A Quote by Kenny Omega
We have a very physical performance art. A lot of times, when you want to achieve a certain emotion, you have to use professional wrestling ingredients, which are moves or a sequence of moves.
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Kurt Angle, I knew he was from Pittsburgh and I knew his background very well and his amateur days and, of course, going to the Olympics and all that. When he went into professional wrestling, he was very good at adjusting and displaying a lot of great moves. It was something that the fans could look at a say, hey, that's wrestling.
When I started doing pro wrestling, it wasn't the physical aspect doing the moves or taking the moves that was hard: it was interacting with the crowd, body movement, selling, getting that emotional attachment with people so they're invested in a match. That was the hard part.
Although I do a lot of aerial moves, I use many strong style moves.
Amateur wrestling, you can go by instinct. Pro wrestling, you have to memorize, and you have to go by what moves you said you were going to do. Sometimes you have to feel the crowd and do the moves at the right time and know the timing and tell a good story.
Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.
'Lucha Underground' is a combination of new psychology, new moves, and a new take on wrestling: an evolution of wrestling. In my opinion, it is entertaining. It is the kind of wrestling I want to watch. It is the kind of stories I want to tell, which is why I intend to be part of it.
Catch wrestling is pro wrestling, if you look at the ground moves and the rule set. It's just about learning the art of it for yourself.
We use a curtain, so we don't use a net, so there's nothing sea life can get entangled with. And also, the system moves very slowly. It moves around 4 inches per second on average. So really, the chances of sea life being harmed by this are very minimal.
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.
The moves to contractualism and utilitarianism required some extra ingredients besides mortalism, the denial that God is in charge of the world, and the doctrine that physical and psychological pain are the greatest evils.
For bigs, we usually have three simple moves - and the hook-shot is one of those moves that's a forgotten art. But it's always been an effective move in our league.
And so it's sort of a fine line where you want to be recognizable as professional wrestling but you also want to set yourself apart from what some people consider the standard of professional wrestling, which is the WWE.
Wrestling and sports entertainment is not about the moves, it really isn't. It's about being able to evoke emotion in one facet or another.
I think it does give me different stuff and I feel like television moves a lot faster than movie sets do. It's kinda like they have to get things done within a certain timeframe. So do movies but it seems like, as far as television is concerned, it just moves a helluva lot faster.
I started thinking, my gosh, all this sophisticated software for measuring how Yo-Yo plays, and how he moves and this technique of the bow, I should be able to use similar techniques for measuring the way anybody moves, and so somebody who is not a professional or a trained musician, I should be able to make a musical environment for them.
Obviously, for safety reasons, there's some stuff I can't do, but fighting is more than just about nailing the moves accurately, to sort of pull off the stunt sequence. It's also about bringing emotion to it and character.
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