When I go into rehearsal rooms and meet with bands, they're genuinely excited to be with me because of what I've done as an artist, not because of anything else. There's that whole celebrity rock star thing, and artists are into artists who have been able to achieve success their way.
Any rehearsal process - I find, anyway - does have quite an effect on me, and I very much live in that world for the whole period of time that I'm involved with the production. But normally, afterwards with a little bit of space, I can come right back out of it again.
Casting, to me, is always the same. It's a very important part of a director's job. I pick people that I sense I'd like to be in a room with and will enjoy the rehearsal process with because that's the best part.
The rehearsal process is the most important thing to me, so working with colleagues who are effusive, thoughtful, young and vivacious is really inspiring as a musician.
I always get less nervous when we get into rehearsals because it just gives me a better idea of how it's gonna go.
Definitely as an actor, the experience you have, at least I'm talking for me, my experience as an actor is you go to the set and know what you're going to do, know your lines, you rehearse, you do your scene, you go back home. As a producer, for the first time I saw the whole picture in a completely different way.
When we're ready to do the dress rehearsal, we'll rehearse in the dark. No lights. The reason why I do that is because I don't want the band to rely on me for anything. 'Cause anything can happen - I might stop singing or unplug the mic, just so everybody knows: Keep going, no matter what.
I rehearsed 50. I kind of stared at it a long time. I wasn't going to let it terrify me.
It was the most pleasurable thing I've ever done, playing this character, and I just remember feeling so at home and so - I don't know, I was just happy - and it just wasn't ever work! It was like a sandbox for me, and I would crack myself up rehearsing.
I was interested in theatre, and the only experience that I had in high school was as an actor. But when I got in Conservatoire, my teachers would give me a lot of flack because I wasn't rehearsing my lines; I'd be doing stage management. I was interested in sound. I was interested in architecture. I was interested in every aspect of theatre.
The thing that really makes me happy is the real work and rehearsing and creating the character and the process of making the movie. Hollywood's not real.
After two years in the songwriting world, I wrote 'All About That Bass.' L.A. Reid heard it and signed me as an artist.
I was talking to different labels: Columbia, RCA , Epic. I decided not to sign with Epic even after L.A. Reid offered me a crazy deal.
I don't know if me and my dad have necessarily touched on this because we talk about Reid but not a lot. But me wrestling, I think, ultimately saved my dad's career and not only saved my life but definitely put a whole other chapter that no one saw coming because it could've been rock bottom after my brother passed away.
To me, Roman Reigns was WWE's version of Superman, and he was our locker room leader on 'Raw.'
The devil reigns in me more than in any man I can think of.
My greatest influence is Jimi Hendrix, and if he's been reincarnated, or if he's looking down, sideways, or looking up, I just wanted to tell him that I love him and thank him for opening doors for me. I just wanted to make it beautiful for him.
I was riding my mountain bike in Colorado, and I met a dog who reminded me so much of my very first dog in the way she interacted with me, looked at me, and wagged her tail that I rode away convinced I'd just very possibly met the reincarnated version of my long lost friend.
My mother made me believe in reincarnation, in karma. If I live a good life, I believe I will be reincarnated as a higher being. If I live a bad life, I believe I will be reincarnated as a lower being.
I wouldn't want to be reincarnated as a butler. I couldn't for the life of me do the job in real life.
