A Quote by Matt Sydal
People try and make it a big deal, but a show's a show, work's work, if you haven't wrestled in New York in a couple months, it's always good to take a booking there because there's a lot of great wrestling fans up there.
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At first we didn't have a lot of access to New York City, but very quickly, I think people recognized if you were on the show that was a good thing. We always saw the show as a love letter to New York City.
But the great thing about shows now is since we've been doing (Comedy Death Ray), they have lightened up on their booking policies a bit more and are booking somebody who isn't famous and who hasn't been around ten years. It's great to see people who've done our show - the first big show they've ever done - now they can play around town.
Show your work, and when the right people show up, pay close attention to them, because they'll have a lot to show you.
I'm a lot smaller than most guys, so I have to make up with grittiness and show I can work the hardest, show I'm strong on my skates and show I can push some people around.
I don't have any ego about it, but I find there's not a great work ethic in show business. A lot of people are in it to make money, and coming from stand-up, you have to work so hard because almost nothing works, and if you lose the audience for three minutes, you're dead.
I'm always so nervous when I have to do interviews or be on 'The Tonight Show' or the 'Oprah' show, where I have to be myself. I don't know why that's such a big deal - being yourself. But for some reason, I feel good in a dark room talking to actors about acting, doing acting. I like sitting backstage watching people work.
When I auditioned for 'Jessie,' I knew that Disney Channel basically will do 100 episodes of a show if it's a hit; they'll stick with something. It's a great network to work with because they make a nice big commitment to a show.
There are a couple of specific things about the show [Into the Badlands]. We didn't want to do a contemporary show, which is always "Chinese cop comes to New York, teams up with racist cop, together they fight crime..."
What's great about New York is that there are a lot of theater actors and actresses, who are trained actors, that they bring onto the show. They're so talented, in such a weird, quirky and ominous way. And it's great to be able to work with new faces, too.
They make a humongous profit, but the people that work on the shows don't get paid a lot because they're working on the Oscars show. It's the biggest show in the world.
The ROH guys looking at the New Japan guys coming over, we're just psyched. We think, "oh great this is just going to make our show even better." The respect level with New Japan and ROH is at an all-time high. And anytime we get a company like New Japan Pro Wrestling on a ROH show, it just benefits our show. It has everybody all jacked up, ready to do the best we can like we always do.
Photographers want to reinvent you, to take you somewhere else, to show you in a completely different way. They look at your previous work, and try to figure out what they can do to show a new side of you.
When I wasn't wrestling, I was always at the circus or at a show watching all these people - 'how do they make their stuff work for their audience?' That used to fascinate me as a child.
When I'm not doing the show, and the work has stopped, I walk into a restaurant and I'm shy; yet, when I'm in the show, when people come up with their phones and want to take my picture, I can handle it because it's almost like I'm wearing an armour.
When you put a new show out, you always have a few kinks that you need to iron out, and you need to dial your show in. You figure out over a couple of weeks what songs work well together and what songs may not have the impact you thought they would at that spot in the show.
I wanted to make a movie, because the whole life of the movies appealed to me. You work hard for three or four months, then you don't work at all for a couple of months.
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