February 15, 2014

Jared Leto: “You could stick me in front of a pile of rubbish, and I'll make something out of it”

Fri 14th Feb, 2014

Thirty Seconds to Mars frontman Jared Leto opens up to DAVID SWAN on the challenges of being an actor, a frontman and an entrepreneur.

I’ve chatted with Jared Leto on three occasions now. The first time the Thirty Seconds To Mars frontman was animated and boisterous, boldly declaring the world needs “one chicken per person”. The second saw a far more intense Leto discussing the time he received an “entire fucking shrunken head”, and that time he imitated Kurt Cobain on camera.

On this particular day Leto calls FL while driving his car around Los Angeles. He politely interrupts the chat two or three times to double check he’s following his GPS correctly. But if anyone can multitask it’s Leto. In the year since our last chat, he’s launched Vyrt, an artist webcasting service, as well as taking up his first acting role in six years as HIV-positive transgender woman Rayon in the critically-acclaimed Dallas Buyer’s Club, which has garnered him his first Oscar nomination. And if there really were a “Slashie” awards (see: Zoolander) the frontman/actor/entrepreneur would surely be right up there too.

Oh, and the band’s still going. Despite a postponement and a couple of venue shuffles, Thirty Seconds to Mars are on track to hit our shores in March in support of new album Love, Lust, Faith and Dreams.

Firstly how are the red eyes going? I saw you talking with some fans on Vyrt this morning, how are they looking?
Yeah, still a bit red man, I’ve been a bit tired. It’s busy times, so good problems.

With stuff like Vyrt and Twitter, does it ever play on your mind that there are tens or hundreds of thousands of people viewing what you’re doing, as opposed to say 10 people, and does that impact how you go about those interactions?
Yeah, I mean I suppose when you talk to a group of people, especially a sizeable group of people, it changes the nature of the conversation pretty dramatically. But with Vyrt, there’s something about it that feels incredible intimate. It feels like I’m making a Skype call to a friend, rather than talking to thousands and thousands of people. Sometimes you can forget that there are so many people there, because it’s so intimate. And I think that’s a nice thing, and one of the things that makes Vyrt exciting, is to have that real-time rush, and that really social impact. It’s really fun. And you know, I use social media to broadcast my work, broadcast and communicate ideas and thoughts, to share creative energy. I don’t use social media in the way that a lot of people use it, which is how it was probably intended or built, to communicate with friends and family. Because obviously there’s a different dichotomy set up, a different relationship, that I have to these platforms, because of what I do.

The last time we talked was in Melbourne when you announced the tour for last year. Why was the tour postponed, what happened?
The tour was postponed for personal reasons, and that’s not always a bad thing. I think it gave us an opportunity to work on the show, rather than come to Australia first when we weren’t playing very many new songs, to develop the production and to play more songs. It’s ultimately going to be a better thing for the people coming to the show because we’re much better at what we’re doing right now than if we’d just started. We appreciate everyone’s patience, sometimes life gets in the way of your perfect plans, and you just have to go with the flow.

I noticed you played a new song this morning for fans, where’s the band at at the moment, are you toying around with new stuff?
I’m always playing with new ideas, it’s something that you can’t really shut down. Love Lust Faith and Dreams still feels like a brand new album to us, it came out in May [2013], so it’s not too long ago, and we’re on tour. Right now we’re in Los Angeles but we’ll be heading out to Europe in a matter of days again. We just played Mexico. And we’ll be playing shows all over the world for the rest of this year.

I watched Artifact [the 2012 documentary that detailed their $30 million lawsuit with EMI] recently. Do you think that overall tumult helped you creatively, or stifled you? Did the conflict energise you as an artist?
I think that the Artifact experience probably taught us a lot, I think it gave me a concrete example of the power in fighting for what you believe in.

What’s the battle like in choosing which project to take on next and what to prioritise in terms of film versus music? Is it with your agent, and your family, or is it largely internal?
The only battle is only really a battle of time. It’s finding the time to do the things that you love and to do them well. That’s ultimately the battle.

Is that a battle you find really challenging, or something that comes easily to you?
I find it pretty easy, I mean I prioritise what’s in front of me. I have a very busy life, I don’t just make music or films. I’m involved with technology, I’m entrepreneurial, I’m creative in other areas, and to be really good at how you spend your time, that’s an incredibly important thing. You have to spend your time more than wisely. If you love what you do, and I certainly love what I do, it’s a nice problem to have.

You’ve got a whole lot of attention for Dallas Buyer’s Club, what kind of recognition do you want more from – that for your acting or that for your music? What’s more rewarding to you?
I don’t know, it’s a question I’m asked a lot, and I think you can find reward in a lot of things. But ultimately you do what you’re compelled to do, and I think that that’s compulsion has a lot to do with the choices that you make. But I do get a lot of reward from the things that I do, and I’m lucky for that.

How does preparing for an acting role compare to your mindset when creating music, do you have to be in very different places?
You could stick me in front of a pile of rubbish, and I’ll make something out of it. It all comes from the same place, I’m a creative person, I find creative solutions to problems, and the difference is process. The process of making music is very intimate, because at least for me, and Thirty Seconds to Mars, I write the songs, my brother [Shannon] plays the drums, and we have so much responsibility from the music to the production to the videos to the design to the marketing to the tours and the production of the tours … everything. When you’re an actor you’re responsible for the vertical within that collaborative effort. I think in some ways that can be a really good thing, because you can hyper-focus on your one task. But normally as a musician if you write your own songs, it’d be more akin to a director who also stars in his own movies and also writes and produces them as well.

Source: Fasterlouder | Thanks to Rachel.

1 comment:

Hanan said...

جاريد كرامتك هذه التي خسرتها كرجل في فيلم دالاس لن يعيدها لك الاوسكار

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