Before a single strike is thrown, before the fighters even touch gloves, the audience sees something that looks like a dance but is not one.
The Ram Muay is the ritual performance every Muay Thai fighter carries out before a bout. To someone unfamiliar with what they are watching, it can look like pure decoration. In reality, it is one of the most layered elements of the entire sport.
The Ram Muay is not improvisation. It has a fixed internal structure, learned, repeated, and passed down through camps and lineages. It operates on two levels simultaneously: ceremonial and functional. It warms up the joints and major movement chains, activates the nervous system, and allows the fighter to read the opponent through the performance itself, watching how the other camp responds to what is being shown.
Every camp has its own version, and this is not simply an aesthetic preference. The style of the Ram Muay often reveals the tactical priorities of the camp: those built around the clinch tend to produce tighter, more controlled sequences, while camps with a strong kicking game show wider, more extended leg movements. Experienced coaches read the Ram Muay the way a chess player reads an opponent's opening.
The Ram Muay is not tradition for tradition's sake. It is living proof that a martial art can carry its memory, its teacher, its camp, its origin, embedded in the body itself, performed in every fight, without a single word spoken.
If you want to understand why the distinction between Wai Kru and Ram Muay matters structurally, how the Sarama music interacts with the fighter's movement rather than simply accompanying it, and what the international spread of Muay Thai loses when it simplifies or skips the ritual entirely, the full analysis is at dojoandring.com.
There is a question that surfaces repeatedly in martial arts discussions: does competing make a fighter more effective, or does it simply make them better at that particular competition format?
The question sounds simple. The answer reveals one of the most overrated assumptions in combat sports.
Every ruleset defines an artificial space: permitted targets, prohibited techniques, time limits, victory criteria. Within that space, the nervous system optimizes. The stricter the ruleset, the more specialized the adaptation. And the more specialized the adaptation, the harder the transfer outside of it.
The nervous system does not learn "fighting." It learns what the environment demands of it.
The Olympic taekwondo competitor develops exceptional leg speed and reflexes tuned to high kicks. They also develop hands that stay low and a head that is not systematically guarded, because the ruleset never required otherwise. The wrestler builds extraordinary takedown aggression and completely ignores the possibility of being struck in a compromised position, because in their competitive world that threat does not exist. The boxer ignores the lower body entirely, because nothing in their training environment penalized that.
This is not a criticism of any of these sports. It is an analysis of their logic.
There is no such thing as general fighting ability. There is ability optimized for specific contexts.
If you want to understand why the athlete who dominates their format proves nothing about what would happen outside of it, why judo's ruleset changes after 2010 offer one of the most instructive documented examples of this principle, and what the practical implications are for the coach, the practitioner, and the analyst, the full analysis is at dojoandring.com.
Some champions win within existing structures. They master the rules, outlast the competition, and step aside when their time is done. Joe Lewis looked at the structure of martial arts competition in America, found it inadequate, and built something better.
Born in 1944 in North Carolina, Lewis came to the arts as a young Marine stationed in Okinawa, with no inherited style and no nostalgic attachment to any system. That turned out to be his greatest structural advantage. He earned his black belt in seven months. He then returned to the United States and dominated the karate tournament circuit from 1966 to 1969, winning more than 30 major titles. He once defeated every opponent in a tournament using only the side kick, not because he lacked other weapons, but because he understood that depth outperforms variety in a fight.
But Lewis was not satisfied winning within a system he knew was insufficient.
Meeting Bruce Lee in 1967 set off a conceptual restructuring: simplicity as a governing principle, the analysis of Dempsey and Ali footage to extract transferable ideas about closing distance and managing mobility, and the integration of professional boxing ring science into a framework that karate training simply did not provide. The result was a fighter who belonged to no single system but understood all systems structurally.
In January 1970, in the first-ever knockout format martial arts event in America, the announcer introduced the competitors as kickboxers. The term was born in that moment. Lewis retired undefeated with a record of 10-0, all by knockout.
If you want to understand why his career is a case study in what happens when a practitioner refuses the limits of their existing system, what the three structural principles were that made him unbeatable, and what "use what works" actually means as an epistemological commitment rather than a slogan, the full analysis is at dojoandring.com.
A few years ago I watched a fighter, technically one of the sharpest in the room, come apart in the third round of a hard sparring session. Not from fatigue. Not from being outclassed. His combinations simply stopped being combinations. Each strike became its own event, with a small but readable pause before the next one.
The coach said he had a mental problem under pressure. I disagreed then. I disagree now.
What I was watching was not a psychological problem. It was a structural one.
Pressure does not create the problem. It reveals what was already there.
There is a pattern every combat sports coach recognises and few can articulate precisely: the athlete who performs cleanly on the heavy bag or in technical drilling but falls apart the moment real pressure is applied. The combinations dissolve. The trunk freezes between strikes.
This has a name: torque continuity, the capacity of a fighter to keep rotational load active and transferable across an entire combination, from the first strike to the last, without dissipating or neutralising it in the transitions between movements.
It is not an athletic quality. It is an architecture of movement.
And that architecture is determined by how the fighter has been trained to think about combinations, not by how many repetitions he has logged.
If you want to understand why some fighters emit readable signals at the precise moment where unpredictability has the highest tactical value, why increased effort accelerates collapse instead of stopping it, and how this structural property can be trained systematically across four stages, the full analysis is at dojoandring.com.
Small hall boxing is no longer a hidden part of the sport.
In 2026, it’s one of the most important layers in boxing—and one of the least understood.
This is where fighters are tested. This is where real matchups happen. And this is where the next generation is being built.
Why This Matters
Most fans focus on major promotions. But by the time a fighter reaches that level, the real development has already happened.
If you want to understand boxing properly, you need to look earlier in the process.
You need to see: who is organizing the fight, who is building fighters, who is taking real risks.
The Missing Map
The problem is simple:There is no clear, structured overview of the small hall boxing scene.
Information is scattered. Promoters are underreported. And the real action often goes unnoticed.
That’s Why This Guide Exists
We’ve created a complete guide to the most important small hall boxing promoters to watch in 2026.
Inside, you’ll find: key promoters shaping the scene, insights into how small hall boxing actually works, a clearer understanding of where the sport is heading
Modern boxing promotion looks bigger than ever. Bigger events. Bigger budgets. More visibility. But underneath that surface, there’s a growing problem. And more fans are starting to feel it—even if they can’t fully explain it.
The Shift Toward Control
Today’s major promotions operate with a high level of control. Fighters are: carefully matched, strategically protected, positioned for maximum marketability. On paper, this makes sense. But in practice, it creates a different kind of reality.
The Cost of Predictability
When matchmaking becomes predictable, something is lost. Fights start to feel: calculated, low-risk, overly managed. And over time, fans notice. Not immediately—but gradually. The excitement changes. The uncertainty fades.
Development vs Presentation
There’s a growing gap in boxing today: fighters being presented vs fighters being developed. These are not the same thing.
Presentation focuses on: image, narrative, exposure. Development focuses on: adaptation, resilience, real fight experience. When one dominates the other, the system becomes unbalanced.
Where the Balance Still Exists
Despite these issues, boxing hasn’t lost its core. It has just shifted location. The balance between risk and development still exists—but not always where people are looking.
It exists in:smaller venues, less controlled environments, promotions that prioritize fights over image.
The Rise of a Parallel System
What we are seeing is not a decline. It’s a split. Two systems are now running in parallel:
The visible system (big promotions)
The developmental system (small hall boxing)
The first shows the result. The second builds it.
Why This Matters Now
In 2026, this divide is becoming more obvious. Fans who want deeper understanding are starting to look beyond the surface. They are asking: Where are fighters really tested? Who is actually building them?Which promoters are creating real fights?
The Answer Is Not Where Most People Look
To understand where boxing is heading, you have to look at the second system. The one that operates without the spotlight. The one that shapes fighters before they become names.
Modern boxing promotion hasn’t failed. It has evolved. But the core of the sport—the part that creates real fighters—still exists elsewhere. And if you’re not paying attention to it…you’re only seeing half the picture.
Most boxing fans think they understand how fighters develop. They follow records. They watch highlights. They judge performance based on wins and losses.
But this view is incomplete. And in many cases—it’s completely wrong.
The Illusion of the Record
A fighter with a clean record looks impressive. Undefeated. High knockout ratio. Fast rise. But records don’t tell the full story. They don’t show: the level of opposition, the conditions of the fight, the actual pressure the fighter faced. A perfect record can hide serious weaknesses.
Development Is Not Linear
Most fans assume fighters improve step by step. Fight → win → better opponent → repeat.
But real development doesn’t work like that. It looks more like this: sudden jumps, unexpected struggles, periods of stagnation, moments of breakthrough. Without understanding this, it’s easy to misjudge a fighter completely.
The Role of Adversity
True development happens under pressure. Not in controlled environments. Not in easy fights. But in moments where: timing breaks down, distance collapses, decisions must be made instantly. This is where structure is tested. And this is where real fighters are formed.
Where This Actually Happens
Here’s the key point most fans miss: This type of development rarely happens on big stages. It happens in small venues. In fights that don’t make headlines. In shows where there is no safety net.
👉 This is exactly where small hall boxing plays its role.
The Misunderstanding of “Easy Fights”
Fans often criticize fighters for taking “easy fights.” But they don’t always understand the purpose behind them. Some fights are not about winning. They are about: testing specific skills, adjusting under pressure, rebuilding structure after failure. Without this perspective, everything looks like padding.
The Hidden Structure Behind Progress
Fighter development is not random. There is a structure behind it. A logic that connects: timing, distance, decision-making, adaptability. Most fans never see this layer. They only see the outcome.
If You Want to Understand It Properly
To really understand fighter development, you need to look at the environment where it happens. Not just the final stage. But the process. The system behind the fighters.
Anyone can follow results. Very few people understand how those results are built. And that difference…is what separates casual fans from real students of the sport.
If you only follow major boxing promotions, you’re seeing the surface. The real movement of the sport happens somewhere else. In smaller venues. In tougher matchups. In shows where fighters don’t have the luxury of protection. This is where small hall boxing lives—and grows. But here’s the problem: Most fans don’t know who’s actually running this world.
So here are 5 small hall boxing promoters you should start paying attention to—before everyone else does.
1. Promoters Who Take Real Risks
Not every promoter is willing to match fighters in dangerous fights early. The ones who do? They create real fighters—not just records. These promoters focus on: competitive matchups, pressure situations, development through adversity.
2. Promoters Who Build Fighters, Not Hype
Some promotions invest in long-term development instead of quick exposure. They don’t rush fighters. They build them. You’ll notice: steady progression, better fundamentals, smarter matchmaking
3. Promoters Close to the Local Scene
The strongest small hall shows are deeply connected to their local boxing communities. These promoters know: the gyms, the fighters, the real level of competition. That gives them an edge big promotions often don’t have.
4. Promoters Who Understand Modern Exposure
Today, visibility matters. Promoters who use platforms like YouTube and Instagram effectively can turn a local show into a global event. This changes everything.
5. Promoters Who Consistently Deliver Good Fights
In the end, nothing matters more than the fights themselves. The best small hall promoters are known for one thing: delivering real, competitive fights—again and again. No gimmicks. No easy wins. No padding.
The Truth Most Fans Miss
These promoters may not be famous. But they are shaping the future of boxing. They are the ones giving fighters the environment to grow—or break. And if you follow them early, you’ll understand the sport at a completely different level.
Want the Full List?
This is just a starting point. We’ve put together a complete guide with the most important small hall boxing promoters to watch in 2026.
Something is changing in boxing—and most fans don’t even notice it.
While the spotlight remains on big promotions, sold-out arenas, and headline fights, a different kind of movement is growing quietly underneath.
Small hall boxing is not just surviving. It’s expanding. And in 2026, it might be more important than ever.
The Shift Nobody Talks About
For years, boxing has been driven by major promotions. Big names. Big budgets. Big expectations. But this model has limits. Fewer risks. Carefully managed fighters. Predictable matchmaking
At the same time, a parallel ecosystem has been developing—one that operates with fewer restrictions and more authenticity. That ecosystem is small hall boxing.
Why It’s Growing Right Now
Several factors are pushing this growth:
1. Access to Global Audiences
With platforms like YouTube and Instagram, even the smallest events can reach worldwide viewers. A fight in a local venue is no longer local.
2. Fighters Need Real Experience
Prospects can’t stay protected forever. Small hall shows provide: real pressure, unpredictable opponents, real learning conditions. This is where fighters are forced to adapt—or fail.
3. Fans Are Looking for Authenticity
Modern audiences are starting to recognize overproduction. They want: real fights, real risk, real emotion. And that’s exactly what small hall boxing delivers.
The Hidden Engine of the Sport
Here’s the part most people miss: Small hall boxing is not “lower level” boxing. It is the development engine of the sport. Every champion, at some point, passed through this phase. Every great fighter had to prove themselves without protection.
The Information Gap
Despite its importance, small hall boxing is still underreported. There is no clear structure. No organized map. No central place where fans can understand: who the key promoters are, where the real fights happen, which names matter.
That’s Why This Guide Matters
If you want to understand where boxing is actually heading—not just where it is now—you need to look deeper. We’ve put together a complete breakdown of the most important small hall boxing promoters to watch in 2026.
Big fights show you the result. Small hall boxing shows you the truth behind it. And if you understand that difference—you’re already ahead of most fans.
Calisthenics and Muay Thai: A Smarter Way to Build a Fighting Body.
Most fighters think of strength training as something separate from their Muay Thai practice. We lift weights, run, or do conditioning—then we train technique.
But what if strength, balance, and control were developed as part of the same system? Calisthenics offers exactly that.
Instead of isolating muscles, it trains the body as a unified structure. Every pull-up, push-up, and squat reinforces coordination, stability, and control—qualities that directly translate into clinch work, striking balance, and overall efficiency in Muay Thai.
The result is not just a stronger body, but a more functional one. This is where things get interesting. When calisthenics is applied with the right intent, it becomes more than conditioning. It becomes a way to organize the body for combat.
🔗 For the full breakdown, training structure, and practical integration into Muay Thai, visit: 👉https://dojoandring.com/
Όταν βλέπουμε μεγάλους αγώνες πυγμαχίας, γεμάτα στάδια και παγκόσμιους τίτλους, είναι εύκολο να πιστέψουμε ότι εκεί βρίσκεται όλη η ουσία του αθλήματος.
Η πραγματικότητα είναι τελείως διαφορετική.
Οι περισσότεροι πυγμάχοι δεν ξεκινούν από τα μεγάλα events. Ξεκινούν από μικρές διοργανώσεις, σε χώρους με λίγες εκατοντάδες θεατές — εκεί όπου χτίζεται πραγματικά η καριέρα τους.
Σε αυτά τα events: δοκιμάζονται για πρώτη φορά σε επαγγελματικό επίπεδο, μαθαίνουν να διαχειρίζονται πίεση, αποκτούν εμπειρία απέναντι σε πιο έμπειρους αντιπάλους.
Είναι το στάδιο που δεν φαίνεται, αλλά καθορίζει τα πάντα. Χωρίς αυτή τη φάση, δεν θα υπήρχαν ούτε οι μεγάλοι αγώνες, ούτε οι πρωταθλητές που βλέπουμε σήμερα.
👉 Διάβασε την πλήρη ανάλυση για το πώς λειτουργεί αυτό το σύστημα εδώ:
Πρώτη μέρα του χρόνου σήμερα και πρώτη μέρα που το dojoandring.blogspot.com εμφανίζεται στην ανανεωμένη του μορφή και γίνεται www.dojoandring.com.
Η θεματολογία παραμένει στη βάση της η ίδια, αλλά εμπλουτίζεται με περισσότερη επικαιρότητα και μεγαλύτερο φάσμα θεμάτων.
Επίσης η ιστοσελίδα γίνεται πιο φιλική στον επισκέπτη, διευκολύνοντάς τον να εντοπίζει τα θέματα που τον ενδιαφέρουν.
Αναδεικνύοντας τα πιο σημαντικά γεγονότα από όλο τον κόσμο,
απευθύνεται σε αυτόν που θέλει να ενημερώνεται για τον χώρο των
πολεμικών τεχνών, βοηθώντας τον να δει την Μεγάλη Εικόνα.
Οι αγώνες πυγμαχίας χωρίς γάντια της BKFC έχοντας μεγάλη ανάπτυξη στις ΗΠΑ, επεκτείνονται και στην Ασία.
Εδώ βλέπουμε το πρόσφατο BKFC Thailand 4.
Να θυμίσουμε ότι έχουν ήδη προηγηθεί οι πρώτοι αγώνες των αστεριών του Muay ThaiBuakawκαι Saenchaiμε όρους BKFC, που λειτούργησαν σαν διαφήμιση της οργάνωσης.
Μεγάλη βραδιά θα είναι ομεταξύ τους αγώναςπουέχει προγραμματιστεί για τις 18 Μαρτίου 2023.
Ο Angiolino Giuseppe Pasquale Ventura (14 Ιουλίου 1919 – 22 Οκτωβρίου 1987), γνωστός ωςLino Ventura, γεννήθηκε στις 14 Ιουλίου του 1919, στην Πάρμα της Βόρειας Ιταλίας, από τους Giovanni Ventura και Luiza Borini.
Άγριο αγόρι, εγκατέλειψε το σχολείο σε ηλικία 8 ετών, μετά την αποβολή του. Σύντομα θα μετακομίσει με τους γονείς του στο Παρίσι.
Αναγκάστηκε να κάνει πολλές δουλειές του ποδαριού, ενώ όταν ενηλικιώθηκεασχολήθηκε με τηνΕλληνορωμαϊκή πάλη για 8 χρόνια, στην Ιταλία και με το επαγγελματικό κατς στην Γαλλία. Την πάλη την εγκατέλειψε οριστικά έπειτα από έναν σοβαρό τραυματισμό.
Όσον αφορά την τέχνη, το σινεμά πήγε στον Lino παρά ο Lino στο σινεμά. Ένας φίλος του, το 1954, τον σύστησε στον σημαντικό σκηνοθέτη Jacques Becker, ο οποίος έψαχνε κάποιον να παίξει δίπλα στο ιερό τέρας του γαλλικού σινεμά,Jean Gabin, μαζί με την σπουδαίαJeanne Moreauστο εξαιρετικό “Μην Αγγίζεται τη Λεία” (Touchez pas au grisbi).
Ο έμπειρος Jacques Becker, θα του προτείνει τον ρόλο, αλλά ο Ventura θα αρνηθεί. Ευτυχώς, λίγο μετά θα πειστεί να δοκιμάσει και πηγαίνει στο στούντιο.
Όπως είχε πει ο ίδιος, πήγε στα στούντιο χωρίς να πιστεύει ότι το μέλλον του ήταν στο σινεμά, αλλά σκεπτόμενος ότι “το πολύ πολύ, αν με αποπάρει κανένας, να τον σπάσω στο ξύλο”.
Το αποτέλεσμα όμως δικαίωσε τον Becker και ιδίως τον Ventura στον ρόλο ενός γκάνγκστερ, προκαλώντας τεράστια εντύπωση στον καλλιτεχνικό χώρο.
Ο χαλύβδινος χαρακτήρας, το έμφυτο ταλέντο του, η άποψή του ότι το σινεμά θα είναι κάτι προσωρινό στη ζωή του, θα του δώσει την άνεση να αντιμετωπίζει τους χαρακτήρες που υποδυόταν με μία πρωτόγνωρη φυσικότητα, που θα τον κάνει περιζήτητο.
Γρήγορα έγινε ένας από τους αγαπημένους ηθοποιούς του κινηματογράφου της Γαλλίας, παίζοντας μαζί με πολλούς άλλους σπουδαίους αστέρες και συνεργαζόμενος με κορυφαίους σκηνοθέτες όπως ο Louis Malle, ο Claude Sautet και ο Claude Miller.
Ο Lino παρότι έπαιξε σχεδόν τα πάντα, θα κυριαρχήσει στη μεγάλη οθόνη, μεταφέροντας την προσωπικότητά του, τον σκληροτράχηλο χαρακτήρα του, καπνίζοντας συνεχώς, πίνοντας σε σκοτεινά μπαρ, προκαλώντας τον τρόμο, χωρίς να καταβάλλει ιδιαίτερη προσπάθεια, με ψυχωμένες ερμηνείες, πετώντας κάθε τι περιττό από την ερμηνεία του.
Η συνεργασία του με τον Jean-Pierre Melville, έναν τεράστιο σκηνοθέτη, μινιμαλιστικών δραματικών αστυνομικών ταινιών και κορυφαίο εκπρόσωπο του γαλλικού φιλμ νουάρ, τον καθιέρωσε οριστικά ως έναν εμβληματικό ηθοποιό.
Υπό την εμπνευσμένη καθοδήγηση του Melville, ο Lino θα μετατραπεί σε μία μαρτυρική φιγούρα ως δραπέτης Γκι, στη “Δεύτερη Πνοή”, ενώ στο αριστουργηματικό αντιστασιακό δράμα “Ο στρατός των σκιών” (L’armée des ombres, 1969) θα είναι ο υποβλητικός καθοδηγητής της γαλλικής αντίστασης.
Μερικές, μόνο, από τις τεράστιες κινηματογραφικές του επιτυχίες είναι:
“Προσοχή Κίνδυνος”
“Η Συμμορία των Σικελών”
“Ασανσέρ για Δολοφόνους”
“Το Αίνιγμα”
“Ο Γορίλας Εκδικείται”
“Ένα Ταξί για το Τομπρούκ”
“Οι Σφαίρες Χορεύουν τα Μεσάνυχτα”
“Ένδοξα Πτώματα”
Εκτός από τις συνεργασίες με τον φίλο τουJean Gabin, έπαιξε μαζί με όλους τους μεγάλους πρωταγωνιστές του Γαλλικού και Ευρωπαϊκού σινεμά:Alain Delon, Brigitte Bardot, Romy Schneider,Jean-Louis Trintignant,Charles Bronson, Raymond Pellegrin,Marina Vlady,Peter van Eyck,Henri Vidal,Barbara Laage,Annie Girardot,Philippe Lemaire,Daniel Gélin,Eddie Constantine,Gérard Philipe,Anouk Aimée,Lilli Palmer,Jean-Paul Belmondo,Martha Hye,Carlos Thompson,Charles Aznavour,Hardy Krüger,Jack Palance,τον ΑμερικάνοErnest Borgnine,Jean-Claude Brialy,την ΙταλίδαClaudia Cardinale, MichelSimon,PierreBrasseur,CharlesAznavour,Louis de Funès, Gilbert Bécaud, Curd Jürgens,Angie Dickinson,Donald Pleasenceγια να αναφέρουμε μόνο μερικούς.
Η προσωπική ζωή του Lino Ventura
Στην προσωπική του ζωή, ο Ventura, έζησε ήσυχα, δεν είχε ποτέ εμπλοκή σε σκάνδαλα ή “σκανδαλάκια” για να προωθήσει την καριέρα του.
Αν και παρέμεινε σε όλη του τη ζωή Ιταλός, για χάρη των γονιών του, θα παίξει σε ελάχιστες ιταλικές ταινίες, ενώ κατά τη διάρκεια του Πολέμου, όταν κλήθηκε να υπηρετήσει την πατρίδα του, θα λιποτακτήσει, προκειμένου να μην προδώσει τη Γαλλία τη θετή πατρίδα του, αλλά και τα πιστεύω του.
Θα παντρευτεί τη Γαλλίδα Odette Lecomte, με την οποία θα αποκτήσουν τέσσερα παιδιά, ανάμεσά τους και τη Linda, που έπασχε μεαυτισμό. Η ασθένεια της κόρης του θα τον ευαισθητοποιήσει και θα ασχοληθεί πολύ με την προστασία των παιδιών με ειδικές ανάγκες.
Μάλιστα από το 1966 θα ιδρύσει με τη σύζυγό του το ίδρυμα Perce-Neige, το οποίο εξακολουθεί ακόμη να δραστηριοποιείται για τα παιδιά με ειδικές ανάγκες και τις οικογένειές τους, ενώ το 1975, έπειτα από τεράστιες προσπάθειες, θα πετύχει την ψήφιση νόμου υπέρ των Ατόμων με Αναπηρία, που σχετίζεται με κοινωνικούς και ιατροκοινωνικούς θεσμούς.
Το τέλος του Lino Ventura
Ο Lino θα πεθάνει ξαφνικά το 1987 σε ηλικία 68 ετών, από καρδιακή προσβολή, ενώ ετοιμαζόταν να ξεκινήσει τα γυρίσματα της νέας του ταινίας “Η Μέρα του Επιθεωρητή Αμπρόσιο”, σε σκηνοθεσία του Sergio Corbucci.
Ο αγριεμένος πρώην επαγγελματίας παλαιστής, που μπήκε από το παράθυρο στο σινεμά, θα βγει με όλες τις τιμές, καθώς ο γαλλικός λαός θα του αναγνωρίσει την τεράστια προσφορά του στην ψυχαγωγία και την ερμηνευτική του απλότητα, ενώ θα εκτιμήσει και την ευγενική μεγαλόκαρδη προσωπικότητά του, τον ανυπότακτο χαρακτήρα του, πέρα από βεντετισμούς και πόζες.
Ο Ventura θα αφήσει πίσω του 75 ταινίες και ένα ίδρυμα για τα παιδιά και τους γονείς που έχουν ανάγκη.
Ψηφίστηκε 23ος σε μια ψηφοφορία για τις 100 μεγαλύτερες προσωπικότητες της Γαλλίας.
