Ricky Jay
Ricky Jay is an actor, born 1946.
Magic came first and never stopped being first. Jay, born Richard Jay Potash in Brooklyn in 1946, was a stage magician and a serious writer on the history of magic, known for card work, card throwing, memory feats and the patter that held all of it together. Mark Singer's 1993 New Yorker profile called him perhaps the most gifted sleight of hand artist alive, and the sentence followed him for the rest of his life. The oldest screen credit in this catalog is an appearance on The Paul Daniels Magic Show in 1979.
The acting career is largely one long collaboration. David Mamet cast him as George in House of Games in 1987 and kept casting him: Things Change, The Spanish Prisoner, State and Main, Heist, Redbelt and the series The Unit. The fit is obvious the moment you hear him. He delivered information like a man holding most of it back, flat and unhurried, so that a plain sentence landed as the opening move in something. Directors used the voice on its own too, in Magnolia and The Brothers Bloom.
Outside that, he was Henry Gupta in Tomorrow Never Dies, Vic Weems in Mystery Men, Milton in The Prestige and T.H. Vignetti in Sneaky Pete. His credit list elsewhere includes Boogie Nights and Deadwood, neither of which this catalog connects to him. In 2015 he was the subject of an episode of PBS's American Masters. He died in 2018.
Movies (15)
- The Prestige (2006)
- Magnolia (1999)
- Tomorrow Never Dies (1997)
- Mystery Men (1999)
- Heartbreakers (2001)
- Heist (2001)
- The Brothers Bloom (2008)
- Redbelt (2008)
- The Great Buck Howard (2008)
- The Spanish Prisoner (1997)
- State and Main (2000)
- Last Days (2005)
- Sink Or Swim (1997)
- Things Change (1988)
- House of Games (1987)
TV (5)
Where to start with Ricky Jay
Anyone curious should go to House of Games first. It set the template that everything else here borrows from, and Jay is the one performer in it whose stillness is a professional habit rather than a style choice.
The Spanish Prisoner and State and Main extend the same idea in opposite directions, one cold and one comic. The Prestige is the obvious pick, and it is the film where his real trade and his acting job finally occupy the same frame. For the voice on its own, Magnolia opens on him and sets the tone of a very long film before the plot has started. Redbelt and Sneaky Pete are the late work, both worth it, both minor.