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Kevin Nash Interview

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IGN FILMFORCE: How different is your approach to a role in a film like The Punisher compared to your mindset while wrestling?


KEVIN NASH: I think the biggest thing is a fight scene is a fight scene, but a movie fight scene – because you're looking at camera angles, specifically... because when we wrestle, it's the cameraman's job, and the truck, to catch the action. Whereas in a fight scene, you've got set marks that you've got to make, because the cameras are set – though there are some handheld – but the base cameras are set, so you've got to hit marks.


IGNFF: Would you say that your mind has to be more in the fight while filming a movie, or is it just a different technique?


NASH: In professional wrestling, I think that they want you to be bigger than life. It's almost like an over-acting type thing - whereas on the big screen, you're 35 feet and they've got a close-up of you to put it on the screen in the movie house. At 35 feet, it's more subtlety than the overboard drama that we do in pro wrestling.


IGNFF: So in wrestling, you have to play 360° to Row 54...


NASH: Right. Absolutely.


IGNFF: How does that knowledge of the differences affect you when going into a scene for a film? Because, as you say, you can get a level of nuance on film that would get lost in the ring.


NASH: Absolutely. In the movie, it's 20 seconds here, 20 seconds there – it's not like when you're wrestling, where it's a continual process. If you've got a pay-per-view with a 22-minute time limit where the ref's got the apparatus in his ears and he's giving you time cues, you can be 10 minutes into it and still know that you've got 12 minutes left. So it's a different process there, too, because basically we're going to shoot this segment of the fight, we're going to cut, and we're going to pick up over here. And of course in my case, in this film, you've got Thomas's point of view, my point of view – you're filming from different angles, also. I actually got a chance to see the fight scene edited about 2 weeks ago in L.A. When we did the voiceovers, I got to watch the final cut of the fight scene.


IGNFF: What was your reaction to it?


NASH: I'm one of those people who can't watch themselves do anything. I could never watch myself wrestle. I've probably watched a handful of my matches. I never could watch myself. Even when I played college basketball, I hated film days... "Oh god, I'm gonna watch myself screw up." I'm just one of those people who can't watch their work.


IGNFF: Are you the type of person who's critical of what they're doing, or how they look?


NASH: I'm so super-critical of everything that I do. Friends of mine that are in the industry have seen it and said, "It's really great. It's a great fight scene." And then I'm expecting to go in there and just be completely blown away by this fight, and then I just think, "OK, if they say it's all right..." You know what I mean? "If you guys say it's great, then I'm with ya. You're the experts." Lions Gate and the people that did the movie are really happy with it, and as an actor, if the people that are employing me are happy with it, then I am too. I just hope that the people that are going to watch the film are equally pleased.


IGNFF: Have you gotten better about your self-criticism over the years?


NASH: You know what? I think it's the opposite. I think I've gotten worse. When I was a greenhorn in wrestling, just to make it on TV was huge. On your first break... "Wow, I'm getting a TV match! I'm actually going to get some exposure!" As you do it longer, you can watch a match – it could be a flawless match and at the 23-minute mark you throw one half-assed punch that kind of looks fake, and you go, "Awwww, see! That's brutal, right there! I lost 'em!"


IGNFF: Are you the type of person who would dwell on things like that after the fight?


NASH: I would if I watched it back. If I really watched it back and analyzed it, then it would probably drive me crazy. I know that about me, so to me it's just like, "Okay. That's over with." If I was working for Vince (McMahon) and Vince enjoyed it, and the agent said it was a good match, then that's good enough for me and I move on.


IGNFF: Is that ability to be critical within the moment, but then the moment passes, different on a film set where you're doing a scene multiple times to accommodate coverage? Because you run the risk of thinking things through too much...


NASH: Yeah, because in wrestling, as it evolves, that's it. If you screw up, there's no taking that back. In the film, somewhere in the 5 or 6 cameras that they're taking the coverage with, you hope that somewhere they're getting a great shot.


IGNFF: On a film, do you appreciate having a director who can help you adjust your performance as shooting progresses?


NASH: Yes. And the thing was, Jonathan (Hensleigh) was so enthusiastic. When something rocked him... When we were shooting in a room and they were down the hall watching it on monitors – I filmed the whole thing in a set which basically was a tenement, and they were in another room when we had the fight because things were explosions and everything else...


IGNFF: In a confined space...


NASH: Right. So they were down the hall, and you would hear the, "Cut!" Then he'd bolt down the hall and he'd say, "Fantastic!" Immediately, you got positive feedback, and then he would tell you, "That was great, but let's try it this way," or, "Let's try it that way." And the thing was, with Jonathan, he had – in my estimation - such a distinct vision of what he wanted, that he knew when he got it. There were a lot of times that we'd shoot something one time and he'd watch the coverage back and say, "Next! Let's move on... I got what I want." He knew exactly what he wanted, so when he saw it he just went, "Bang! We're done! Next!"


IGNFF: Does that kind of direction act as a confidence builder for you?


NASH: Because I'm green at motion pictures, I think that they were surprised. I think that they really thought it would take longer than it did. I mean, we had some extremely long days – I think we had one 16-hour day and one 19-hour day. So we had some long days, and it was amazing to me that Thomas – who it seemed like he had these kinds of days day after day after day, month after month – you would see him look just so beaten down and it would be like they'd say, "Okay, we're ready!" and BAM!, up he'd go and fly right into it. The one night, we just kind of looked at each other – it was the Friday night, and we were just trying to get through the first part of it before I blast him through a wall. We're trying to get through this thing, and it's just one of those deals where we got to a scene with a refrigerator and they had some technical problems with it where they were trying to safeguard it where he wouldn't be injured – it had nothing to do with us – and it was 5 o'clock in the morning, Saturday morning, and finally they just said, "Cut!" We went back and sat in make-up and had a couple of beers, and I just felt like, "Man, I don't know how this guy's doing this night after night, day after day, month after month." I read The Punisher comic book when I was younger – and nothing against Dolph Lundgren, but his portrayal of it... It was funny, I was just done shooting it and Thomas was fresh in my mind, and I was flipping channels one night and they had the Dolph Lundgren version on TV. I was just like, "Whoahhh..."


IGNFF: Dolph Lundgren – OK He-Man, bad Punisher...


NASH: Yeah.


IGNFF: What are the differences in both mental and physical stamina needed between pro wrestling and shooting a film?


NASH: I just think that's it's so time-consuming on so many different levels, because you could have an 8:00 call time and they could be running behind – like if they're were shooting the night before – and before you know it, it's 12:45 and you haven't shot anything. If you ever get backtracked like that where they're trying to finish up something and you're there... One of the reasons why Jonathan probably kept this thing so tight was, it just seems to me like it was always running on time, and the only days that he ever shot long were the Fridays where they didn't shoot on Saturday or Sunday. So he was shooting long on Fridays, and Saturday and Sunday the cast and crew was off. I'm no executive producer, but I think he did a hell of a job - and once again, because he had to focus in that direction that he wanted to go in, he was able just to bang, bang, bang through it.


IGNFF: How long was it before you were able to attain a comfort level on the set?


NASH: The first night that we just walked through the fight scene, and I walked through it with the stunt guy first a couple of times and then Thomas came – because Thomas was finishing up some shots. It was probably around 8:00, and I could tell he was beat, because I saw on the call sheet that he had like a 5:30am call time. So he'd been there 14 hours already, but he wanted to go through it. One thing that's good is that I can remember a 20-minute match, let alone a 5-minute fight scene. As far as doing something physical like that, memory-wise – once you lay out what you want me to do, I don't need to go through it more than once. I think that was good, because we went through it, and then we went through it a second time, and then I just told the stunt coordinator that I had it and Thomas said he had it. I think Thomas realized that, "Okay, this guy's not going to be a stiff." But then at the same time, I know that when they hired me for it they were just like, "Now, you know you can't hit him... Our insurance won't cover if you do damage to this guy..." It was like, "You realize, you big goof, if you hurt him we don't shoot..."


IGNFF: And the irony in all this is that he stabbed you...


NASH: Yes! He actually stabbed me! Thank god he got me in the collarbone! He stabbed me right in the collarbone. If it had been up in the meat, who knows? He could have drilled that thing right in me pretty good. That would have been a nice one.


IGNFF: How exactly did that happen?


NASH: I guess one of the stunt coordinator guys didn't change the real butterfly with the retractable. And he went "shh shh shh shh" and he just looked at me. I'm not going to go, "Jesus!" because I don't want to kill the scene. And he goes, "I just stabbed him." I go, "It's not that bad." And he goes, "No, it's bad. You're bleeding." I said, "It's not that bad," and I looked in the mirror and there was a little blood – because they'd squared the blade off anyway. So it was just a puncture wound. It was nothing. Poor Thomas... it was like, "Geez, man... I just stabbed this guy."


IGNFF: See, now that's how you bond on a set...


NASH: Exactly!


IGNFF: So now having finished the role, does this jazz you up for moving on to other projects?


NASH: Oh, absolutely. I'd love to. I know that I'm going to be limited, because of my size. I don't think that anybody's going to go, "Let's see... Cameron Diaz... Love scene – the 7-foot guy!"


IGNFF: But you never know...


NASH: Yeah. And you know what? I would do a love scene with her, dammit. For scale.


IGNFF: You need to start showing up at the same auditions as Jack Black and Ben Stiller...


NASH: (laughing) That would be something, right?


IGNFF: You need to get together with Jack Black and do a remake of Twins...


NASH: That'd be great...


IGNFF: You need to start pitching that...


NASH: That's going to be a my new pitch. That'd be funny...


IGNFF: So at this point, is your wrestling career effectively over?


NASH: I don't think anyone ever really... I mean, when people say, "I'm retired" in wrestling it's just like... I don't think you ever really retire from this. I could have worked at Wrestlemania after not working for 8 months and probably worked as well as half the guys out there. So I don't think you ever really retire. I mean, I don't think I'll ever work that kind of 150-160 day schedule ever again.


IGNFF: Does there physically come a point where you have to walk away?


NASH: I've been injured a lot. I think I've had 23 or 24 operations in my life. I tore my quad off a couple years ago – just tore the whole front of my leg off from the kneecap – and I should have never been able, at my age, to come back from that, and I did, because my mindset was, "Get back from this. I'll stay in Birmingham for a couple of months, I'll rehab it until it gets well, I'll get on the floor, I'll run on the beach – I'll be fine. I'll get this thing back." The last surgery I had I had in August, which was I had a pretty good size bone spur in my neck, pressed against my spinal cord.


IGNFF: Which could lead to some serious complications...


NASH: Right. And I was starting to get a little bit of numbness in my little finger. So they went in through the front of my neck, and when I was laying on the operating table before they put me out – every other time in my life that I've been in there, my mindset was always just, "Get this over." And I remember for the first time I was laying on that table and I thought, "I just want to get home to my wife and my son. Please, man, don't let me die on this table." I guess because they were going in through my neck, I guess that kind of freaked me out. It was a cumulative thing that happened over years and years and years of what I did, instead of just going through a table and getting hurt, and going, "Okay, I'm hurt – I shouldn't have gone through the table. My bad. Now let's get it fixed." This was just something like, "Gee, my hands going numb. What is it?" They did an MRI and said, "Your neck's pretty screwed up. You've got to get it fixed."




IGNFF: So it almost represents the entirety of your wrestling career...


NASH: Yeah, it does. It really does. It's just like, "Hey, you know, if you stay in the demolition derby long enough, you're probably gonna get whiplash." All those years of just landing on your back and having your neck snapped back built this spur between the T1-7 and started to pinch the nerve.


IGNFF: How much does it change your outlook, having a kid and realizing that it's not just you you're taking care of?


NASH: A lot of people would say that after he was born I became lazy, but I just became very super-cautious. I'm not going to let you whack me with a chair without getting a hand up now. Guys will say to you, "I'm telling you right now, man – I promise you I can land you flat. I'm not gonna hurt you." And I said, "Dude, I'm not going to be eating and drinking through a straw and in a wheelchair for the rest of my life, and you coming in the hospital and telling me, 'Hey, I'm sorry, dude.'"


IGNFF: Just because he was desperate for a pop...


NASH: Right. It isn't going to happen. It's gotten to the point now where it's going back to guys grabbing headlocks because they went so far the other way that it's, "What's left now?" "I've got an idea - I'll light myself on fire! That'll get a pop!"


IGNFF: There's really nowhere you can go in wrestling today. There's no fight-ending move anymore.


NASH: As soon as Mick (Foley) took the drop off the cage, and then later on that night took the slam through the top of it, and then later on was thrown on the tacks... I was working at that time for Turner, and all the guys the next day were telling me what a great match it was, and I said, "Was it entertaining? Yes, but it wasn't a work. What we do is supposed to be a fake fight – there was nothing fake about what Mick did. What Mick did is basically what a stuntman does. He fell 20 feet to the floor onto a table, which he went through..." which I guess he wasn't supposed to go through, but went through and knocked a tooth out, and get slammed on tacks. I don't see how that's a work. So I just said to myself, "Now, all these young guys in the locker room are thinking that's how we've got to go now." But when ECW was around, I used to enjoy watching it.


IGNFF: Both Mick and Jesse Ventura on the recent Beyond the Mat commentary said there used to be a mutual respect between wrestlers in the ring, not to hurt each other...


NASH: Absolutely...


IGNFF: But that with the younger guys now, it's all about, "What can I do to put myself over and advance my career?"


NASH: Absolutely. And I think one of the things that's doing it is that these guys now think they work a lot, but we used to work 25-27 days a month back when I was in the WWF the first time. If I was wrestling Scott Hall and on day 4 of a 17-day run I land him wrong on his rib and he's sore, we've got to keep working. I just think it's so different now with these guys... And just the amount of guys who are hurt is just unbelievable. I think there were 7 or 8 people who broke their neck in just the last 2 years.


IGNFF: What percentage of that do you think is due to the fact that these younger wrestlers never went through the training and time on the road that the older wrestlers, like yourself, had to work your way up through?


NASH: I'd say it's all high-impact... They never learned how to do the Shakespeare part of it. I remember when I broke in, I was in a locker room with Harley Race – Harley was older at that time, when I broke in, but he was still working – and I remember him telling me, "Kid, you'll never learn how to work until you work hurt." And I thought, "What the hell does that mean? What kind of old-timer thing is that?" But if you get hurt, you go out there – because if you can't land on your back, and you've got to go 12 minutes, damn right you'll learn how to work. You'll learn how to do something.


IGNFF: Do you think the younger wrestlers don't appreciate that it is a job... That yes, there's glitz and glamour if you get the brass ring, but there's also a daily grind?


NASH: I think another thing that's also lost is that I don't think the guys are a team like we were. We had our cliques, but everybody went out to draw money together, and we policed each other. Nobody used the other guy's finishes or high spots. Now, on a regular 2-hour show, you'll see 10 power bombs. You'll see guys use other guy's high spots and finishes – and that was such a highly guarded thing when I broke in. Like, nobody used somebody's finish for a high spot.


IGNFF: Overall, would you say there's a lack of mutual respect?


NASH: I just think it's get over at everybody's cost. They send guys down to a camp, and the guys who are the teachers aren't guys who have drawn money.


IGNFF: What were your thoughts on the accelerated process that the WWF attempted with their Tough Enough TV show? That was like 13 weeks from nobody to fighting matches...


NASH: I know that the night I tore my quad was the night that there was two Tough Enough girls wrestling in the match before me, and it was horrifying. And everybody was so down on the Tough Enough people that were in it, and my thing was that everybody cuts their own deal and everybody signs their own contract. If you make more than me, then you signed a deal to make more than me, and god bless you, because you did better than I did. I can't hold that against you.


IGNFF: No one writes their own contracts...


NASH: Right. People had such a problem with Goldberg – "Bill makes this" and "Bill hasn't paid his dues" – but I always looked at it as, "Let me get this right... here's a guy who played NFL football... didn't he pay his dues? Maybe not in wrestling, but his body has paid dues." He came in beat up. And he's made a ton of money in the wrestling business. And good for him! He's a great guy, I like Bill. Is he the greatest worker? No. But you know what? When he went to the WWF, they kind of made him vulnerable. If I would have went and seen the Hulk movie after reading the comic books, and the first scene is The Hulk's being sodomized in a prison cell, I'd be like, "This isn't my Hulk!" You've created a character that was over, but that character had certain characteristics. If you beat Clint Eastwood to the draw at the beginning of the movie and shoot him, what happened to the High Plains Drifter?!?! You can't do that. You can't bastardize a character and then go, "He wasn't over."


IGNFF: Because you can never bring that character back to where it was...


NASH: Yeah. It would be like if (Steve) Austin went to rehab - "Austin has a drinking problem and we're going to send him to rehab - that's the storyline. And he comes back and he doesn't drink anymore, and he also finds Christ and doesn't flick people off, and he doesn't really like violence so he doesn't really want to stun anybody. But he's still Stone Cold." Well, no he's not! You're taking away all the aspects of the character that made him what he was.


IGNFF: Do you think that's what happened when a lot of the classic WWF wrestlers made their way back to the fold after WCW folded?


NASH: It was almost one of those thing where anybody who came from WCW to the WWF, whatever their strongpoint was, they didn't do it. I wasn't allowed to talk. I wasn't allowed to be sarcastic. I wasn't allowed to be the persona that I was. I was this person that screamed and was angry all the time, and I did, like, wrestling promos. I never did wrestling promos – I just used to speak. I used to have conversations.


IGNFF: Where did that directive to repress the characters come from?


NASH: I just think that even thought he WWF – WWE – bought that company, I think that the battle was so bitter for so many years that, like, I'm sure that after the Civil War the Union guys didn't tell the Confederate guys, "Hey! Come on over! We're having a barbecue!" It was the North versus the South – that was exactly what it was. If you would have looked at it chronologically, at the beginning of the Civil War the South kicked their asses, and eventually because the North had industrialization and the ability to manufacture – they had things that, in the long run, they would prevail. But for two years, the South kicked a little ass, and then finally they beat us. But I don't think when we came in that they looked at us as, "Well, these are our guys now." I think that when the NWO came in as a collective group and we were going to go over at Wrestlemania in a couple of matches, I think that the guys we were going to go over walked in and said, "Let me get this right – they were the son of a b****es that almost put us out of business, and we're putting them over?" And Vince went, "You're absolutely right... No we're not." Now that he owned it, it was just that the NWO was "That thing that almost put us out of business... We're going to kill this."


IGNFF: So it was twisting the knife...


NASH: We came in, the house show revenue went up, the pay-per-view that we came out was like the highest rating that that pay-per-view had ever done by a huge amount of buys. We did what we were supposed to do – we came in and popped the place. And then in 6 weeks they chopped the head off it. They turned Hulk (Hogan) babyface, they had one babyface beating me and Scott up...


IGNFF: Really, it was a matter of putting you all in your place...


NASH: I felt that way. I just felt that it was like, "You guys left, you guys put us through hell, and here's a little something back." I never felt, the whole time that I was back during those two years, that I was ever forgiven for leaving in the first place. To me, watching Eric Bischoff on the Raw show is like, "Is he blinking?" I feel like he's one of the guys at the Hanoi Hilton... He doesn't even realize that he's a hostage, but he's just a hostage on that show.


IGNFF: So when are you organizing the great escape?


NASH: For two years I was McQueen, bouncing the ball off the walls and catching it! I just thought I was in the cooler...


IGNFF: It's amazing how many big names have left the business in the past few years...


NASH: To me, it's the Gewertz kid that writes for them... I think his name is Brian Gewertz. He's like the head writer of Raw, and I never understood how our show is based on sex and violence, and you've got a guy who's the head writer who's never been laid and never been in a fight.


IGNFF: So, in other words, most of the fans...


NASH: (laughing) Exactly! But that's why they live vicariously through those characters, you know? But I just never understood how the people that are in the creative room – I'm just thinking to myself, "And your credentials are? Let me see what you wrote for. Saturday Night Live? Have you written for The Drew Carey Show? Oh, one episode? Great, let's have you aboard."


IGNFF: Just to see the people going off to Hollywood... Heck, who knew Mick Foley would be a best-selling author? Was it a conscious decision for you to say, "I'm moving on now"?


NASH: Well, what I wanted to do is I wanted to go someplace where my career wasn't dictated. The thing about pro wrestling is it's not like I'm a .300 hitter. If they want you to lose every night, you lose every night. Can you stay over? Yeah... My fans, god bless 'em, they've always been loyal fans. But it gets to a point where your fanbase goes, "God, they're kinda treating you like hell and you're getting a reputation of being an asshole. What's going on here?" And you realize, yeah, my reputation is that I've always fought the fight - but you know, sometimes you look at it and if the fight's not winnable, you just say, "You know what? I'll go do something else."


IGNFF: Sometimes fighting the fight means walking away...


NASH: Yeah, and I think it worked for me. The only thing that I can say that I enjoyed about the whole process of coming back was that it was great to come back with Scott and Hulk. That was a great rush, because we did go out there and we did pop the place. And it was still there... that mystique of the three of us was still there. It was the same thing that worked the first time around. So that was still there, which was great, and then I got a chance to work with one of my dearest friends, Triple H, in about a 3-month program. And we ended up having the "Hell in the Cell" which they felt would be horrible because I was so beat up, but because we could tell a story, we had a good match.


IGNFF: There's another guy who's making the transition...


NASH: I looked at him at Wrestlemania and Paul's body was way-softer than it's been in a long time. I just think that after doing Blade and everything else, I think he's so burnt out... He's been pulling that wagon up there for a lot of years. I mean, he's by far – and not because he's one of my best friends – he's head and shoulders above anybody else over there on a day-by-day basis, with work, promos... I mean, that's the way I feel. I just think it's taking its toll on him. He needs some time just to chill.


IGNFF: I've heard nothing but good things about him from John Milius. I know he'll be starring in John's biker flick coming up...


NASH: Everything I heard on Blade, he did a hell of a job.


IGNFF: What do you think about the stigma attached to wrestlers within the film industry? Is it something you've encountered, an attitude of, "Well, they're performers, but are they actors?"


NASH: Even when wrestling was at its hottest, it's always that red-headed stepchild. That's just what it is. I've seen probably a dozen or so of (Rowdy Roddy) Piper's films, and he's not a bad actor.


IGNFF: I still think They Live is a classic film...


NASH: Absolutely.


IGNFF: I'm surprised that his career didn't go anywhere beyond that spurt in the '80s...


NASH: Yeah, I do too. But anyone who knows Rod knows that he's a little high-strung.


IGNFF: Is there someone you can point to and say, "That's the career arc that I want..." ? Or will you simply be a governor one day?


NASH: Yeah! Right! If you look at the guys that did the acting, Hulk did some acting. I think that Hulk's biggest problem was that – I don't think Babe Ruth could have gone out and played anybody but Babe Ruth, you know what I mean? Hulk is just Hulk. I've seen him where he's actually done some stuff where you go, "He's not a bad actor," but you just can't ever get over the fact that that's Hulk Hogan.


IGNFF: He never was able to find a project that played to his strengths...


NASH: Right.


IGNFF: How long did his TV show last? Two years?


NASH: Right.


IGNFF: All I remember is him in a speedboat...


NASH: For $20 million I couldn't name one plotline. The movie Suburban Commando wasn't bad.


IGNFF: Was that the one in the tutu?


NASH: That was the one that had the Undertaker and another guy in it, and I think the guy from Back to the Future was in it, too... The Lloyd guy...


IGNFF: Christopher Lloyd...


NASH: Yeah...


IGNFF: So was that the tutu one?


NASH: Wasn't that Mr. Nanny? He was in a tutu in that one...


IGNFF: But I think that really sums up the problem. Do you think there's the pull to either give the wrestler the fight scene or the self-effacing joke scene?


NASH: I think that you're right. It's either the fight scene or the gay love scene.


IGNFF: Either/or...


NASH: Right – either/or, take your choice. I think Queer as Folk is a fascinating show... (laughing) But yeah, I've heard that "Nash's fight scenes are good fight scenes," but I would hope it's a good fight scene – I've been doing it for 15 years. Like, I would hope that I could do that. What I would hope to be able to do is something that had some drama... that showed some kind of dramatic skills. Or some comedy. I think I've got really good comedic timing, but it's going to be hard for somebody to ever let me do it. But I think the more I take meetings with people, I think people – when they meet me and talk to me, they're just, "Wow. This isn't what I thought this guy would be like."


IGNFF: Is it more incumbent upon your or your agents to get you in that room?


NASH: I think they can get you in the room. Once you have people that have the ability to put projects together, and once you get them going – "I met this guy the other day, and he's funny, and this and that, and I'm going to find some projects for him." And when they have scripts and they start looking, they'll go, "Well, he's not really what we're looking for, but let's have him in and read for that." Once you do that and you're in that process... I mean, I've been going out there for 10 years trying to break into that, and the thing always was, too, that they knew if you work for the WWE, you can't do anything besides a little week-role here and two weeks here. Because of our work schedule, there's no way you were going to be let loose for any real amount of time. It's not like you were going to go on location in Mexico for 16 weeks and shoot a film. That just wasn't a possibility.


IGNFF: Unless Vince is co-producing...


NASH: Right. Which he's just now starting to do. Back in the day, we did a month's worth of television over the course of 3 days, and the rest of the time we were on the road.


IGNFF: So it really comes down to you deciding what direction you want to go in and sticking to it...


NASH: Right. And I've been fortunate enough to be in a situation where I don't have to work. But at the same time, the stock market dropped about 400 points this weekend, and are you ever safe? It was like, finally, a rebound – but then it dropped this week, so maybe not so good.


IGNFF: Time to move into bonds...


NASH: Right! It's like, "Well, maybe we'll have to move into precious metals." But that's the whole thing – I worked my butt off and the only thing that saved me, really, was real estate. I'm looking now and the Dow's up 46 points, but...


IGNFF: Now's the time to sell...


NASH: Yeah, sell everything! Finally!


IGNFF: Time for mayonnaise jars in the backyard...


NASH: You never know anymore. I just wish that I would have spent $40 million and made the movie Gibson just made. It will probably outgross Titanic by the end of the week.


IGNFF: You should just make The Passion of the Vince and do a nice little exposé on the WWE...


NASH: Yeah...


IGNFF: One day, someone will actually do a film or documentary about the wrestling wars of the '90s.


NASH: They actually did a video of the Monday night wars, and I guess it's the number one selling video that they've had. It's just called The Monday Night Wars. But it's like everything else – they only interview people who are under contract with them...


IGNFF: In other words, the people that will work from the script...


NASH: Exactly! So "What was it like?" "Well, here's my view of how it was at WCW," knowing that I'm getting paid by this guy, and if I ruffle too many feathers I'll be gone, because I've got a 90-day out in my contract. So it's just, once again, it's UCCCHHH!

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In that picture from the movie does anyone else think Nash looks kind of like the german aliens from dude where's my car? :)


He came across to me as putting down Foleys HIAC bump, which to me makes him look sound an asshole. Probably just jelousy.

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He came across to me as putting down Foleys HIAC bump' date=' which to me makes him look sound an asshole. Probably just jelousy.[/quote']


Jealousy about losing a tooth through his lip and lacerating his liver? I seriously doubt it, I think Nash makes a great point regarding Micks HIAC bump. Mick ushered in the "take a big ass bump and get the fans to pop era", now we see these same guys out for a year or longer with bad necks. I've said it before and I'll say it again, if I never see another unprotected chair shot or huge bump, I won't be dissapointed.

Edited by Lil' Naitch
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Nash was an awful worker ans spent most of his time bleeding companies dry while sitting on his ass injured for most of the time. In WWE it was up to guys like Taker, Hart and Michaels to drag a good match out of him. He is in no position to criticize Foley whatsoever. And on a side note Foley didnt take the bump of the cell to get a cheap pop. He did it because after watching the first HIAC with Michaels and Taker he knew it would take something special to top it. If you read his book you would know this.

I think its a bit disrespectful to say that about Foleys bump.

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As good as Foley's bump was' date=' it clearly is to blame for popularising the whole "See how far you can push yourself before you die" concept, just as his home video popularised backyard wrestling (as much the WWE's fault for showing it).[/quote']


Perhaps a change of words? Surely its up to other people making their own choices in deciding whether to attempt to follow Foley's footsteps, rather than blaming Foley directly.

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I dont blame Foley at all.


Ok imagine this, Foley doesn't take the dive off the HIAC. Then around one year later in a fued with Vampiro, Sting took that leap off the TurnerTron on the same night Shane McMahon jumps from the set of Summerslam onto Test (or was it Big Show?).


Anyhow, would you blame either of them for making 'extreme Backyard Wrestling' popular? Probably not. Its just because it was Mick Foley and his past, which makes him an icon, to 'extreme' fans and to blame him for others doing extreme stunts is a little harsh in my view.


The point im trying to make is that regardless or not if Foley took that leap off the HIAC, sooner or later someone (Sting or Shane) were going to take a bigger or more risky leap, and people would have still been half killing themselves in Backyard feds without ever seeing Foley take the dive off the HIAC. At that time it was just the way the motion was flowing, people were "digging" the extreme style and some backyarders thought it would be cool to copy, even if Foley hadn't put the motion in swing, the motion would have progressed and as I said, someone sooner or later was going to take a swan-dive off something high.


NOTE: I know it was not actually Sting who took the dive. But still it was an extreme stunt.

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I think that Foley's HIAC fall was what started the big bump craze, the main problem was though that fans saw that and wanted more, now the wwe could have simply stopped then, but instead they continued with the crash tv style. That lead to them having to try bigger bumps to get the same pops, look at it now, how many of the roster have had neck problems? How many wrestlers careers have been shortened from TLC's, hardcore matches, chair shots, the faster paced big spot style that was adopted??
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NOTE: I know it was not actually Sting who took the dive. But still it was an extreme stunt.


It was indeed a properly trained stuntman who took the dive off the Turnertron for Sting. The bump Shane took from the scaffolding was carefully planned and all precautions were taken to insure his safety. Those 2 cases alone show the inane stupidity of Mics HIAC bump, as Mick haphazardly threw himself off the cage and injured himself severely.


I was not impressed with Micks HIAC bump at all, not one bit. I would have been impressed if Mick pulled it off without injury, but I still didn't like the direction it helped to send wrestling in. I remember saying to myself especially after learning about all his injuries suffered at this ill fated bump, "what a dumbass". I also blame the WWE for not taking the needed steps to insure his safety. Don't get me wrong, I was a fan of Mick in his WCW days and I still am, all the way up to his HIAC bump, then my opinion changed after that.


Mick went from having great matches and making me care about his matches through his ring psychology to resorting to taking a face full of thumbtacks to get my attention instead, again "what a dumbass". Please, no one give me the "Mick put his body on the line to entertain you" canard either. I never asked Mick to lose his teeth through his upper lip and suffer internal bleeding to entertain me and I never will.


This is in no way a reflection or insult to any fans of Mick Foley, as I was/am a fan myself. I am merely stating my opinions about what I feel was a low point for professional wrestling.

Edited by Lil' Naitch
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Guest Dalton

Hi there,


I was reading this thread and decided to register so that I could give you my opinion on Foley's HITC bump(s). I agree with those saying it was pretty foolish. I too was amazed (and marking out) when I first saw it but in the aftermath felt that it was a bridge to far. This is pro wrestling, not a car crash. In reading this thread I am reminded of Bret Hart's comments in "Wrestling with Shadows" about how fans notice (or dont notice) that after a knee to the face there is no bruise. Why? Because Pro wrestling is an art form, with - dare I say it - illusion. If Foley wanted to do what he did to top Michael's HITC then he should have become a stunt man. HBK's match stands up best not because of the short cuts but due to the match as a whole.


Foley did firmly open the door on a profoundly dangerous era - a door that had been knocked on by Sabu et al in ECW for a few years previously, so Mick Foley cannot be totally to blame, right? I wonder what anyone else thinks of this: are the fans to blame? Or the writers, maybe? I mean, most fans are getting smarter. Even the non-internet fans know a lot about how "scripted" pro-wrestling is. Therefore, guys like Foley who are dedicated to pleasing the fans feel that they have to make what they do seem as "real" as possible. Hence, Mick Foley did the "real", there was nothing "fake" about his bumps that night. No storyline. Not even his wife was expecting it. And all to satisfy the fans thirst for the shoot.


Am I right? Not sure, but it it something that has bothered me for a long time.

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