, a re-edited version with better camera angles, enhanced sound and extended BTS-footage was first shown on July 28 and then also re-broadcast a few times on Nitteleplus. The re-edited version was also streamed on ePlus in conjunction with several Hyoen talk events with the cast and production team in September/October and is currently being streamed on ePlus again until January 5: https://eplus.jp/sf/word/0000102426. (Unfortunately ePlus streams can't be accessed outside of Japan.)

Then there was the cinema version, which according to reports had a couple of different camera angles yet again. Whether the TV-version scheduled for January 26 is this latest version shown in cinemas remains to be seen. I hope it is! It's fun discovering new details in each version.

Judging by the current trend, I'm not expecting a free TV broadcast or a Blu-ray/DVD. Paid streaming (in combination with pay TV and cinema screenings) seems to be the most lucrative way to generate revenue.

 

[Anna K.]

Judging by the current trend, I'm not expecting a free TV broadcast or a Blu-ray/DVD. Paid streaming (in combination with pay TV and cinema screenings) seems to be the most lucrative way to generate revenue.

I believe it depends on the copyright deal that they have and, if they have the above deal, it's not dramatically bad but far not the best. Paid streaming has a downside. You can't attract new public this way. Only those who know what they are paying for will pay. Hence it's not possible to generate larger audience and, accordingly, larger revenue as the end result. In my book, it's not a good show business approach. Good approach would combine free and paid presentation.
I must note though that I don't know the whole story. Maybe they have other plans how to grow their audience and promote their show.

 

[DizzyFrenchie]

I believe it depends on the copyright deal that they have and, if they have the above deal, it's not dramatically bad but far not the best. Paid streaming has a downside. You can't attract new public this way. Only those who know what they are paying for will pay. Hence it's not possible to generate larger audience and, accordingly, larger revenue as the end result. In my book, it's not a good show business approach. Good approach would combine free and paid presentation.
I must note though that I don't know the whole story. Maybe they have other plans how to grow their audience and promote their show.

Terrestrial broadcast is less and less easy to get for competitive Figure Skating, but it's even harder for shows. I remember that a show (but which one? I think it was one of the Notte Stellata 2023 shows but I'm not sure) of Yuzuru Hanyu once had a terrestrial broadcast rather briefly after the show itself, but it's because a sponsor had come to specifically cover the cost of a terrestrial broadcast (we're back to the Prince Charming allegory), and this while advertising spots sell very well around and during his shows. I too believe that it's a matter of copyright, particularly for the music. I agree that terrestrial broadcasting allows people who are not deeply into Figure Skating to know about a show, but it's so hard to reach that it becomes a sort of "vicious circle".

 

[Anna K.]

Terrestrial broadcast is less and less easy to get for competitive Figure Skating, but it's even harder for shows. I remember that a show (but which one? I think it was one of the Notte Stellata 2023 shows but I'm not sure) of Yuzuru Hanyu once had a terrestrial broadcast rather briefly after the show itself, but it's because a sponsor had come to specifically cover the cost of a terrestrial broadcast (we're back to the Prince Charming allegory), and this while advertising spots sell very well around and during his shows. I too believe that it's a matter of copyright, particularly for the music. I agree that terrestrial broadcasting allows people who are not deeply into Figure Skating to know about a show, but it's so hard to reach that it becomes a sort of "vicious circle".

Well, there is way more exciting content nowadays than there is terrestrial television air time and the audience typically prefers content that it traditionally has. It's hard to find a place for something new. Regardless, I think there is no other way than making even better shows, creating even larger resonance, and then hoping for... the kiss, you know
And/or the producers can also use alternative media while waiting, like, create their own YouTube channel... Just saying

 

[DizzyFrenchie]

Well, there is way more exciting content nowadays than there is terrestrial television air time and the audience typically prefers content that it traditionally has. It's hard to find a place for something new. Regardless, I think there is no other way than making even better shows, creating even larger resonance, and then hoping for... the kiss, you know
And/or the producers can also use alternative media while waiting, like, create their own YouTube channel... Just saying

I think that the best ways of giving unaware people a glimpse of a show, depends on the demography : terrestrial TV remains a must to reach older people, and I don't think that even the most innovative ice shows are new to the point of shocking them; but of course, its share is diminishing; just to take my own example, and I'm not that young, I "reconnected" with Figure Skating after more than two decades through a video on a Ballet page. Younger people may react to a video become viral on some other social media, or to a highlight on similarity of athletic needs with another sport. Prince Charming is maybe some IT marketing or Biomechanics genius, who knows.

 

[TallyT]

And of course when using youtube and tiktok and so on we are subject to the utterly inscrutable algorithm (which has recently decided that I have a mad passion for, ummmm, Crufts)

 

[synesthesia]

I believe it depends on the copyright deal that they have and, if they have the above deal, it's not dramatically bad but far not the best. Paid streaming has a downside. You can't attract new public this way. Only those who know what they are paying for will pay. Hence it's not possible to generate larger audience and, accordingly, larger revenue as the end result. In my book, it's not a good show business approach. Good approach would combine free and paid presentation.
I must note though that I don't know the whole story. Maybe they have other plans how to grow their audience and promote their show.

You make very good points, and to a certain extent that's what they've been doing for some time with various shows and/or other related content like documentaries, talk events and BTS material – trying to monetise as much content as possible via paid streaming or other paid services like fan club or YouTube memberships and generate as much revenue from the existing fanbase as they can.

The pr, on the other hand, mostly happens via classic channels like terrestrial tv/radio and magazines combined with social media to maximise their reach and encourage potential new customers to buy tickets – be it for the actual shows or their subsequent cinema screenings. So in a way it is a mixed strategy, which I assume is working for them – otherwise they probably wouldn't continue with it. (I also think that one of the reasons Daisuke is a regular on PokaPoka on terrestrial Fuji TV is precisely to expand his reach and publicity for his shows.)

However, I agree that getting the actual product out there and share it with as wide an audience as possible via easily accessible channels would be even more ideal and effective to increase the fanbase/viewership…

Well, there is way more exciting content nowadays than there is terrestrial television air time and the audience typically prefers content that it traditionally has. It's hard to find a place for something new. Regardless, I think there is no other way than making even better shows, creating even larger resonance, and then hoping for... the kiss, you know
And/or the producers can also use alternative media while waiting, like, create their own YouTube channel... Just saying

This 100%. If producers try to cater to mainstream tastes, it should be easier to get a foot in the door. However, as with all artistic genres, it's a balancing act to create something artistically meaningful/innovative that also appeals to mass taste. I'm aware that it's possible, but imo (and of course this is entirely subjective) this is less and less the case (for example, look at what kind of music is most popular today, or what kind of movies make the most revenue, and tell me that these represent the pinnacle of artistic expression and innovation). I can only speak for myself, but in many cases I enjoy niche content rather than what the masses seem to prefer, be it in terms of music, movies or shows and I have come to accept that I need to seek a lot of that content out by myself while jumping through hoops, because its distribution via mainstream channels is fairly limited. (Of course, one can wonder if people tend to like what they are fed over and over again, or if it's the other way round – is certain content shown more often on mainstream channels because the majority of people likes it?)

 

[Magill]

As the discussion here moved to the financial aspects of the ice-show market, it is worth it to bring up an analysis published recently by the Weekly Toyo Keizai, the Japanese business and financial weekly magazine, widely regarded the Asian equivalent to The Economist. They have published a whole complex story on Yuzuru just a few weeks ago, complete with an interview and several articles, one of which was an analysis of the economic impact a popular ice show, like his, may have on the economy of a smaller or less centrally located city or region. They took Yuzuru's 2024 Re_Pray show in Saga Prefecture as an example and went on to show it generated more than 482 million yen (more than 3 million USD) profits for the local economy.
Hiroshima is reporting a similar increase in tourism-related economy right now with two Echoes of Life shows planned for January 3 and 5.
It is an aspect which is rarely even discussed and I think very interesting to see.
Their other article from the same story which is just linked in the same tweet with Toyo translations is given to an analysis of Yuzu's charity show for Noto Peninsula which was to help collect funds for its recovery, and also to help raise awareness of the situation. Which is another example of how ice shows can contribute to a greater good.

Here's the link to the original article on the Toyo Keizai website:

羽生結弦の公演を地域活性化につなげたある実例 佐賀が進めた｢ほとめきプロジェクト｣とは？

オリンピック2連覇を果たし、国民栄誉賞も受賞した羽生結弦。その圧倒的な人気は、プロ転向後も日本各地にファンを呼び寄せ地域活性化の起爆剤となっています。佐賀で開催された「RE_PRAY」公演と、地元が総力を挙げて展開した“ほとめきプロジェクト”の成果とは？（このリード文はAIが作成しました）

toyokeizai.net

And here's the link to its translation on Twitter:

x.com

x.com

 

[TallyT]

look at what kind of music is most popular today, or what kind of movies make the most revenue, and tell me that these represent the pinnacle of artistic expression and innovation)....

While in my own tastes I may agree with this, I would be way more cautious dumping on modern tastes as such, since your words have been more or less repeated about every 'pinnacle of artistic and innovation' in film and TV, in music, in literature, in art, in design - for the last 100-150 years at least including what we now thing of as 'real' pinnacles. And be fair, a lot of today's mediocrity has yet had time to face into historical obscurity as the mediocrity of the 20th century has and is.

(Of course, one can wonder if people tend to like what they are fed over and over again, or if it's the other way round – is certain content shown more often on mainstream channels because the majority of people likes it?)

Ummm, yes?

 

[DizzyFrenchie]

You make very good points, and to a certain extent that's what they've been doing for some time with various shows and/or other related content like documentaries, talk events and BTS material – trying to monetise as much content as possible via paid streaming or other paid services like fan club or YouTube memberships and generate as much revenue from the existing fanbase as they can.

The pr, on the other hand, mostly happens via classic channels like terrestrial tv/radio and magazines combined with social media to maximise their reach and encourage potential new customers to buy tickets – be it for the actual shows or their subsequent cinema screenings. So in a way it is a mixed strategy, which I assume is working for them – otherwise they probably wouldn't continue with it. (I also think that one of the reasons Daisuke is a regular on PokaPoka on terrestrial Fuji TV is precisely to expand his reach and publicity for his shows.)

However, I agree that getting the actual product out there and share it with as wide an audience as possible via easily accessible channels would be even more ideal and effective to increase the fanbase/viewership…





This 100%. If producers try to cater to mainstream tastes, it should be easier to get a foot in the door. However, as with all artistic genres, it's a balancing act to create something artistically meaningful/innovative that also appeals to mass taste. I'm aware that it's possible, but imo (and of course this is entirely subjective) this is less and less the case (for example, look at what kind of music is most popular today, or what kind of movies make the most revenue, and tell me that these represent the pinnacle of artistic expression and innovation). I can only speak for myself, but in many cases I enjoy niche content rather than what the masses seem to prefer, be it in terms of music, movies or shows and I have come to accept that I need to seek a lot of that content out by myself while jumping through hoops, because its distribution via mainstream channels is fairly limited. (Of course, one can wonder if people tend to like what they are fed over and over again, or if it's the other way round – is certain content shown more often on mainstream channels because the majority of people likes it?)

I don't really know what really are mass tastes, because mass hits tend to be the most heavily promoted, with advertising and social engineering means that were unknown to previous generations. So, yes, "the masses" do listen and even pay for what they are told to, but has their real taste degraded to the same point as many taste buds are degraded by, for instance, adding vanillin to baby formula?
In any case, if a refined show such as Hyoen may not appeal to as many hundreds of millions of people as some hyped singers are, I do believe that a show like One Piece on Ice is way easier (and diverting; I believe that it's as legitimate to seek to unwind when watching a show, as to seek to deepen one's artistic or philosophical understanding or seeking the highest artistic emotion, we all have different needs at a given moment, and a same person may prefer different shows at different moments) to apprehend.

 

[Magill]

While in my own tastes I may agree with this, I would be way more cautious dumping on modern tastes as such, since your words have been more or less repeated about every 'pinnacle of artistic and innovation' in film and TV, in music, in literature, in art, in design - for the last 100-150 years at least including what we now thing of as 'real' pinnacles. And be fair, a lot of today's mediocrity has yet had time to face into historical obscurity as the mediocrity of the 20th century has and is.

I agree. Historically speaking, we've had it all - geniuses being wildly popular or dying in poverty to be recognized just a few generations later. Most popular stars of their times quickly forgotten to give way to those less appreciated by their contemporaries.
Still, it is good to remember that while Chopin and Liszt, and Beethoven to a lesser extent, were enjoying rockstar popularity and utmost appreciation at their times and are held in highest regard till now, Mozart used to be often dismissed as "pop" and "easy", and Bach was quickly forgotten and looked down to as old-fashioned, while today they are both widely considered to be genius.

 

[Magill]

I don't really know what really are mass tastes, because mass hits tend to be the most heavily promoted, with advertising and social engineering means that were unknown to previous generations. So, yes, "the masses" do listen and even pay for what they are told to, but has their real taste degraded to the same point as many taste buds are degraded by, for instance, adding vanillin to baby formula?
In any case, if a refined show such as Hyoen may not appeal to as many hundreds of millions of people as some hyped singers are, I do believe that a show like One Piece on Ice is way easier (and diverting; I believe that it's as legitimate to seek to unwind when watching a show, as to seek to deepen one's artistic or philosophical understanding or seeking the highest artistic emotion, we all have different needs at a given moment, and a same person may prefer different shows at different moments) to apprehend.

I agree. I see nothing wrong with people seeking just entertainment where entertainment is offered. OTOH, while popularity is not a proof of artistic quality, the lack of popularity is not such a proof, either.
So it is great to know that we have Yuzuru who is both widely popular and deeply artistic to which not just fans but also many artists and art experts testify, and not just Japanese. I know it's a difficult trick, but somehow he makes it.