A Quote by Kofi Kingston
When I was training before I was even signed, I was listening to the Damian Marley CD 'Welcome to Jamrock,' and I got the idea one day in promo class to cut a promo in a Jamaican accent and everybody in the class went wild. That was the character I played from that point on and it kind of stuck until it didn't.
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I'm in Ring of Honor about four years. I was cast as The Sicilian Psychopath there and right from the start one thing that felt weird where I got signed after a tryout because Jim Cornette saw me and 'Delirious' Hunter Johnston and they really liked my promo. The match was fine, but they really liked my promo.
CONJUGATE THIS:
I cut class, you cut class, he, she, it cuts class. We cut class, they cut class. We all cut class. I cannot say this in Spanish because I did not go to Spanish today. Gracias a dios. Hasta luego.
I think the best promo guys make it sound like it's not a promo.
I look at every promo I do as a command performance to do better than I did the previous week if not deliver the best promo of my life.
I just loved Jake The Snake because of that character and how he cut a promo. That dark nature of his character was amazing.
Listen, even if you go wild, I like class. Everybody in show business never should forget that there is a line, and that you should have class.
Now, at this point, I can wrestle, I can go out there and cut an entertaining promo, I can also do the backstage stuff... and if you can contribute more to the show, you have more staying power.
I've always been me. The last three weeks of my career, I've cut some of the best promos I've ever cut, and I do consider myself to be a promo guy.
I got a promo of 'Nichts Muss' in what would have been 2002 or 2003 and fell totally in love with it after listening to it on an airplane that took me to Australia via Taipei and Kuala Lumpur.
I think one of the main differences between being an English actor and being an American actor is that we have things like the class system in England.I'm middle class. But I've got what some people might consider to be a working-class accent, so you've got those sorts of elements in this country to consider, which, in America, exist, but not necessarily in the same way.
If someone is very upper-class, you have a stereotype of him which is probably true. If someone has a working-class accent, you have no idea who you're talking to.
The United States is a special case, and for me, very interesting. It's studied carefully and we know a lot about it. One of the most striking features of the elections is the class-based character of the vote. Now, class is not discussed or even measured in the United States. In fact, the word is almost obscene, except for the term "middle class." And you can't get exact class data; the census doesn't even give class data. But you can sort of see the significance of it just from income figures.
In Britain, class is a neurosis. You judge people from the moment they open their mouth and start speaking: what their accent represents in terms of where they were educated, what part of the country they're from, what kind of class background they have.
When I first went to acting school, they made me lose my accent, which is very upsetting for me. The first day of Shakespeare class, I remember the professor was like, 'Oh, boy. Oh no, no, no, no. No, no, no,' and sent me to a voice and speech class to get rid of the accent immediately.
Even as a kid in drawing class, I had real ambition. I wanted to be the best in the class, but there was always some other feller who was better; so I thought, 'It can't be about being the best, it has to be about the drawing itself, what you do with it.' That's kind of stuck with me.
I think improv training really orients you to character development, more than taking a Strasberg class or Meisner class. Not only is it about developing character really quickly, but it's also about being a good partner in the scene.
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