Seth Rollins did a pretty interesting interview with Rolling Stones recently in advance of SummerSlam and here are some excerpts:
On what it was like breaking John Cena’s nose:
“It was bad. John, being who he is, had no intention of stopping that match, whether his nose was halfway off his face or not, but I knew right away when I hit him; the impact was way harder than I thought it was going to be. I heard his nose pop, and I felt it on my knee – I thought it was his eye socket or something; the way it cracked, I never heard a nose break like that before. The narrative changed after that, but that’s one of the cool things about all this. You can’t do that in any other medium. That visual of him finishing the match, standing there with his nose halfway across his face, that’s something that will be around forever. It’s pretty awesome.”
His thoughts on the WWE banning the Curb Stomp:
“Obviously, it was a move that I was partial to, but it didn’t make or break me as a performer. I want to make it clear that it wasn’t banned because of a risk of injury – I’ve never hurt anybody with the move ever. We mislabeled the move to begin with – we gave it a lousy name – and then once I got to this level, we started to notice that I was going to be making a lot of media appearances, and moms were going to be seeing the representative of WWE doing this kind of maneuver, and kids were going to try it and it could go wrong very easily. That’s stuff I don’t think about, but that’s why we have people like Vince McMahon, who have done this for their entire lives – they think about stuff like that, and they keep us alive and not in court settling lawsuits all the time. So we decided to make a switch and change over, and I’m fortunate enough to be in a position to be handed down a move like the Pedigree, that no one else has been able to use as a finish in the past 20 years. So I don’t mind it one bit, and it kind of adds to the character. People say what they will, but at the end of they day, they’re not happy about it, so I’m doing my job.”
And on the art of being the heel:
“It’s an incredible art form. There’s multiple ways to do it, because the beautiful thing about art is that everyone’s got their own method. I think there’s certainly an art form to being a heel, just like there’s an art form to being a babyface. For me, it’s always about finding a way to take a shortcut whenever I have an opportunity. That’s the one thing that resonates with people of all ages, races, sexes – if they see someone always trying to take the easy way out, it chaps their asses a little bit. They want their champion to be a certain way, and every single time I have the opportunity to take the easy way out, I’m going to do it, from a live event in Bemidji, Minnesota to a main event in Brooklyn, New York for both titles. I’m going to find that little thing that irks people just enough; right when they think they might like me just a little bit, I’ll get them all the way there, and then I’ll do the one thing that pisses them off. That, for me, is a trick of the trade, always thinking that way: ‘What’s the crappiest way I can do this?'”
For more, you can read the full Rolling Stone article.
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