Before The Ultimate Fighter, I was appearing before a couple of hundred people at most. Now, I'm on the card of a Las Vegas blockbuster... this is every Australian fighter's dream.
To use a fighter as a fighter-bomber when the strength of the fighter arm is inadequate to achieve air superiority is putting the cart before the horse.
That's the ultimate goal for any fighter, to fight in those big casinos, on that strip in Las Vegas, Madison Square Garden, New York - all those iconic venues.
One thing I see in a lot of coaches is they try to live through the fighter. You can't live through the fighter. You gotta allow the fighter to be the fighter, and do what he do, and you just try to guide him. Why should I have to live through a fighter, when I went from eating out of a trashcan to being eight-time world champion? I stood in the limelight and did what I had to do as a fighter. I've been where that fighter is trying to go.
You know how a fighter always comes into the dressing room way before a fight? That's me - I'm like a fighter.
Now I'm with the American Top Team, I'm a better fighter, I'm a more patient fighter, I've improved in every aspect.
I am like every single fighter - going into the ring, I have in my mind, 'Finish the bout before all the rounds are over, and to get the victory before that.'
We have physical therapy there now so any fighter with an injury in the UFC can come to Vegas and get treatment every day.
I'm one of the few reading and thinking people who loves Las Vegas for the vulgarity and omnipresence of the dream. The collective dream. There's something enormous about it. Let me say one thing: Las Vegas and cinema have similar roots. The country fair. The magician at the country fair. The vulgarity of the country fair.
I think that if you do want to be a fighter, then you need to work harder than everybody else and make sure that you surround yourself with good people, especially if you're a woman. You've got to find a team that takes you seriously as a female fighter and is not going to rush you into the ring before you're ready.
It was an absolute honour to fight in Vegas. Every fighter dreams of fighting at the MGM Grand. That's where so many legends have fought before and so many legends will continue to fight.
Any artist who goes to Las Vegas is an idiot as far as I am concerned. Whoever goes to Las Vegas can stay in Las Vegas.
I never envisioned that I would be able to bring something to the entertainment table that would fit Las Vegas. Vegas is so presentational; it's live theater and, for me, it's always been film or television, which isn't why people come to Las Vegas. So it's exciting to be apart of all of this, the thrust of the entertainment of Vegas.
When I lived in Las Vegas, I was meeting everybody: Sammy Davis Jr., Frank Sinatra, Elvis Presley, Engelbert Humperdinck, Tom Jones - we won't go there - but all these people that were working in Vegas a million years ago, way before I was Elvira.
Anyone who is friends with a fighter or lives with a fighter, you know that a fighter cutting weight is on edge.
I go to Las Vegas--or at least I went to Las Vegas--because even though I knew everything that was sinister, calculating, and evil about it, I loved Las Vegas. Only in Vegas could I dare to fantasize that I was a Friend of Frank. Or that I was throwing the dice at Dino's favorite table. Or that I might luck out and sip bourbon with Rickles after his last lounge show. The D.I. oozed that kind of heady fantasy.
There are rules that say 'If a fighter gets old, when a fighter slows down, when a fighter stops looking the same, then he can never come back.' I don't like that.