A Quote by Dorian Yates
I was Mr. Olympia and everywhere I went I had to project this image. After some time you start wondering what part of that is really you and which bit you're doing because it's your job.
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You win the Mr. Olympia, you are the best in the world. There is no better than that. Some people will think back prior to the 1950s, where Mr. Universe was the top guy. They say, 'Are you Mr. Universe?' 'No, I'm Mr. Olympia, which is the best of all.'
I didn't start out planning to be Mr. Olympia I just wanted to be the best that I could be, but my goals changed as I went along. I wanted to be the British champion, and then I wanted to be a pro, then Mr. Olympia.
If you had a job, and every day you're going back home and telling all your friends how horrible your job is and how horrible your employer is, after a while, they're going to start believing you. And then at some point, they're going to start questioning you and say, 'Why, if it's so bad, are you doing it?'
My first Mr. Olympia was 1991 and that was in Florida against the great Lee Haney, who became Mr. Olympia in 1984, and I started training properly in 1983.
I have been doing some writing on the side a little bit with artists that I'm really excited about. Kind of more up and coming people. But, I'm focusing more on my own project. It's a full time job being an artist!
I quit working in the police force full time only after I won my third Mr. Olympia.
I think it's a real danger, as an actor, when you try to make some statement through your career about what the business should be doing or ultimately what your image should be or how you want to be perceived. I look at every project that comes along and say, "Is this something I can sink my teeth into and can do a good job on?" That's really how I choose roles.
Salma and I had run into each other once or twice at film festivals because I was doing the press for Real Women Have Curves at the same time she was doing the press for Frida. She had seen Real Women Have Curves, and when the idea of Ugly Betty came up, she thought of me. Her enthusiasm about the project was so infectious-she spoke of it with such expectation. Everyone that was involved was really excited about the project. I really wanted to be a part of it.
There's a lot of time sitting in movies, so you can put alligators in people's trailers in your spare time. So it [making a film] moves slower, which in some ways is great, because you can live with a scene and invest in it a lot. And in some ways it's hard, because sometimes you can start to lose your energy a little bit, but both are fun.
Even when I was on vacation after the Olympia, I was looking for gym to train in. Not only was it 24 hours a day, it was 365 days a year. That may have been a little too extreme, but that is what got me there from that little backstreet gym in England to becoming Mr. Olympia.
If I'm feeling desperate, I'll go out image-hunting. I'll go to news agents and stand at the rack flicking through magazines or go to second-hand bookshops. And then, bit by bit, like concrete poetry, I start to realise that I am drawn to particular things, and then I start wondering why that is.
The best part of a Mr. Goodbar is not the wrapper, is it? No, and the best part of a Coke is not the can. On those nights when you lie awake, either man or boy, wondering about yourself, peeling away one layer of oddness after another, you should remember and always be grateful that the woefully imperfect person that you are, with all your contradictions and unworthy desires, is not the best of you, any more than the wrapper is the best part of a Mr. Goodbar. -Odd Thomas - Odd Apocalypse by Dean Koonts pgs. 354-355 chapter 53
I'm starting to believe that happily ever after includes people doing things that upset each other. We all get cranky, or impatient, or worried, or careless enough to do or say things that hurt someone else. Like it or not, that's normal. We can't blame it all on Olympia's bad energy. The important part is that we feel sorry about what we've done and make up for it. That's something Olympia never did.
I had a teacher who said something great. That was, 'Go out and collect your nos. Once you get fifty nos then you can start wondering when you can get a yes.' He said, 'It is not your job to get the job; its your job to do a consistent body of work. So, every time you go in there, just go in there and be consistent, and eventually it will get noticed and someone will hire you.'
I'm quite severely dyslexic so I struggle with acting in certain ways. I always have to put in triple the amount of effort, which would always frustrate me a lot. I suppose that some people can just look at a script once and know it. That's not me. I really have to spend a bit of time with the lines. But it's my job and I've got better and better at it. If you're learning a lot, things start going quicker. Doing the lines with repetition and you just get it in your head somehow.
The scheduling thing is really weird with TV shows. Certain projects haven't been able to work out because of the schedule, so some of it is out of your control. You don't have very many opportunities. There isn't much time, so you want to make sure you're going to be doing something that you really feel good about or that you're going to have a good creative experience doing. You're taking up vacation time from your job, so you want it to be meaningful.
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