A Quote by Don Rickles
At 90, I'm still working a couple of dates a month. My mind is very sharp on the stage, so why not? This may sound corny, but I do it because people - young and old - still come to see me, and they're very enthusiastic about my work. They treat me like the Godfather.
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I'm not going to try to be too young because at the end of the day, I'm not 20 anymore. I don't want to sound corny or look corny doing young things. All the stuff that the kids are doing, that's not my place. I believe that everyone followed me back then, they're still here. That's who I'm trying to talk to and relate to. All the trap music and all of that, it's great but I can't do that. I'm going to stay vintage Ginuwine and stay at the place that got me here. That's what people want.
I got into dialogue because my parents began taking me to see plays from when I was very young. Too young, often, to understand the play I was watching: Who's Afraid Of Virginia Woolf when I was nine years old; That Championship Season when I was ten years old. But I loved the sound of dialogue; it sounded like music to me and I wanted to imitate that sound.
The thing about having a very young audience in the theatre is that sometimes they laugh at the bullying scenes. It's really interesting, what that means. It still confuses me slightly, you know; someone's getting quite brutally bullied on stage and people are laughing. I think it's very hard being young.
I still think funny, and people young and old still come and see me. That's flattering. The day comes that they stop coming, then I'll know that it's time to retire to the Jewish ranch.
Film team kept me very, very shielded when I was that young, because of course, I was seven years old. You know, you're still kind of reading. It's still kind of like, "Cat." "Dog." "Ann jumped over fence." So I guess in a way it helped me progress in school, too, because I was reading so much and memorizing so much. But they kept me very shielded from everything that was going on in the The Amityville Horror. I didn't know anything, basically, about the film. I just knew that it was a scary film. I wasn't allowed to watch it. I can watch it now, I'm just too scared.
People are still crying out for Lennox Lewis. They still want to see Lennox Lewis. That motivated me. I am still young. I have a couple fights left in me.
There are old people in San Francisco because my parents still live there. The young tech bros don't see old people or children. The Mission district, where they live and work, they don't see children or old people. That statement revealed, to me, the blinders that the techies are wearing.
My daughter [Ariana], she's a sweet, lovely girl, but she doesn't have the drive or the belief in herself. As it says in the film, I get touched up thinking about it, no one can give you a career. You have to have that inner drive. She wants it, but she doesn't know how to go for it, she's too shy. To see her perform and come on stage and feel comfortable, you know, she has talent - that was very touching, very moving, for me. She has a really beautiful sound and voice. She's a young girl still, 26, and innocent. She was kind of sheltered.
I particularly love where I work because I was born, raised, and still live in the Bronx. I work in a Bronx location, so it's very fulfilling to me to be working in my home borough, and working with kids that are a lot like me and who can see themselves in me. My own teaching philosophy is to expose them to books that they might not otherwise read, particularly authors of color, authors whose stories are based in New York City.
I'm 47 now, and I'm at that stage where I'm still young but I'm not young. I'm not old but I'm getting old, and I have stuff at home that reminds me of people and places.
I think that magazines like Vanity Fair are still operating under the old rules, and that if you come to work for a magazine like Vanity Fair, even today, you're certainly expected to treat people like Peggy Siegal very deferentially.
Everyone should still want to put their music out because it's important that people still think that you are still willing to come to them. When you're dealing with the Internet, it's a 'come to me' situation. But when people see you out-and-about, promoting your merch and in the club, people enjoy that, too.
A woman at the Limited once asked me, 'Why do you work?' She said, 'You made a lot of money as a young man, so why are you still working?' I had never thought about it before. Forced to consider it, I told her, 'You know why? Because I think that if you stop to smell the roses, you'll get hit by a truck.'
A woman at the Limited once asked me, 'Why do you work?' She said, 'You made a lot of money as a young man, so why are you still working?' I had never thought about it before. Forced to consider it, I told her, 'You know why? Because I think that if you stop to smell the roses, you'll get hit by a truck.
People got to know me very gradually. It was little things. It's still like that. 'That Thing you Do!' was a big thing. It's always been very gradual. Like I say, people still ask me if I'm still acting. 'I've seen all your movies. What are you doing now?' Ha ha!
I'm having the time of my life and the fact that I'm still working - how lucky can you get? I'm 90 years old and still able to work as much as I do. That's a privilege.
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