A Quote by Saara Aalto
When I met the people at Warner, they were very excited about my style and making me into this big theatrical artist.
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I have met a couple of six-year-olds who were apparently quite excited to meet me - before they actually met me. And when they actually met me they ran behind their parents' legs and cowered for shelter.
For my very first movie, 'Roger and Me,' I made it as part of my deal with Warner Brothers that the four people that were evicted in that film, that Warner Brothers would house - would pay their mortgage or their rent for the next two years to give them a chance to get on their feet.
I think my film 'Laila Majnu' was in theatres for 7 days and I was very excited. I attended as many shows I could in those 7 days because I was seeing myself on the big screen for the very first time. I was very excited. But then, sometimes there were 20 people, sometimes 5 or 1 or 2, that really broke my heart.
Me and a few others like Big Boi from Outkast and Trey Songz were excited about the ride-sharing space. This was around 2014, we started making the steps to get in touch with Lyft and did our investment in 2015.
When I came to Berkeley, I met all these Nobel laureates and I got to know that they were regular people. They were very smart and very motivated and worked very hard, but they were still humans, whereas before they were kind of mythical creatures to me.
I'd never met a woman I considered as intelligent as me. That sounds bigheaded, but every woman I met was either a dolly-chick, or a sort of screwed-up intellectual chick. And of course, in the field I was in, I didn't meet many intellectual people anyway. I always had this dream of meeting an artist, an artist girl who would be like me. And I thought it was a myth, but then I met Yoko and that was it.
I met a lot of hackers, and some of them were very arrogant. They thought I was stupid because I couldn't follow what they were talking about. But then I met this great guy whom companies hire to find their security holes, and he was very good about explaining so I could understand.
Tokyo style is so specific. And I'm a very big fan of their history. It's pretty simple. A lot of the time, people expect to see the wild style that comes out of Japan, but I think, traditionally, the style is very simple.
There were a million different things I could have chosen or wanted to do, but the path of an artist was the one that pulled me the most. I did local theater and plays in school. I think there was a sense of entertaining - being on the stage, making people laugh, making people cry - that I was drawn to. It was also one of those things like, "I can do this for a very long time."
I think, as an artist, whether you're making people laugh or cry or be frustrated or excited - the fact that you're generating some sort of emotion out of an audience is, to me, worth it.
Maybe it was just me shorting myself to hedge my expectations. As a fan, I was excited about the project. If you look at the body of work for the people involved, I was excited about the project, but I didn't really know. There were people saying, "I think we're going to be part of something huge."
Bands like Nirvana had theatrical sensibilities, playing with image, challenging assumptions people were making about them, the apex being Kurt Cobain in a dress to make a point.
All through the nineties I met people. Crowds of people. Met and met and met, until it seemed that people were born and hastily grew up, just to be met.
I've been an artist forever. I started when I was in the third grade. I drew drawings of monsters and I sold them to my classmates for a dime. I studied painting. Originally I was a design and illustration major, but I met this girl. Back then, if you were a designer, you were a real sellout, and she was a real hardcore painter. I knew she would never take me seriously unless I was an art major, so I switched majors to fine arts. Anyway, we're married now. So it worked. How I got to my style? I'm a weird artist in that everything I do looks a little different.
An album for me as a teenager in the '70s was a fully formed concept. It was a body of work from an artist I liked or trusted or who excited me. Maybe one of the songs is really poppy and you listen to it on the radio as a hit single and then more of the world is about to find out about this artist by buying the record.
When I got signed to the 'Fader' Label, they got really excited about having me as their new artist. They were promoting my music everywhere. Pharrell was one of the producers who wanted to work with me, so I was really lucky to be one of those people who got to work with him.
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