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Compiled by: Jack Foley
Q. Gracie Hart won our hearts and worldwide audiences
about five years ago. What was the appeal of giving us a new chapter
in Gracie’s life?
A: The luxury we had – well, I don’t know
if it’s a luxury – was we made a film, or I wanted
to make a film, with Marc Lawrence that they weren’t really
writing for women. The guys got to do the broad comedies but the
girls weren’t allowed to do them, so it was sort of a crap
shoot to begin with, so its success was not something that anyone
was banking on.
And so the pressure to make a sequel wasn’t on us at all,
so we never even considered it, even after we’d finished
the film, no one had even brought it up.
But about a year later, Marc Lawrence and I work together a lot
and we found ourselves joking about what would have happened had
an FBI agent really done what Gracie had done and thwarted a bomb
threat and saved Miss United States in front of the cameras, because
that happens all the time!
In this day and age, the media – not you guys, of course,
but just the media in general, morning shows – she would’ve
been on every talk show.
So it was that premise that we expanded on and it just became
something we found ourselves talking about more than not talking
about, and he said: "Why don’t I put something on paper
and see if it actually stands up on its own?"
I’ve done one other sequel and learned that unless it’s
on the page, there’s no point in doing it.
So we said if this film could stand on its own without the first
one having been made, then that’s something exciting to
do. And I had enough distance, I’d done a few other things,
so I didn’t get tired of her, I got to rejoin her and appreciate
how great a character it was - male or female, just a great comedic
character that he had written and where we could take her.
So we were in a great position. There was no pressure, there was
no studio telling us what to do, that they needed a follow-up
because they didn’t quite know what follow-up you would
make to something like the first film.
Q. At the end of the first film, Gracie had a more conventional
happy ending, she got the guy, she discovered her inner princess.
But that’s all taken away from her in the second and she
ends up single and advising a young girl that she doesn’t
have to change her appearance or pretty herself up in any way.
Did you feel that the message in the first was wrong and you wanted
to change that somehow?
A. Not at all. The first one wasn’t a romantic
comedy; it was a comedy that had an element of intimacy of love
involved.
Every film has love in it but my question is why does a female-driven
film have to have the girl get the guy? Does that make her less
of a lead character or less of a woman if she doesn’t have
the guy?
The guy doesn’t have to get the girl either to be complete
and I think the first one was absolutely everything that I wanted
to say, but comedy is only funny when you’re kicked in the
gut a little bit.
If everything was blissfully happy and hunky-dory, there’s
nothing to hang the comedy on. And very much like life, every
time things go well, the next day something goes into the crapper
so… [laughter].
It makes for better comedy and it just was a direction that the
story went into. We said if we wanted to continue the story we
wanted to make it the most entertaining and what happens in life?
You think you have it all figured out and then the next day you
realise you don’t have anything figured out.
I again say, why as a woman do I need to have the guy to be a
viable woman? There’s a lot of love in the film, I think
there’s a lot of great love in the film, and I think every
film has an element of love in it: love of country, love of self,
love of someone else, love of family.
But I think in order for a person to be complete, you need to
be severely broken up with, in order to understand what you’re
made of. It’s just another element of comedy.
Q. Were you not just a tiny bit gutted? Because us girls,
we like our happy endings, a nice kiss at the end…
A. Well there’s a great happy ending and there’s
a lot of love at the end…
Q. Were you not just a little bit gutted that you didn’t
have a gorgeous leading man to…
A: I’m the producer; I get to do exactly what I
want! [Laughter] And I asked for that not to happen. We have Enrique,
he’s very handsome. And someone does get the guy and he
does get the girl at the end, it’s just not Gracie.
Q. And you weren’t tempted to bring him back then
as a cameo to show him what he was missing...
A: Again, I’m the producer. [Laughs] This script
ended up exactly the way I wanted and I did have to do some fighting
for that. For that very reason, I just keep wondering why do you
have to have a guy, you personally? Are you incomplete without
a man? Are you less of a woman because someone doesn’t happen
to be intimately involved with you at the time?
I think we are doing a disservice to people by saying that without
another half, you are less than. I think if we say to people,
especially young girls like in the film, it wasn’t so much
that without a guy you’re nothing, it’s don’t
conform, be who you are, love yourself and be true to who you
are as a unique individual rather than what the magazines tell
you you should be and life will make a lot more sense. But it’s
hard to ignore all of those aspects in society.
We all question ourselves looking at a magazine, I know I do.
“God, I wish I was blonde and looked like this!” I’m
never gonna be a blonde, no matter how hard I try it’s just
not who I am, so the message as a man or a woman is that it’s
hard to stay true to who you are and be unique, but if you can
do it, it’s gonna be a better path for you, it’s gonna
feel better, you’re not gonna go against your grain.
Q. Your character and Regina King’s character go
from hating each other and then you’re best of friends in
the end. What was it like working together on set?
A: Fantastic! We had written this whole script. When
Marc and I put it together, we put something in there and then
thought… now we have to cast it! Regina was hard to find
and once we found her everything made sense but up until her I
was feeling maybe we’d written a dynamic that might not
be castable.
We didn’t even audition together first, we had a 45 minute
tea session! We divulged our entire lives to each other and found
how similar they were in ideas of what we wanted as women and
career and family and men… you know, stuff! And I so respected
the woman that I knew the audition was going to be crap! I knew
it was just going to be horrible and I’d be depressed and
in she walked and we started reading the scenes together and everything
clicked. It makes the whole process worth it.
I wanted an equal partner to carry this film with and it was just
absolute joy because we’d found all the other characters
and it wasn’t easy finding everyone else. That was just
the last main chunk of the film we hadn’t found and I just
loved working with her.
You can’t fist-fight with someone and do it as well as we
did and not like them, because we’re gonna hurt each other!
[Laughs] There was a lot of forgiving we had to ask for at the
end of the work day but I couldn’t have asked for a better
partner than Regina King. She’s a great actress.
Q. Sandra, Gracie in this one starts off as a very nice
human being but in the middle part of the film she’s really
quite an evil bitch!
A: I like that you said that, yeah! [Laughter]
Q. So fame changes her. I’m not suggesting that
you were an evil bitch but…
A: We know what you’re saying, it’s OK!
Q: When you really hit the big time with Speed,
did that change you in any way, could you see where she was coming
from?
A: Sure! The whole reason for writing this storyline
is we don’t allow things to just be unique and as they are,
we want to market them and make the most out of them and put them
out to sell themselves. We naturally do that nowadays.
When all that external stuff happened for me – it wasn’t
really during Speed, it was a couple of films in – you suddenly
realise that things are not as they used to be and there’s
a lot of people around you suggesting things, who seem to know
better than you.
Nine times out of ten those people suggesting things are making
suggestions that benefit them rather than benefit you in the long
run and you don’t realise that that’s what’s
happening because you’re lucky to be working!
I was excited to have jobs and I would just take them as they
came and I was just happy to be a part of the game. You don’t
realise half way in that you’ve really gone off the track
that you were supposed to go on but I have to say that I would
do that again, that same path, because had I not gone into left-field
I never would have figured out what it was that I wasn’t
and figured out what it was that I was supposed to be doing.
So thankfully I found that I’d really gone off into left-field.
I didn’t go as far as Gracie - I don’t really want
my real life to be a comedy like that! – but it worked in
this film to take someone we love so much like Gracie in that
direction, to make a point.
Q. Are you learning by your mistakes, then?
A: Absolutely! Absolutely. And anyone who says they’re
not affected by it, no matter how grounded you think you are,
you are affected negatively and in a positive way by it. It’s
something that creeps up on you and you don’t even realise
it’s happening because everything shifts.
There’s a perception that’s changed about you. Fame
and success and all this stuff is not something that you can control.
It’s your gift but it’s going to go away as quickly
as it arrived so you can’t really hang much on it. And when
you do and it goes away, I think that’s when people see
their lives bottom out. I know it’s fleeting. I know its
come and go.
Q: This is probably the most gay-friendly FBI movie I
have ever seen, because everything is gay icons, gay-friendly
music, gay venues, there is a gay character, Joel, obviously…
A. Joel’s gay?! [Laughter]
Q: He definitely looks gay-friendly…
A: Oh, he’s gay!
Q: What I’m wondering is, because you’re
producing the movie itself, speaking about marketing the film
towards a certain audience, would that be more marketable in the
gay area or is that just sometimes making an entertaining thing,
just portraying the FBI more gay-friendly than it actually is
or could be.
A: Joel, Pam and Janine are based on real-life Joel,
Pam and Janine. Joel in real life is gay. Joel does my wardrobe
for films. Pamela is Pamela in real life and she does my make-up.
Janine does my hair. So, I didn’t market Joel to be gay.
Joel decided to be gay long before Joel met me! [Laughter]
So there wasn’t intent to market anything, it’s just
based on a real person. A little more eccentric than real-life
Joel… I take that back! [Laughs] Joel is a unique but Diedrich
took his own idea of him. He watched how Joel did his things.
The music… those are some of my favourite songs. I had no
idea it was marketed towards a gay audience but look, everyone
likes to dance, gay and straight, so I wanted a great dance mix
CD that you could throw in your car and say, 'Oh my God, I remember
that song!'
I wanted Having My Baby playing in the old age song just
because everyone who denies that they know the lyrics to ‘Having
My Baby’ is a liar. It’s the greatest song of all
time! [Laughs]
A lot of these things were things that I love and I don’t
think it’s marketed for a gay-specific audience but, you
know what, we’re all in this together: gay, straight, black,
white, green, yellow… I want everyone to have a good time!
And again, Joel was gay before Joel became a character in the
film. He has no problem with me saying that, he admits that as
well.
Q: Can you laugh about yourself, for example, running
in those horrible costumes or can you only remember…
A: The pain?! I oddly am really good in heels. I don’t
know if it’s a gene. I think it’s my mother’s
gene because she did everything in high heels, to my annoyance.
Everything was beautifully done in high heels. So I managed to
run in high heels rather well.
The costumes were incredibly painful. The ‘Big Bird’
costume, the showgirl outfit… I’ve never been in more
pain than I have in that. Diedrich as well, bless his heart, he’s
a guy who had to shove himself into that outfit! But there’s
a reason those showgirls in Vegas walk like they do. Nothing moves
from the waist up because those headdresses weight 30 to 60 pounds.
So everything that we designed about those costumes with out great
costume designer, Deena Appel, was for humour.
The funnier we could make the outfit, the more shocking, the better
it would be and I suffered through the pain for my art!
So, of course I can laugh at myself. I wasn’t laughing when
I was in the showgirl outfit, I was doing a lot of complaining,
but as long as it looked good and funny then I was willing to
suffer for my art!
Q: An extension of the question about fame. I wondered
if you had any personal memories of the first time you were recognised
in public after you became a well-known actress.
A: Mine was slow because I was working consistently after
Speed came out. Mine wasn’t “Oh my God, things are
different!” I just noticed that the interest in things that
I found completely absurd peaked.
My neighbours sold me out. I had a wedding in my back yard that
my neighbours thought was my wedding so they sold out my supposed
wedding, called in every paparazzi from every tabloid and had
them sitting in the window awaiting my walking down the aisle.
It ended up to be a wedding between two men!
You can see that they were disappointed but what they did do is
show the wedding and had some great wedding pictures for the people
who got married, but I was just shocked at the level to which
people would sell you down the river.
The one thing that I did learn, which was a very painful lesson,
which I still haven’t quite learned, is that sarcasm does
not translate into print. Because I will answer every question
with a sarcastic answer if it’s something silly or something
you’re trying to avoid talking about with a joke. It does
not translate. It comes across incredibly literal and it’s
humiliating and I don’t know how to stop doing that because
it’s me, it’s press, we’re supposed to be entertaining,
you have to sell a magazine or a news show. It translates on camera;
it just doesn’t translate into print, so that’s one
that I’m still trying to deal with.
Q: From what you describe it sounds like one of the hardest
things to come to terms with being famous, is not becoming totally
cynical about the…
A: Yeah. Becoming illiterate has been the key to happiness
within this business! You really have to stop reading because
it’s just one person’s opinion and not everyone’s
going to like your work and not everyone’s going to like
you.
I have a job to do, which is to sell this film, but I love this
film and it’s my film and it’s Marc’s film and
it’s everyone’s who’s been involved in this
film since its inception.
We knew the audience we were making it for, we just didn’t
know it would go beyond that audience and that makes me happy.
My job in this film is to make people laugh.
You might not like me but William Shatner’s hilarious, everyone
loves William Shatner. There’s characters for everyone and
I’m totally fine with the fact that the world’s not
going to love me! And once you come to terms with that, it gets
a lot easier, definitely.
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Q. Not many film actresses
embrace comedy that much whereas 20-30 years ago we had Diane
Keaton, Goldie Hawn, Bette Midler, and you’re carrying the
can, it seems. Now why do you think it seems still quite a rare
genre for A-list actresses?
A: Writers. There aren’t great writers who can
write well for women. There wasn’t a demand for it and I
think it was because once the action film hit 15-20 years ago,
that was the genre and women were stuck in the wife/girlfriend/victim
role, hanging off something or other, and there wasn’t a
lot of comedy to write. It wasn’t also demanded because
that wasn’t what was selling at the box office. Everything
is relative to box office.
I got lucky, you know? I don’t wait for things to come to
me because if you do you’re going to be fighting after what
everyone else wants. To find a great role is rare in this business
for men and women. When there’s a great role we all dive
for the same one!
Comedy just requires someone who writes well for both men and
women. Marc Lawrence wrote the comedy for everyone in this film.
He just has that gift and it’s rare, really rare, but especially
as a woman to find comedy that’s written well.
I always migrate to the comedy that’s written for me. I
often ask them to send me what they have for the men and think
'can we change it for a woman?'
And now they’re more apt to do that because they’re
finding that there is an audience for that. It’s just finding
a good writer.
Q. This question might be boring for 90% of the audience
but we know you have German roots. What do you do when you feel
them…
A: When I feel my roots?!
Q: …when you feel the craving for sausages…
A: It’s funny you should bring that up! There’s
no secret source. Half of my family’s still in Germany so
whatever Gummi Barchen or Maoam (Haribo sweets) that I need at
the time, we quickly make a call and a shipment is sent. The tricky
part is the Nurnberger Bratwurste. You’re not allowed to
ship meat across the waters. That’s a big no-no. We’re
allowed to ship everything else, oddly, but not meat. So yeah,
I have a source! [Laughs]
I have three sources, because at Christmas we have the traditional
bratwurst, sauerkraut, the gurken salat and all that good stuff.
We have to have our traditional Christmas which is celebrated
on the evening of the 24th and without bratwurst, you don’t
have Christmas. So the sources start sending about a month ahead
of time and if anyone in here stops that source by printing this
story, I will hunt you down and I will kill you!
It is a big thing. My sister and I have this thing. We set out
the feelers and get the bratwurst and inevitably they arrive.
I do think there’s a lot of good sausages that come to the
States but the Nurnberger Bratwurste still haven’t made
it, which I don’t understand! There’s a huge market
for it.
Q: Maybe you ought to do something about it.
A: I think it’s your job! And that was not a boring
question, it’s a very important question, so if someone
in here has a connection that can market only the Nurnberger Bratwurste
and have them brought to the United States, I will guarantee I
will promote them and get behind the sale of the sausages!
Q: This is a follow up to the pain question…
A: Oh good, I love pain questions, because I have so
much of it! [Laughs]
Q: How hard was it to shoot the underwater scene because
it really made me hold my breath!
A: It made you hold your breath? We were in there for
three days! The first couple of hours was really fun…
The tank is 30 feet deep. They’ve shot extraordinary films
in there and they built this extraordinary set. It was warm water
and it was also colour-treated so there was a certain coloured
look that our Director of Photography Peter Menzies wanted in
the water.
We would get hypothermic. We were in there for at least 12 hours
a day. The third day we were in there over 17 hours!
But I’m a SCUBA-diver and so is William Shatner, so we felt
a level of comfort because we had regulators attached in various
places if the boat didn’t come up in time, because we were
submerged most of the time.
I love that sort of thing but after about the tenth hour I was
completely over it! My hair had completely stripped itself of
its colours because I coloured it all those fun colours. I got
out and it was lemon yellow, like old Barbie hair after 20 years,
all matted to one side. That was my side. Again, willing to suffer
for my art, talk about what kind of martyr I am.
You’re so tired, but as long as you get the shot, that’s
all you care about, and you’re already in there so you’re
not going to complain.
It’s tricky but it’s an amazing thing when you step
back and look at this massive tank, this massive undercarriage
of the boat that they built. Our production designer Maher (Ahmad)
created this life under water on hydraulics that was just amazing,
so you just had to keep reminding yourself that other people worked
just as hard to make it look like this. So when I started to complain
I would quickly stop.
Q: Could we talk a bit about William Shatner? Was it
hard to get him aboard again?
A: No, it was so easy! William Shatner, to me, is a genius.
He knows exactly what he’s doing. Everything that he does
comedically in his craft, he knows what he’s doing. He’s
having this incredible resurgence in his career.
He’s got this extraordinary TV show that he just won the
Golden Globe for. He’s a great guy. Off camera, he’s
a great guy to hang out with. You love going to dinner with him.
You love dragging him to places to listen to music, which I did
in Austin when we shot the first one.
He enjoys his life thoroughly and he’s an extraordinary
comedian who makes it look effortless and I don’t think
he’s gotten the credit he deserves. I think he’s just
divine!
Q: Is there an anecdote about William Shatner that you
could share?
A: You know what? We worked so hard on this film that
nothing really entertaining happened the minute we stopped because
I was still working. So everyone else went out to dinner and for
wine and I’m still working. Again, martyr, martyr!
Working with him is a joy. I don’t have an anecdote except
that he makes everything better than the material is and in comedy
that’s a rarity. I’m glad his career’s doing
what it’s doing.
His wife had this great party for him to congratulate him on his
Golden Globe. We were there at his house and you saw all these
massively famous people and you realise you’re all here
because they adore him, and see the same things I see in him,
and are just so happy that he’s still in this business.
It’s a testament to the man when you look at the people
that adore him. It says a lot.
It was so easy to get him back and if we do ‘Granny Gracie’,
there’ll be ‘Granny Stan’ right there along
with her. We’re a team. You can’t do this without
him.
Q: Gracie decides to embrace this thing after an evening
reading fan mail. Have there been fan letters that you’ve
received that have particularly touched you?
A: Well Gracie’s embraced it for the wrong reasons
which makes it funnier!
There’s things that you get to see doing what we do that
most people will never even know about in their lifetime and we
have such an abundance of stuff. The opportunities that we have
are extraordinary and you can either ignore them or you can take
advantage of them.
I choose to take advantage of them just because you get up every
day and you’re tired, like this morning I was like 'Oh my
God, the past year’s hit me. I’m tired!'
But look at what I get to do. I’m getting on a plane to
Berlin today. I’m going to be in Berlin for all of 18 hours
but I get to enjoy things that no-one ever gets to do in their
lifetime and I have to remember that I’m in this job because
I’m lucky.
There’s a lot of other people far more talented than I am
that should be in this job. I know it, but I work really hard
too and I will continue to work hard and appreciate what I have.
There is stuff that we get that is ridiculous and people give
you more free things in this business… anything that I mention,
I’ll get free. Nurnberger Bratwurste, Nurnberger Bratwurste!
[Laughter]
It’s absolute excess, what we have, and there’s nothing
to complain about. The hours that we work don’t validate
the stuff that we get at all.
Q: Is there a typical kind of Sandra Bullock fan that
emerges from your fan letters?
A: Sane! As loopy as I am, the kindness comes in. My
favourites are from kids, because they’re so honest. If
you did something they hated, they let you know, they say “That
sucked!” And you’re going “OK, OK, what was
it you didn’t like, what happened?” They’re
really truthful.
Adults, we lie and we suck up and I’ve seen adults say,
“Oh my God, I hate this actor” and two minutes later
I’ve seen them say “Oh my God, you’re a genius,
I love your work!” You’re like, “Wait a minute,
he hates you, he just said he hates you!”
We lie by nature, we’re not free like kids are and kids
are the most honest people. I appreciate everything that they
say and do and write and if you can do something to make them
feel good, it’s really, really rewarding. The fan letters
from the kids are just the best and the artwork is much better
than the adults! Adults don’t send artwork. The crayon drawings
that I have are extraordinary!
Q: The film includes a rather memorable chase scene through
the Venetian Hotel. I just wondered how much of a treat it was
to sit astride a living legend like Dolly Parton and how you got
her involved?
A: I sent her a letter. We wrote the script and then
realised we actually had to get her, and we didn’t think
we’d get her in a million years, and then I wrote her a
letter with a lot of pleases in it and she wrote back on her own
stationary saying she’d love to.
It always freaks me out when things were easy because I’m
used to trouble and having to beg, having to go to the alternate
choices. In this case we wrote Las Vegas, Dolly Parton, Gracie’s
partner. All these things that you don’t assume you’re
going to get. But the Venetian allowed us to shoot whatever we
wanted to shoot, in the casinos, in their square, in their lobbies.
They shut down their Treasure Island show for us, they shut down
their streets, and that gives you tens of millions of dollars
worth of production value just to be there. You can just point
your camera anywhere. It’s Las Vegas, and you can’t
build that on a stage!
It was extraordinary to straddle Dolly Parton and do what I did
to her! I’m literally lying on top of Dolly Parton in the
square and I don’t feel comfortable with this but there
we were, that’s my job! And she looks at me and says, “We’re
going to put the Madonna-Britney Spears kiss to shame on this.”
And I think “You rock, you just rock!” She was everything
you’d want her to be and more, consistently. It’s
like having royalty on set. She’s our queen and she was
there for two days.
All the men were flustered and all the girls realised, 'I’m
not girly enough! We need to be more like Dolly!'
And she just has a great sense of humour about herself which makes
you love her even more. She’s extraordinary.
Q: You’d assume that filming in Vegas would be
very good but, as the producer, were there any logistical problems
that you couldn’t get around?
A: They were freakishly helpful! We had less problems
in Vegas than we did shooting in Los Angeles. We realised that
people come to Vegas don’t come to watch a film being filmed,
they come to win money. We never had a crowd! Usually when you’re
filming on a street somewhere there’s people who want to
watch. We never had that, even in the casino. There’d be
a couple of people walking by and stopping but we were pretty
much ignored!
They just made it unbelievably easy. I think our biggest obstacle
was for Diedrich, who had to pour himself into that showgirl outfit,
he had to do a little waxing! That was a big obstacle for Diedrich!
That was our biggest thing. We knew he went waxing the day before.
We didn’t know how he’d be feeling the next day. Was
he sore? That was our big obstacle!
Q: So is there any danger Gracie might get a mission
to London some time soon?
A: If London was financially feasible… are you
kidding?! We tried to do ‘Gracie Goes To Europe’ and
it was so expensive, so I think that if this one is successful,
maybe it would be easier to talk the studio into coughing up the
cash to let us go. I think it’d be fantastic!
Q: I was just going to ask a William Shatner question.
Why do you ask him ‘Bubba’?!
A: I don’t remember! It started in Austin but I
don’t recall. I’m trying to think of what would have
happened to make me call him ‘Bubba’, but I don’t
recall what it was.
The man is game for anything. I’d take him to rock shows
and he’d come back the next day just talking about how disgusting
the show was and how he didn’t understand why I brought
him there. He’ll listen to any kind of music, go have any
kind of food, experience anything. I was trying to think if something
came out of that and I don’t recall. I don’t think
he remembers either but it was something that happened in Austin
when we shot the first one.
Q: There’s a scene quite early in the movie where
your character is recognised in the bank and it jeopardises the
FBI operation. Has there been a moment in your life when you really
wished you hadn’t been recognised?
A: Any time I leave the house! Because I don’t
have the hair and make-up team available in everyday life to fix
what came undone the night before.
Inevitably, that is when you have a photographer taking a picture!
I have dogs who’ll sleep on my clothes; you don’t
remember so you put on your sweatshirt, you go to get your coffee,
your hair’s all over to the side.
You just have to give in to the fact that you’re gonna look
like crap nine times out of ten when you’re in a magazine.
You go on vacation, they shoot you from behind, they add a little
bulk to your ass and then for the next year, your ass is on the
cover! You’re like, “Wait a minute!” I’m
holding it up going, “I don’t mind that I have a normal
body, but I know my ass is not that big and I need validation
for that!” I doubt myself. And so then I don’t go
on vacation anymore and I don’t wear bathing suits!
It’s just part of the job and it’s their job to make
me look as unattractive as possible and I figure, why fight it?
Just look your worst when you go out and make expectations really
low. The only time I look good is when I do these things, because
then you have hair and make-up. Of course, now I’m saying
I think I look good! (Laughter) I look better than I do when I
leave the house in the morning!
So that, inevitably, becomes a part of the objective when you’re
a celebrity. They find you, see you at your worst and photograph
it and then sell it in a magazine. You just have to become comfortable
with that, however you can.
Q: How do you?
A. Like I said, becoming illiterate! I don’t get
the magazines, but then when you’re in a place with them,
you immediately go to the magazines and you’re flipping
through. You believe all of the stories on everyone else! You’re
saying, “This is false about me” but then you’re
going, “Oh, my God!” at everyone else. It’s
a double edged sword. It’s just part of the job. I don’t
think you ever really get used to it. You just don’t make
the expectations high. Lower people’s expectations of you.
I think that’s the key!
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