A Quote by Shinsuke Nakamura
For a long time, almost 14 years, I wrestled in Japan, so I didn't think I would leave New Japan Pro Wrestling, but I started changing my mind. I wanted to see the other world. I wanted to change something. I wanted to be bigger.
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I knew I wanted to shoot in Japan early on. Years ago, we did a Japan segment in "The Community Project," and at the time I felt it was one of the better Japan segments ever captured.
Hopefully, when people watch 'Lucha Underground' and WWE, Ring of Honor, New Japan, AAA, and any other promotion out there, they fall in love with pro wrestling. Pro wrestling, as it affects pop culture, is bigger than any one promotion.
I feel as if I accomplished everything in Japan, so I wanted to challenge myself. I wanted something new, so I decided to come to WWE.
Of course I wanted to main-event wrestling matches in TNA, but in their eyes, no, that would not happen. So I went back to New Japan.
By the time I was 14, my most burning ambition was to leave my home, leave my neighborhood, leave my city. I kept it a secret wish. It was easier done than said. It wasn't only that I wanted to leave Chicago - I wanted to live in New York City. And I did - for a time.
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.
Strong style is a philosophy for Japanese wrestling fans that was created by New Japan Pro Wrestling founder Antonio Inoki. He wanted you to show every motion and show real technique in the ring. It's important to use real techniques from real life and real martial arts. The detail is important.
I remember my very first encounter with Japan. At that time, I was Deputy Mayor of St Petersburg. Out of nowhere, Japan's Consul General in St Petersburg came to my office and said Japan's Ministry of Foreign Affairs wanted to invite me to Japan. I was very surprised because I had nothing to do with Japan except being a judoka. This was an opportunity to visit Tokyo and a couple of other cities. And, you know, a capital is a capital everywhere: there is the official script and certain protocol. It is always easier to talk in the provinces, the conversation is more natural.
I trained at All Pro Wrestling in the U.S. Later, I signed up with the New Japan Pro Wrestling. Then WWE noticed me.
I think that Google has definitely influenced my moral values and the ethics. I think when Larry Page started the company, they weren't in it for the money. They started it because they really wanted to create something that; one, they wanted, and two, they thought was going to change the world.
For me, my number one guy would be Tanahashi from New Japan Pro-Wrestling. Like, watching him, like, this guy is a bonafide rockstar over in Japan. He can't even walk down the street without getting stopped, the way that he carries himself.
I think the most important thing is how long do we stay in the disappointment. When my mother would see us wallowing in disappointment she would say, "change the channel." So I replace the disappointment with a new direction of where I wanted to go and how I wanted to feel. Also, when something isn't coming my way, I believe it was not meant for me.
I've always wanted to see what it would be like to live in feudal Japan; I think that would be interesting.
I never wanted to change the world. Norman Mailer wanted to, he set himself the task of changing the consciousness of our age. And I think he came pretty close, in the 1960s, to actually managing to do it. But me? No, no, I never wanted anything like that. I'm not Maileresque.
I wanted to play football and see how that went. In my mind, I knew I wasn't good enough to be a pro, but I was having a really fun time doing it. When you're on a college team, you can tell who's going to be a pro or not almost instantly.
When we were doing 'Five Centimeters Per Second,' at that time, Japan was in an era when it felt nothing would ever change, so I wanted to make a movie that reflected that feeling.
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