Название: Everyone Loves You When You're Dead
Автор: Neil Strauss
Издательство: Ingram
Жанр: Музыка, балет
isbn: 9780857861214
isbn:
At least it’s a person from the normal world.
AGUILERA: Are you saying it’s not someone in the business?
I’m saying it’s not a pop star. It’s someone who works for you.
AGUILERA: How did you know?13 [. . .]
Do you have dreams about him?
AGUILERA: Ooh, I’ve been dreaming some weird stuff. I dreamt that I had just come back from a trip to some foreign country and he left a message on my phone for this other girl. He didn’t even know it. It was like he pressed speed dial and it went to the wrong number. And he’s all like, “I’m really feeling you now and I miss you and I love you.” And he was really pouring his heart out to this girl and it was not supposed to be for me. I woke up and I cried. I haven’t cried over a dream since I was like . . . in years.
Did you tell him about it?
AGUILERA: I didn’t tell him about it.
You should, because then he’d know that you have insecurities too.
AGUILERA: I’m going to tell him.
Fifteen minutes later, in the midst of discussing how she was upset that she didn’t get writing credit for her breakthrough hit “Genie in a Bottle,” she blurts out of the blue . . .
AGUILERA: Let me ask you one question: Who do you think is the cutest one of my dancers?
Girl or guy?
AGUILERA: Guy. Just out of curiosity.
I don’t know. All your dancers have great energy.
As we discuss her dancers, she begins to get impatient, until . . .
AGUILERA: What about Jorge?
He’s cool. He’s got a good body.
AGUILERA: I think it’s interesting to hear other people’s opinions.
She leans back in the couch, satisfied she’s covered that one up pretty well.
[Continued . . .]
I talked to a number of people who’ve worked with you in the past, and I wanted to get your reaction to some of the things they said.
BEN STILLER: Uh-oh. Okay.
One of the former writers on The Ben Stiller Show said there was a joke among the writers that if they wanted to make sure their sketch would be used, they included a scene with you taking off your shirt. Have you ever heard that?
STILLER: Oh my God, no. Jesus Christ . . .
Was that not true?
STILLER: You’re not going to tell me what writer said that, of course. I have no response to that, but they were probably right. That’s great.
Someone else you worked with described you as competitive and afraid of failure.
STILLER: I’ve obviously failed at that. I don’t know if fear of failure is necessarily a bad thing. On the other hand, the ultimate fear of failure would be paralysis and not doing anything. I guess somehow if that’s there, which I’m sure it definitely is, I don’t want that to be what stops me from trying something.
“Micromanager” was another word that came up a lot.
STILLER: That’s one of the hard things. I’m working on it. I’ve attempted to micromanage many things. And I feel like I’m in a place where I know that’s not bringing me happiness. Maybe it’s because I’m getting older and too tired to do it all. [. . .]
People also say that you’re one of the hardest working people they know, that work is an addiction for you.
STILLER: The first part of getting rid of an addiction is acknowledging that you have it, and I acknowledge that I enjoy working. I think anyone that’s kicked heroin will tell you they enjoyed it until they realized it was screwing up their life. I haven’t hit my bottom yet. But I’ve gotten to a place where I realized it’s out of balance, and I’ve adjusted that. The area of my life that I have no question about is my commitment to my family and how much I love my family. And I think that’s the implication when people ask, “Oh, why do you work so much?”
They didn’t say it as a judgment like that. But maybe your perspective comes from being raised by parents who were entertainers and not around a lot.
STILLER: It’s all valid stuff. I grew up with parents who needed to work to take care of their family and also enjoyed working, too. They were great parents and also weren’t perfect parents. I’m all of those things, too.
You know, they say that most workaholics are that way because it’s an addiction and a way to avoid other things.
LADY GAGA: In so many ways, my music also heals me. So is it heroin, and I need the fix to feel better? Or is it that music is healing? I guess that’s the big question. When you work as hard as I do, or you resign your life to something like music or art or writing, you have to commit yourself to this struggle and commit yourself to the pain. And I commit myself to my heartbreak wholeheartedly. It’s something that I will never let go. But that heartbreak in a way is my feature. It’s a representation of the process of my work. As artists we are eternally heartbroken.
That is total Rilke.
LADY GAGA: That’s Rilke right here (shows tattoo of a passage from Letters to a Young Poet by Rainer Maria Rilke on her upper arm). It’s in German.
I didn’t mean to get so deep so early . . .
LADY GAGA: I’m deeper than you thought (laughs). And we didn’t talk about my favorite wacky outfit.
I was going to ask if you thought workaholism was a way of avoiding intimacy and the vulnerability that comes with that.
LADY GAGA: Well ( hesitates), sex is certainly not like a priority at the moment.
Sex is different than intimacy.
LADY GAGA: I guess I view sex and intimacy as the same. СКАЧАТЬ