Ricky Jay Quotes

Dai Vernon, the greatest sleight of hand figure in the history of the art, rarely performed. But he invented magic and had an enormous influence on the whole range of sleight of hand. And so often, the magic he was doing was to fool other magicians.
Every acting gig isn't the same, every writing job isn't the same, every live performance isn't the same - the challenge is the level of difficulty or ease, and that may vary.
For me, the most exciting thing is to create good magic that's entertaining for an audience, and it would be lovely if a magician was fooled as well.
For the most part, magic secrets are available on a level that's overwhelming and frightening, and they are very accessible if you do the tiniest bit of digging. But, that said, there's a certain group of individuals, in which I am included, who are very tight about secrets and don't share them with anyone.
I always read what I write out loud, and I did that long before any radio thing. My editor finds that unusual.
I certainly was performing before my writing was published, because I was performing when I was very young. And the thing is I'm very comfortable on stage, so a large portion of my act did come from ad-libs.
I do think deception... There's something kind of odd about tricking people for a living, but ultimately, it's a remarkably honest profession, when you think about it. If you violate that code, and you say you're not using camera tricks, and then you do, I actually think that's a kind of serious moral issue.
I don't know what first got me to attack melons. It's not like I ate a bad one and got an upset stomach. It just eventually seemed like the appropriate fruit.
I grew up like Athena - covered with playing cards instead of armor - and, at the age of seven, materialized on a TV show, doing magic.
I know absolutely nothing about the 20th Century.
I love amazing people. I love dazzling them. That's why I think performing magic is one of the greatest things a person can do.
I never talk much about my family, but my grandfather was friendly with these guys, with magicians and ventriloquists on the highest levels, and I was just... interested.
I started doing radio pieces with no clear, preconceived idea, except that I have a tendency to be theatrical.
I suppose that if I could only do one thing, a solid card effect would be pretty high on the list. That's the root of it all, sleight-of-hand. It's certainly the thing I feel most comfortable with.
I think a lot of people just assumed I came to L.A. to do more television and get into show business.
I think the toughest thing about being an actor in a film is to be with a director who doesn't know what they want. And that can be really, really frustrating.
I was considered a comedy magician. And - how do I put this without sounding egotistical? - it didn't take me long to realize that comedy magicians usually couldn't do comedy or magic.
I wasn't obsessed by magic. People say, 'How you can you claim you practiced eight hours a day and weren't obsessed?' Well, people go to a job they don't even like for eight hours a day; it's not obsessive if it's something you like.
I'm much more interested in lesser-known eccentrics and characters and performers. Like Matthew Buchinger, who was born in Germany in 1674, had no arms or legs and yet did magic, and had 14 kids, and made the most extraordinary calligraphy.
I'm probably the only kid in history whose parents made him stop taking music lessons. They made me stop studying the accordion.
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