Quotes About Performance

I love tag team wrestling, and it's different than all the other matches.

I think the best wrestling always needs to pretend to be real, and Vince Russo's wrestling is so pathetically far-fetched and phony that I think he does a disservice to his wrestlers and the business.

People love to be entertained and love the different storylines that go on in pro wrestling.

Bagpipes is a woodwind instrument, so you have to warm it up. But in a wrestling dressing room? You've got to be kidding me.

Something happened in 1997 that changed the whole industry, at least for the next five, six, or seven years. It wasn't about the 24-inch arms and the cartoon characters anymore. It was about the wrestling and what we were doing in the ring physically.

It's hard to explain, but it's a beautiful thing to watch in wrestling when someone loses in the exact perfect way.

If you look at wrestling when I started to get my big break back in 1992, I changed wrestling from the cartoons of Hulk Hogan and Iron Sheik and the matches with the leg drop and the hand behind the ear and the playing to the crowd. They were just cartoon characters if you ask me.

I was in all the Pay Per Views and all the house shows, and I thought I made a pretty good impact and helped change pro wrestling - not by myself, but definitely, I was a part of it in the Attitude Era. There is no recognition towards me or about me, and I'm kind of disappointed.

Wrestling moves are made for arenas, not the screen.

I love professional wrestling, and I love sports entertainment.

We made 'Wretched and Divine,' and as much as I love it, it's a pretty sparkly record - it's a record that could be done as a play because it's very theatrical with no grit.

I was heavily influenced by Andy Kaufman and Steven Wright.

Steven Wright can do Steven Wright very well. Not everyone can do Steven Wright's jokes with the same results.

I've read that Steven Wright's style was born out of genuine nervousness.

As I went through 'This Progress,' one of two performance pieces by Tino Sehgal that transform Frank Lloyd Wright's emptied-out spiral into a dreamy Socratic-purgatorial journey, the museum literally fell away. I was suspended in some weird nonspace.

The first play I ever did was with Michael Langham, Brian Bedford, and Colm Feore, at Stratford Festival. That was my first professional job, and I got to work with Garland Wright and so many great artists.

I keep falling off the edge of the stage because I can't see it. I can't see my wrinkles in the mirror either, though.

When you play guitar and strum, you're using biceps and triceps to move up and down. I realized you could just turn your wrist, your forearm, using smaller muscles in your arm that are much more efficient and much quicker.

I was in a play directed by my father, and I was doing a fight scene, and the choreography went haywire, and I flew backward over a chair and ripped my thumb all the way to my wrist and had to have surgery to sew up all the tendons in there.

A good wrist spinner is a good wrist spinner against any opposition.

I've broken my nose, I've broken ribs. You name it. In fact, we just got back from South America, and I fell over a monitor speaker on the stage and almost ended up in the front row of the audience. I managed to sprain my wrist on that one but luckily nothing was broken.

The most bizarre occurrence has to be when I dislocated my wrist during a show in Germany in 1997.

When you're competing, you have to wear a sleeve that goes all the way down to your wrist. When you're training, you usually don't wear long-sleeved leotards, so there's a difference between training and competing.

I was playing Sultan Razia and had a habit of twitching my wrist when I took a movement.