A Quote by Betty Gabriel
I like to be very physical: Any sort of fight sequence is a dream to me.
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Well, for me, the real excitement of doing physical things in films, whether you're talking about a fight scene or a stunt sequence or even a love scene, for that matter, is by necessity it has to be choreographed very much like a dance. That being said, you have to rehearse it over and over again and find a mathematical precision.
A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.
Danny Williams broke my dream. Iron Mike, for me, was the dream. For many years, I would see Tyson and say, 'Mike, I want to fight you.' He was on his way back, and we were making conversation about a fight between me and him. So I was very surprised and disappointed when he lost.
Any kind of sequence when you have to express physical space and time can be difficult to story-tell because, if you're sitting there watching it like it's a play or something, your mind can track what's going on, or if you're watching an actual fight you can kind of track what's going on, but as soon as you have to start telling the story and tracking for the audience, it becomes much more complicated.
Football, in its purest form, remains a physical fight. As in any fight, if you don't want to fight, it's impossible to win.
I discovered that in a story I could safely dream any dream, hope any hope, go anywhere I pleased any time I pleased, fight any foe, win or lose, live or die. My stories created a safe experimental learning place.
When you do television, you're filming out of sequence sometimes. You have to ground yourself very quickly in the character and in the work and in the words. I think theater allowed me that sort of sharp, quick focus to do that.
Fight sequence to me isn't just about the athleticism. It so often is about what the emotion that is behind it and how willing you are to really, really challenge that emotion or really take that emotion to that place so you're feeling a certain intensity for the whole time when you're shooting the actual physical scenes.
They love me like I was a brother They protect me, listen to me They dug me my very own garden Gave me sunshine, made me happy Nice dream, nice dream Nice dream
I don't need to go over a fight scene a million times. I got it. It comes very naturally to me to do that. And our industry is a little more physical than I think some people know, with regard to how much contact is made between WWE Superstars when we're wrestling a match. Whereas on set, sometimes actors aren't familiar with that sort of physicality.
I'm having fun opening up. Sort of struggling to get the audience into it. It's good. It makes you fight. Not fight like antagonistic. But fight for what you believe.
I can also be very happy in this life, but it's usually happiness that I get from other lives I've lived and other dimensions. This life is hardly important to me. It's very small compared to the importance that I think the fourth and fifth dimension have. Those places are much more real to me, like when you have a dream and it's more real to you than real life. Compared to where I'll be going, this life seems like a dream that just feels like a dream.
The difference is that the money I make from Reebok is per fight, meaning I have to fight to get that money. If I don't fight, there is no money. It's not based on me being a good spokesman or one of the faces of their company. It's a per fight thing. It's a very different thing. It's more like a fight bonus than a sponsorship.
I believe that every fight we've had is a big fight, and every fight we've had is a fight where I've learned a lot of things in the ring, I learn about myself, and it's sort of pushed me to know where I can go.
I guess what's most surprised me in most of the reviews is that they don't seem to get the noir story in the dream sequence, so they analyze it like a straight noir movie.
I generally go into a movie with a very strong vision, with how I want to make the film, how I want to shoot the film, how I want to edit the movie, what I want the sound to sound like. So I have a very concrete idea even if I don't storyboard it, I know exactly what I want to do once I get into the sequence. Now having said that, I try not to let that slave me to the process. So if I do storyboard a sequence I don't necessarily stick to it if I discover more exciting things on set.
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