A Quote by G-Eazy
When you put a tour together you really just think about who you'd like on your bill, who would make sense and who you would want to live with basically for a couple months and be around with and work with.
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Nashville, I think, for me, personally, would be where I want to live and work. L.A. is a whole other world and has a whole other vibe to it, so I would like to come out here for work for a couple of months, but L.A. is just not really my scene, per se.
I used to tour with this band. I was a drummer. I would tour a bunch for about 10 months out of the year and act for about two months. I would make what I needed from acting and would stretch it out.
I think our 'Reno' cops are, basically, if you made us make fun of ourselves at a party. That is what we would do. We would do those characters and not really think about it. We didn't develop the characters; everyone just put on a name tag and started improvising.
I think that kind of balance comes with the process of growing together as a band, the Little Dragon. We love to write, we love to create, we love to play live, and I think we love and appreciate what we have together. How that evolves, and how we balance it, is something that's come with time. At the start we were all like, "Tour tour tour. We just want to play. That's all we want to do."
Basically, if I decide to retire I don't want it to be one of those situations where, you know, after a couple of months I have the itch to play again. That's not something I want to do. I want to put a lot of thought into it and make the final decision. I don't want to waver on it at all.
I have a couple of best friends, and I don't think I would live with them. It definitely... certain people can't live together, and I think that it could potentially put a lot of strain on the relationship or friendship.
Each time my mother went psychotic, I hoped it would be the last time. Afterward she would tell me, 'I think that was the final episode. I think I had a breakthrough.' And I would believe-for a few months-that it was true. That she was back to stay. Maybe it was like having a rock star mother who was always on the road. Were there Benatar children? Did they sit around and wonder if their mom's Hell is for Children tour was going to be her last tour?
I've had a couple tapes out and they weren't really tapes, it was just some songs that I had made, and then I would throw them together as a compilation and put a name on it. And then when I would release my next thing, I would just delete it.
I want to make sense of things, to understand the world, but my work is never really instructional. I have no wisdom to impart or give, so I think my dream readers would be people who just use the book as an excuse to get into their own cycle of thoughts. The book is just like a map. It's just a jotting-down of things that you can interpret in your own ways.
The time came where I was able to write an original screenplay [Allied], and it would be read and noticed. I had a meeting with Brad [Pitt], just around the time that he was making World War Z. I basically told him the story and said, "This is what I want to do," and he really responded, so that helped me put the thing together and write it.
As a black and as a woman, I didn't think that I would really want to live in any of the eras before this, because I would inevitably be worse off. I would have spent more time struggling just to prove I was human than doing my work.
What decisions would you make differently today if you knew you would most likely live to be 150? How would you think about your 50s or 60s? How would you evaluate your career arcs or investments or even the area in which you live?
With men, you need to anticipate all your ideas at least one or two months before the next women's collection, so you need to create a feeling that links with what will happen a few months later. To me, a man and a woman are really a couple. They live together. They grew up in Italy together. So, not just in the stores or the campaigns, but also in real life, it's very important for me to create a connection between them.
I only want to do good projects. I want to make good decisions. If it's just a dumb movie, then no, I'd rather stay in school. But if it's a movie worth telling and that I think I would really benefit from, then I would like to do it. And that's one of the reasons I still live in Colorado. I love being with my family and going to school, and then when I come out to L.A., that is the time to be in the movies. People ask me the questions, I do the promotion work, then I get to go back home and live my life.
I'm not one of those artists that can go away for six months and tour America and have 20 producers back in London or L.A. doing everything for me and I just come home and sing on it. It would be really useful, in terms of speed, to work like that. I just wouldn't find it creatively satisfying. I have to have my hand on the remote control.
It's like the old thing: The parents stay together for the kids, but the kids know that you don't want to be together. The kids would rather you be happy - and separate - than together and miserable. I don't want my kid to grow up around two parents who just don't work.
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