Eric Bischoff

You have to make a choice, and you have to commit to a character. You're either a babyface or a character that the fans relate to, support, love and aspire to be, or you're not. And if you're not, you're a heel: you're despicable, and they need to learn to love to hate you.

I really like Braun Strowman. I would turn the volume down on him just a little bit. I think he is a little bit overly animated, and he doesn't have to be. He is already a larger than life character when he wakes up and has a cup of coffee.

Professional wrestling, the WWE, and being in the Hall of Fame represent such a large part of Hulk's life, as does his connection to the audience.

Diamond Dallas Page didn't have that larger-than-life persona, but he had a different connection with the audience.

I had zero exposure to creative in WCW up until 1993, 1994. Even then, I was at a distance.

A character like mine, there is only so much you can do from a storyline perspective. You can be that heel authority figure, which I was for a few years in WWE and WCW, and it's interesting, and it's fun, but after a while, you've kind of done everything you can do creatively.

I consider myself an authority on drinking beer.

We formatted our shows so that, at nine o'clock, we were in the heat of hard-hitting, fast-paced cruiserweight action, and it was so different from the WWE that it worked.

I've always believed that the audience and the energy that the audience creates is sometimes just as important as the action inside of the ring.

The television business, by virtue of what's happened to streaming, it's really turned the traditional television business upside down.

Had Fusient been successful in buying WCW, ultimately there would have been no one on that side of the equation, including me, that would have had the commitment to the business that Vince McMahon has had throughout the years.

When I ran WCW, I obviously had a lot of control over the business, but when I was in TNA, I had no control over anything other than creative.