"I've always tried to keep the paint somehow geographically referenced to the building I was in. In Brooklyn we did a lot of the gargoyles, that was a historical reference to Brooklyn. We tried to do something a little different in London, and it was the first idea that came to my head. The office, they went with it. I didn't realize how well the production team were gonna shoot, and the screens they put right behind me making it look like the street, and even like this one shot when the camera pans out - I can't even explain it.
"It's one of the coolest shots where it's like a silhouette of me but then because of the light and the way the camera moves you can actually see the paint there - it was mind blowing. As much as I'd like to take all the credit for how cool that looked, it was none of my doing at all. It was all of the camera men, the production crew, and the lighting crew. But that night in London was definitely a special moment, not only for the fact that I defended my title and my parents were there, so many of my old friends were in the crowd, and just being back in London after not knowing when I'd be back. It was kind of like a re-coming together of a lot of aspects of my life that I wouldn't have thought would align. So it was pretty cool man."
If you use any of the quotes in this article, please credit Rebellious Noise with an H/T to Wrestling Inc. for the transcription.
Source: Rebellious Noise