A Quote by Ricky Jay
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.
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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 grew up in a world before people had credit cards. There were no magic cards - it was all about budgeting.
My grandmother had six kids - one died as an infant - and she was dirt-poor, and all her kids got an education. And my mom grew up poor. And they both worked so hard and cultivated so much of their own happiness. I wanted to have that like an amulet. Not like armor, but like a magic feather. Like Dumbo's magic feather.
Where I grew up, acting wasn't really accessible. I was just playing sports. But, I did watch a lot of TV. I watched a lot of Clint Eastwood movies on TV and had this fantasy of being like him when I grew up.
Romance was a game, like bridge, in which you said things instead of playing cards. Like bridge you had to pretend you were playing for money or playing for some stakes.
We both [with Suzanne Collins ] felt strongly that you wouldn't want to age up the characters, no matter the age of the actors playing the roles. They should be playing the age that they are in the [Hunger Games] books. It would let people off the hook, if you said, "Well, instead of 12 to 18, why don't you make them 18 to 25 or 16 to 21?" If you don't stay true to the horror of the fact that they are 12 to 18, you're not doing justice to the book.
I had loved magic tricks from the time I was six or seven. I bought books on magic. I did magic acts for my parents and their friends. I was aiming for show business from early days, and magic was the poor man's way of getting in: you buy a trick for $2, and you've got an act.
I was raised looking at women who were strong, and they weren't really into playing race cards or playing gender cards. I didn't grow up around women who were like, 'Well, let the boys do that, and let the girls do that.' I didn't really see that in my house.
We grew up in an age of playing reserve team football at the stadium. If the first team were playing away, you'd be playing at home, at Highbury, and there would be one man and his dog there. Even though you'd psych yourself up, you still don't get that push.
I think the fact that I grew up in show business had a real effect on my personality. If you were born in New York during the golden age of television, and you grew up on Broadway, that marks you.
Doing a show for three weeks is nothing like doing a show for seven seasons.
God built the Earth in seven days and seven nights, that's how I'm going to approach doing the album. So when it's time for me to actually finish up the album and do final cuts of everything, I'm going to line it up in seven days and seven nights. I'm going to document it, out the footage out, show people it's not a fluke.
Career wise, I'm looking into different opportunities to do a TV show, but in some way that's not a goal in itself. To me, the goal is creating content and doing fun stuff that I'm proud to show. I don't want to do a TV show for the sake of doing it.
Every time a confident, successful woman like Marissa Meyer distances herself from feminism, I think of Athena. Athena women, with all their brilliance and strategy, are the ones smashing up through layers of glass. They tend to identify with men, keeping femininity at a distance.
Playing a TV character for seven years is almost like when you do a play. You live, breathe, and everything else with that character 24-7 for six months or four months or whatever, and that gets very deep in your blood. When you do a TV character for seven years, that's a long time. It becomes a seminal era in your life.
I grew up playing with kids who were the kids of people my parents grew up playing with, and they know me like nobody else. I thought everybody was that way when I was growing up, and then I left to go to college, and I realised that the world is full of strangers.
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