[UFC 131] Shane Carwin speaks on Paul Heyman producing his interviews

Last night, Shane Carwin blogged about dealing with Paul Heyman, who was hired by the production company that handles the UFC Countdown specials to produce the interviews for the UFC 131 special (which Carwin had revealed to the world on Twitter):

I was surprised by the amount of headlines my tweet about Paul Heymen created so I thought I would elaborate a little, The UFC had already had a production crew gome to my home to get the footage for the Countdown Show. When the fight changed a lot of the questions needed to be re-done. Paul was already hired to do the Lesnar side of the Countdown show. So when the fight changed they asked Paul to come re-do my questions.

Paul arrived the night before and we grabbed dinner and he went over his plans and ideas. He said he was given about 12 questions that he was just going to toss out. He wanted to capture me and my thoughts on the fight. The type of questions that he tossed out were ones like "how did you feel when you got the call".

The day of the shoot it was pretty much business as usual. I would say the key difference of what Paul brought to the table vs the previous producers is that he understands the entertainment value and ask questions that illicit good responses. I have been called "boring" in the past but the reality is when you are interviewed by people that do not fully understand the sport or how to extract the right information to sell the event. I do not lead interviews so if the media is not sure of how to extract the right information I can come off "boring". That would be the Heyman difference. Paul was able to let me be me, left the stupid questions out and we got into some good stuff. I think this is going to make for a great Countdown Show.

This shouldn't surprise anyone, as while Heyman has had some faults as a booker over the years, he's always had a tremendous vision for what works on television and in producing interviews.  In ECW, he developed a TV show that exploited its low production values to develop a gritty feel, had a device to get short soundbite promos out of less talented talkers via the promo montages commonly referred to as the "Pulp Fiction" segments (named such because Dick Dale's "Miserlou" from the film's soundtrack played in the background), used music videos with current alernative hits to get wrestlers and storylines over, etc.  In WWE, his famous run as head Smackdown writer in 2002 developed a clear vision for the show using buzzwords like "competition" to make it "the wrestling show" (which it was unofficially within the company for many years after he stepped down).  When he left the role, the flow of the show suffered and it became clear that a vital talent of his that wasn't usually mentioned was that he did a great job in formatting a wrestling TV show. 

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