A Quote by Gail Kim
For me, if I had a magical match that I was so proud of, and I had to work the same person after that again, it was always about topping that last thing and being the best.
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At West Ham, I was the last person to be offered a scholarship. I remember an Under 18 match against Fulham. I was 16 and had to prove myself. Everyone else already had their scholarship. It was probably one of my best games. Knowing that every day I'd have to fight has made me into the person I am today.
Through my college years, topping that ridge had always given me a great sense of being home, but time had diminished the emotion and I had begun to suspect that home was less a place than an empty page.
I think being raised within a Mexican Catholic family made magical realism a very natural part of who I am as a person and as a writer. My parents always told us great stories that often had magical elements and roots within Mexican folklore. Also, I remember my father reading a book to me, when I was very young, about the lives of saints. Those were crazy scary stories! Maybe he was trying to scare me into being a good person. In the end, magical realism offers me untethered freedom to explore human frailty and the way we clumsily cobble together our lives on this strange planet.
When you go to war as a boy you have a great illusion of immortality. Other people get killed; not you. . . . Then when you are badly wounded the first time you lose that illusion and you know it can happen to you. After being severely wounded two weeks before my nineteenth birthday I had a bad time until I figured out that nothing could happen to me that had not happened to all men before me. Whatever I had to do men had always done. If they had done it then I could do it too and the best thing was not to worry about it.
When it comes to the moves themselves, after I created a style, a lot of guys started doing the same moves I was. I had to switch up my whole offense. Then, when it happened again, I had to switch it up again. It was a hard thing to do, but it helps me grow and helps me not become stale.
I've always been incredibly proud of both of my parents and proud of the work I had done privately as a person, professionally and academically.
I had achieved so much success in my career and then had this spectacular fall from grace that left me unemployed and living in a town, Los Angeles, that is built on envy. Once you fall, people don't really root for you to come back again. I'd go to restaurants where I always had the best table and half the time they wouldn't even let me pay. And then when I stopped making movies, the same places wouldn't even give me a lousy table, never mind the best one!
The strategy of my coach and me was that we looked at pictures of all the best pole vaulters from around the world, and we took the best parts from them, and we created a person that had never existed. We then started to work toward being such a person.
I've realized the person that I've always been and this gift that I've always had just had to be brought to light. It surprised me the most that being more who I am and not who I thought I had to be would make me successful.
The most challenging work and the best work I've ever done was in a thing I did for PBS called 'Lemon Sky', a play by Lanford Wilson. I think it's the rawest, most complex work that I've had to do, and the thing I'm most proud of.
I’m always looking to top the last match, I’m always looking to entertain the fans and steal the show. Before I always thought that it was a case of opportunities, but I’m learning that it’s all in my control and I just want to keep on doing what I’m doing by giving my best. I’ve got a couple more magical matches left in me and hopefully at some stage, I guess the biggest honour would be going into the TNA Hall of Fame.
The first thing I did in the studio was to want to tear that camera to pieces. I had to know how that film got into the cutting room, what you did to it in there, how you projected it, how you finally got the picture together, how you made things match. The technical part of pictures is what interested me. Material was the last thing in the world I thought about. You only had to turn me loose on the set and I`d have material in two minutes, because I`d been doing it all my life.
The whole thing of being in music is not to control it but to be swept away by it. If you're swept away by it you can't wait to do it again and the same magical moments always come.
We didn't want it to be about Mickey and Minnie being married. It was about Wayne and Russi being married. We had the best time. We laughed a lot. We were always singing. We always had music in the house.
I've always had a knowing that being kind is a lot more effective than being angry. And being generous has always been a characteristic I've had; whatever I've had, I've always been willing to give away. Those are best spiritual qualities.
Doing a film with your friend is probably the best way to end that friendship but we worked together really well. We just have that thing. Chemistry is something that... I just think it is the last thing in Hollywood, the last magical thing they haven't computerised. There's nothing you can do about it - it's either there or it's not and it doesn't matter if you're friends or not. It was just a bonus that we were.
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