A Quote by Blake Shelton
The thing that got me started on Twitter was just basically pressure from management and the record company saying, 'Hey, this is what all the other artists are doing. You need to be doing it also.' I didn't really have a clue what is was.
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I started saying, 'I don't want to be crazy anymore.' I need to make some changes. And the first thing I started doing was just got all the men out of my life, because that was a big problem for me. That was a crutch, if you will. You know, trying to define yourself through other people or men, in particular.
I never got really into Twitter until more recently when I started doing the Dirt Nasty thing, and created that other character. I think it's almost essential now. I don't think Leonardo DiCaprio necessarily needs to do it, but someone like me, who's somewhere in the middle of nowhere and a shitstack, I need to do that.
Doing theater anywhere, especially in L.A., is a constant uphill battle, and there's also the unsexy parts of the business that you're faced with, like getting money. It's a really great thing to do. You feel like you're really an artist when you're doing that and you're in a company of artists.
I just got on Twitter because there was some MTV film blog that quoted me on something really innocuous that I supposedly said on Twitter before I was even on Twitter. So then I had to get on Twitter to say: 'This is me. I'm on Twitter. If there's somebody else saying that they're me on Twitter, they're not.'
When I started working, I didn't have a clue what I was doing, in that I was just wandering around, hoping that I could succeed. Then after I got a little under my belt, it took me about 25 years to feel like I knew what I was doing.
When I was working at the game company, I wasn't just doing graphic design, I was doing the entire product management, so I would do the graphic design, I would create the advertisements, even the catch copies. I would figure out what kind of packaging and design of the packaging, so I was basically doing total product management at that time.
It's really cool to see how many awesome, badass ladies are out there now just doing their thing and putting their foot down, saying, "Nope. You're not going to tell me I'm doing something women shouldn't be doing." It's a scary time but also I think a really important time. I'm happy to see how much girls are responding to a lot of the other powerful big boys swimming out there right now.
Our third partner [with Neal Dodson] was this other guy called Corey [Moosa], and he came in with good ideas and also some access to money, and so we joined forces and drew up a business plan and got financing for the beginnings of the company. We had no idea what we were doing really. We just started looking through material and started producing our own stuff.
I'm doing what great artists before me did, like Judy Garland, Sammy Davis, Eddie Cantor. I'm doing what they were doing, not at their level yet, but one day I will be. I'm just happy to be in their company.
Football came in at an interesting time. My dad passed, and my brother was one year older than me. And so he was basically the man of the house - at like age 12. So I really just started doing whatever he did, and football was his thing, so I got into football.
What interested me the most was that when I [traveled to Europe] I knew what Joseph Beuys was doing, he knew what I was doing, and we both, we just started to talk. How did I know what Daniel Buren was doing, and to an extent, he knew exactly what I was doing? How did everybody know? It's an interesting thing. I'm still fascinated by it because, why is it now, with the Internet and everything else, you get whole groups of artists who have chosen to be regional? They really are only with the people they went to school with.
I was really looking forward to doing the thing that I do - I basically appear just at the beginning and at the end of the 'The Glory of the World' play - but when I got to opening night, I started to get really sad that that was the last time I was going to see the play as a spectator without actually being in it.
I was tired of doing collections, tired of doing runway shows... there was just so much wasted time and energy doing all the runway product and all the filler product. We also decided not to do wholesale, which gives me a lot of freedom; I can basically do what I want and I don't need to fit into any department in a store.
When someone insists that you watch a show that's already been on for a few seasons, they're basically saying, 'Hey, you're not doing anything for the next five weeks, are you? Because have I got a plan for you every single night! It's 'Weeds!''
I love to deer hunt and fish and drive down the back roads in my truck. All those things basically equal freedom to me - and not having to return that message or call from my record company or management. At some point, I need to recharge.
Sometimes as actors and artists, we don't really get to be an effective and integral part of the promotional process, other than doing interviews. With Twitter and Facebook now, and all of this stuff, it really allows us to play and have fun, vis-à-vis the pictures that I send out on Twitter every day, or little videos, or whatever it is.
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