A Quote by Sid Waddell
I want the little lassies who are thinking of going to a nightclub in Cardiff to stop to see what that guy's screaming for, or Grandma to put her knitting down to see why that guy's chatting about Alexander the Great. I'm after pulling in, whether it's in Manila, Beijing or whatever, the biggest possible audience.
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I love being out there. as an audience member. It gives the audience a little bit of something different. Like, why are these wrestlers sitting in the audience? And why are they heckling at this guy and that guy?
I feel like it's really important for an actor to play different roles so people can see, "Oh, he can play that guy or he can play this guy." You're not just "THAT guy," that cowboy guy, that whatever guy. Then you are limiting yourself.
The biggest thing in training camp is you don't always get to see the hitting aspect. Whether a guy is easy to tackle or whether he's brought down easy.
I'm talking about people who claim to love people. I'm talking about people who claim to love and represent the little guy. They're the people that tell us that if not for them, the little guy would be trampled on daily. Well, if they really cared about the little guy, if they really cared about the little guy, and want the little guy to have an improved life, more contentment, more happiness, then the United States is what you would emulate. You certainly wouldn't tear it down.
I'm the guy who will persist in his path. I'm the guy who will make you laugh. I'm the guy who strives to be open. I'm the guy who's been heartbroken. I'm the guy who has been on his own, and I'm the guy who's felt alone. I'm the guy who holds your hand, and I'm the guy who will stand up and be a man. I'm the guy who tries to make things better. I'm the guy who's the whitest half Cuban ever. I'm the guy who's lost more than he's won. I'm the guy who's turn, but never spun. I'm the guy you couldn't see. I'm that guy, and that guy is me.
People like to see a guy being built up; they like to see a guy go from the bottom to the top, but then once you're on the top for a little bit, people wait to see you fail, and they want you to fail, so they find flaws and they find reasons, whether it's being too nice or trying to make you out to be fake - that's what they do.
I don't think I'm a singer, I think I'm an expressionist. But it takes time to put it in people's minds that this guy is not singing, 'Baby, I want to have you.' This guy is actually thinking about what he's saying. This guy has something to say.
I'm neurotic in the sense that I can have a crowd of 300 people cheering you, applauding you, standing O, but one guy come out of the audience and go, "Hey man, you should have cut 20 minutes. That wasn't so good." And I'll just obsess on that one guy. After all this love, I'll obsess on him and want to smash his face in and strangle him and kick him down the stairs and I'll be pouting about that one guy all night.
You can show a guy sort of peeking over the wall, you can see a guy tunneling underneath, you can see a guy going through the front door. All of those, in cyber terms, are vulnerabilities, because it's not that you have to look for one hole of a specific type. It's the whole paradigm.
It's just one of those things. When you're a wrestler you're thinking about one guy, yourself, your character and whatever guy it is you're working with. When you're a writer and you're kind of in a booking type role, you're thinking about the entire roster so you're thinking about wrestling 24 hours a day.
I advise treating the studio audience like a nightclub audience because that's the reason you're doing television - to get them to come see you in a nightclub.
That's one of the challenges of acting. You can't expect that you're going to be successful, but you've got to put your heart and everything you have into it. Look at a guy like Ian McKellen, who is eighty or whatever, and he's just loving his work and you can see that in the work. That defines what type of actor you are. And what kind of people want to work with you. And whether you can do this job for a long, long time.
I feel like, if the guys can look at me in the huddle and see a calm and collected face, that they're going to relax a little bit. The way I look at it, leadership and being that guy is, don't be someone you're not. Don't be a hoorah guy jumping around and clapping your hands if you're not that guy.
Which girl doesn't see the bank balance of the guy she is marrying? Not only the girl - even her parents want her to marry a financially secure guy.
'3:10 to Yuma' was one that I just kept on talking and thinking about after reading it. And I think the reason is because, like in most Westerns, you have the very clear-cut bad-guy/good-guy, however, as the movie progresses, you kind of see that it's a very fine line that divides these two.
I don't care if I'm drafted one, five, 72, or last pick. I'm going to come in with my head low, ready to work, and that is not going to change me. That's why, whatever team drafts me, you're going to get the same person, the guy that is going to be a competitor, a guy that is passionate about the game.
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