A Quote by Michelle Zauner
When I started doing press after college, I never got asked about my racial identity; I was asked more about being a girl in music.
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I grew up doing theater when I was very young - always enjoyed it. Studied it in college, got my degree in it, and never really had the guts to do it professionally. But one summer, a friend of mine was with an extras agency and asked me if I wanted to be an extra with him in a movie, and I was, like, "Sure." At lunch, the writer came up to me and asked me to audition for a role. I got it, and it sort of snowballed from there.
Being interviewed is an odd experience for me because I was an actor a long time before anyone ever asked me a question about myself. When I started being interviewed, I definitely felt I was being asked to defend or explain myself.
After leaving college, I was in a show called Sculpture by Women where I was asked to talk about my history of victimisation in art, and I genuinely didn't think I had been victimised. Although I obviously believe in a lot of the feminist aspirations, I was wary about being dragged down by the politics of it.
I started doing martial arts since I was 12, and then I went into wrestling in college. After I met John Hackleman, I started getting really serious about it, and after a few amateur fights, I got an invite to the UFC and have been in love with it ever since.
I never even thought about being an actor. Somebody asked me if I'd like to learn the craft, and I said, 'Okay.' I was a gymnast in a show at that time, and somebody asked me afterwards one night. I performed as a gymnast for nine years, and then I did acting after that.
No one from the intelligence community, anyplace else ever came in and said, ‘What if Saddam is doing all this deception because he actually got rid of the WMD and he doesn't want the Iranians to know?' Now somebody should have asked that question. I should have asked that question. Nobody did. Turns out that was the most important question in terms of the intelligence failure that never got asked.
I got a call from Shoaib Mansoor, and he asked if I'd be interested in doing the music of 'Bol.' I said, 'Why not?' and suggested we meet. When we did, to my surprise, he offered me the chance to act in the lead role. After reading the script, I was even more interested in doing it.
I hardly ever get asked about music. I do, however, get asked about the 'Addicted to Love' video and my suits on a daily basis.
What advice I would give to anybody about anything. Life is a slow-motion avalanche, and none of us are steering." (When asked in an interview about what question he's tired of being asked.)
'Don't Kill My Vibe' was made in a writing session, by Martin Sjolie and I, after he'd asked me what I'd been thinking about lately. I started talking about this earlier writing session that was quite difficult. The song is about the feeling of not being respected as a person, and I think that's something that speaks to millennials.
It's all about setting new goals. I reached one goal when I got the Sports Illustrated cover, which was such a surprise to me. Then after that I had a meeting with my agency who asked, "What do you want to do next?" I'd love to do more TV, I want to do more editorials, more high-fashion stuff. It's like picking it all and doing it.
I met with President Donald Trump at Mar-a-Lago in February. So he'd been in office about a month. It was for an hour. Went over there on a Saturday. They invite... Reince Priebus called and said, "The president wants to see you." He never once asked me what I thought. He never asked me once what he thought I ought to do. He never asked me what I think of this or that. My impression is this man is more self-informed and decisive.
I started getting Twitter followers after I started doing press for 'Fargo.' One of my best friends from college is a librarian, and she started tracking after each interview how many Twitter followers I got. She and her librarian friends were like, 'We're going to make a graph.' And I was like, 'Alright, nerds.'
One thing that was frustrating to us, always, was having to do so much press building up an album, and you're asked so many questions about, you know, is it more melodic, is it heavier, are you doing your old stuff, is it new?
I asked him, How could we have a press column if we can't write about other work done in the press?
When I auditioned for drama college, they asked me to do my Shakespeare. I couldn't do it. They asked me to do my modern, and I couldn't do it. They asked me if I had a song prepared, and I said 'No,' so I sang 'Happy Birthday.' And I did a reasonable improvisation, a reasonable one, nothing special at all. I don't know how I got in, but I did.
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