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Citation :

Jared Leto Reflects on His Battle With the Music Industry

September 19th, 2012
by Daniel Barna

What struck us most while watching Jared Leto’s new documentary Artifact (which won best doc at TIFF last weekend), wasn’t how ruthlessly EMI treated his band, 30 seconds to Mars, over the course of their four year legal struggle. We already knew that most major labels are soulless wormholes dedicated to sucking the creative lifeforce that pumps through an artist’s veins. Instead, we were struck by how much we actually dug their music, which was used to great emotional effect throughout the film. (Takeaway equation: 30 Seconds to Mars = pretty good sometimes.)

Dealing with skeptics is nothing new for the now 40-year-old-actor/musician, whose been met with rolled eyes and raised eyebrows ever since ditching his film career five years ago to focus entirely on his duties as his band’s creative nucleus. But the film, which Leto directed under his go to pseudonym Bartholomew Cubbins, isn’t about their journey to legitimacy—5 million records sold will do that to a band—but the 30 million dollar lawsuit launched against them by their record label, and the album that emerged from all the angst and uncertainty that came with it. We sat down with an under-the-weather Leto in Toronto, to discuss the absurdity of being sued for $30 million, the upcoming election, and why his band was able to succeed despite him being, well, Jared Leto.

When you first embarked on a music career, did you have any idea of how suffocating the industry can be?
I had no idea! I’d heard people, things like, “Renegotiate when you’re successful.” They take that approach of like, “Ok you sign a very bad deal, and in success you beat each other up and try t o make it better.” Which is very strange. They could all make fair deals and have lots of success, you don’t have to do it that way.

Do you remember the moment when you first found out about the lawsuit? Was there a physical, guttural reaction?
We weren’t filming all the time, it’s a very DIY film made by just a handful of people. I filmed sometimes, my brother filmed, we had just a couple camera guys, most of the time just one camera. But there was that day that we got the information that we were being sued for thirty million dollars, and it was…CRAZY! It’s too much. It was just absurd, surreal, ridiculous.

You went into this band with such pure intentions. Did all of this legal wrangling ever poison the process?
Well, it certainly informed the process. This is an album that very much ruminates, discusses, and debates what was happening in our lives, it was very personal. I’m not sure if this is expressed in the film enough, because we’re pretty private people and didn’t let the cameras in all the way, but it was really brutal. The doubt, the fear, the anxiety that was caused by this battle, it was the most difficult, creative and business challenge that I’ve ever had in my life.

Did you ever view the executives as evil people?
Hmm there’s a couple, maybe, [laughs] but I think a lot of them are, well some might need therapy, some may be sociopaths, where they truly put the good of themselves against the good of the community. They don’t really have to do this, they do it because they can, but most of the people we dealt with from the record company are good people, they aren’t the enemy, we weren’t fighting them. Terra Firma is an organization that buys and sells companies, and I’m sure that emotions don’t go too much into their decision making process.

When you’re that big, I’m sure it’s not about hurting peoples feelings.
Yeah it’s really just about numbers, it’s not about feelings, art, or creating anything. I’m more about feelings and art. I don’t think that making art is like running a company, it’s not a profit-minded enterprise. A company doesn’t have to just be profit-minded. I don’t think a record company is a bad thing, I’m not anti-record company, I think that having a group of people around the world to help you realize your goals and dreams is great. There’s no problem with that, nobody has a problem with using Netflix to watch a movie, until they’ve raised their prices too much and pissed everybody off. I don’t have a problem going to Whole Foods to buy almond milk. There are good things about big companies, too.

How do you feel about the business model that Radiohead employed?
Well they only did that once, and they didn’t do it again. And they did put their album out at Starbucks, through Starbucks, which is kind of a record company.

Do you think they did that as a ploy?
No, I don’t think it was a ploy, I think they were genuinely experimenting and trying out something new. I think that it was really brave and interesting. I just don’t think that it was sustainable enough for them to do it again. Maybe they’ll come up with something else, maybe someone will.

Lets talk a little bit about the actual process of documentary filmmaking. How daunting was it when it’s like, holy shit we have three-thousand hours of footage?
Forty-thousand. It’s totally impossible. We barely managed to do it, that was the best part of getting accepted to TIFF, was having a deadline. You cut, cut, cut, and you know you have a film about something. Documentaries are interesting because you shoot and then you write the script, not the other way around. I wanted to make a film about art and commerce, and tell the story of this crazy business. But it involved a lot of trial and error.

One of my favorite sequences in the film is of you growing up amongst all of these artists. How much did that upbringing influence your creative process?
A lot, that informed us an incredible amount. We grew up in a communal, artistic, creative environment. That informed a lot of who and what we’re about, and still does to this day. Creativity was a really important thing, it was the holy grail for us, for my family, and we were encouraged. Like how other people may have been encouraged to be athletes, lawyers, or other things, we were encouraged to express ourselves creatively.

When you transitioned from being a movie actor to a musician, was it a conscious decision to go from one to another, or did it just happen?
It was organic. I’d always made music, and it just became a bigger part of my life. I was doing more and more of it. I went to film school, originally I actually studied to be a painter, and then I switched to film, and then I thought, I should try and act, maybe I’ll get a job directing that way! Weird, I know. But the whole time I was making music, it just became a bigger and bigger part of my life, and eventually the music became so successful, that it was hard to find time to make films, and it’s been that way for about five years.

Were you aware of the skepticism that comes with an actor transitioning into a music career?
I wasn’t aware when I first started acting, or maybe I would have never acted. That was really confusing. I would have thought, If that’s the kiss of death I’m not going to do it! I didn’t really follow things like that, but of course I quickly became aware of it. I think that there are a lot of dilettantes, bad , bad case studies, so of course if there’s a certain car and every time you drive it, it breaks down, people are going to start saying, “Oh that’s a piece of shit.” So if there are a lot of bad precedences before you, then it’s easy to assume, and so you become an easy target. I think that we were able to succeed because of a couple of things: we refused to give up, even though people would strangely suggest that we not follow our dreams, which was a really bizarre thing to tell other people. “Don’t follow your dreams if it’s silly!”

So this is on a completely different note, but I just saw photos of you at the DNC. What was that experience like for you?
Inspiring, it was great. I’ve been working with the campaign and helping to make sure that the right person gets re-elected, and not a guy who thinks that running a country is like running a business. It’s not. Running a family isn’t like running a business, there a lot of things that aren’t like running a business, and just because you’re successful in one area doesn’t mean you’re going to be successful in another. So I’ve been doing my part to help, because I believe in the president, and I think that he’s the right choice.

Was there a great sense of hope for you when Obama was elected?
I think that there was a little bit of hope, but what’s hard, and we kind of didn’t look back on this in the film because we weren’t doing a good job of making it clear, the economic crisis did impact our negotiations. It was such a dark time, there’s so much uncertainty, and EMI used that to try and leverage, and they did a great job of it. They put a lot of fear into us, it was an evil thing to do, but they did it well.

You say in the film that New York feels more like your city than L.A. What is it about New York that attracts you?
New York was the place you went to make your dreams come true. It wasn’t, “Go west young man.” It was, “Get your fucking ass to New York City, and be an artist!” That’s what I always thought I’d do. I remember I moved around every couple years of my life, but it was always New York. New York was in my mind.

So why move to L.A.? Do you have any desire to go back to the east coast?
Well it was when I got into film, and then you want to make cars go to Detroit, that sort of thing, and I thought that was where the opportunities were going to be for me. But that’s it, the film business, it wasn’t anything else. I’m not a surfer.

Do you ever think about going back into film?
I haven’t made a movie in five years, and it’s really that I’ve just been too busy. It takes a lot of time and the films that I generally make are very difficult to make, difficult to finance, difficult to get made, difficult to get people to see them.

Alright well, Jared, thanks for taking the time.
There’s something that Kurt Vonnegut says in his Rules for Writing, I don’t know if you’ve ever heard of this? I read it a few years ago. Look this up because I think you’ll like it, it’s sarcastic, written in his voice, who knows if he even wrote it. It’s ‘never let people feel like you’ve wasted their time.’ So I hope you don’t feel like I’ve wasted your time. I always try and keep that in mind when I’m making something.

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Ceci étant un RT de Jared, l'article a dû être validé par le grand chef

ça veut dire qu'il n'y a que des choses positives

Merci Audreyyyyyyyyyyyyy

Citation :

Jared Leto on His Toronto Doc, His War With EMI, and How to Get Him to Invite You on a Hike
By Jada Yuan


Jared Leto lives in Los Angeles, but at the Toronto Film Festival premiere of his documentary Artifact, about his band 30 Seconds to Mars’s legal battle with their record label, EMI, last week, he was definitely on home field. Nearly everyone in attendance seemed to be a megafan; we spotted several women with pyramid tattoos symbolizing their devotion to an elite “family” of 30 Seconds to Mars fans known as the Echelon. When the frontman and sometimes-actor (Jordan Catelano!) told the crowd he would take questions from those who’d come from furthest afield, a woman next to us shouted, “I’m from Portugal!” Leto didn’t hear. Then he said he’d take questions from people from Toronto. “What about from Buffalo?!” shouted the same woman. By the end of the Q&A, after having not gotten picked, she had run to the stage and was throwing a scarf (a gift, presumably) at Leto and holding her hand over her heart telling him he didn’t know what he means to people. After that display, he probably does. And after Leto led the audience in a “Yes, we can” chant about voting for the film, it won the People’s Choice Award for best documentary, despite having debuted just three days before the end of the festival.

But the film, which Leto directed under his pseudonym Bartholomew Cubbins, has a lot for non-fans, too, using EMI’s $30 million suit against the band for breach of contract as a launching point for talking about the fucked-up state of the music industry. Despite selling 3 million copies of their second album, A Beautiful Lie, the band — Leto on vocals and rhythm guitar, his brother Shannon on drums, and Tomo Milicevic on lead guitar and keys — found themselves more than a million dollars in debt to EMI having, they claim, never made a dime off any of the sales of their album, and they wanted out. Then, just as they were starting to make a documentary chronicling the making of their third album, EMI sued them, turning it into a documentary about them making an album in the face of a massive legal battle that might prevent the album from getting released. They eventually renegotiated with EMI, deciding that it was the only option. Jada Yuan spoke to Leto at the Shangri-La Hotel in Toronto just before he flew back to L.A. [SPOILERS ahead, though this is a documentary, so if you know the band’s history, you probably know what happens in the movie.]

*I’m confused. You were the director of the movie as well as its subject?
I mean, yeah, I don't know if I'm the star. Me or EMI. I can’t figure it out.

Does that make the movie less credible, in that you have the ability to control your own portrayal?
I think no. I think that it's the equivalent of saying, you know, Is Anne Frank a less credible authority on the subject that she was writing about? I'm not comparing myself to Anne Frank or the challenges that we had to her tragic situation, but what I'm saying is that you can have a personal experience and have it be authentic and make a document of that, whether it's painting, a book, or a film and still have it be credible and be an authority on the subject.

But I mean, you guys come off as very sympathetic.
You know, I don't think that was talked about very much or addressed, the sympathetic stance of the film, nor was it a focus to vilify the record label. We told our story from our point of view, how we saw it. It's not an objective film. It's a subjective film.

As much as you say the film didn’t vilify EMI, the record label did come off pretty badly. There were some people from the Canadian branch of EMI in the audience. Did you talk to them afterward?
Yeah, a bit. But I think the people that actually do the work at these companies understand, and like I said last night, I'm not anti-record company. I'm anti-greed, and I'm pro-fairness. So the people that actually did the work, we interviewed a lot of them in the film, and we give everyone a fair shake. They did sue us for 30 million bucks, right? [Laughs.] If we can set aside our differences after that, then they should be able to accept that fact that we made a film about it.

I was amazed to find out that a lot of the EMI employees you interviewed had still been working for the company when you made the movie but had all lost their jobs or left them since.
Yeah. Some were actually working and either since had been fired or left. And there's a lot of change in that industry. There always has been, ever since I've been signed, and there are probably more coming.

Well, so how do you feel about reattaching yourself to a company that’s in constant turmoil?
Um, it's a whole new regime: The people that were in power at EMI have since left. Lost control of the company. Lost billions of dollars in the process. [Terra Firma, run by London mogul Guy Hands, had purchased the label for 4.2 billion pounds in August 2007 and sold to Citigroup in February 2011 after a loss of several billion pounds. During the Terra Firma ownership, the label sued Pink Floyd and saw Radiohead walk away.] So, you know, I don't have a problem with a group of people around the world that are there to help artists realize their goals, their dreams, their ambitions.

[There is a loud, chiming alarm going off in the hotel.] I'm sorry. What is this sound? Do we ignore it?
[Continuing on, ignoring the sound.] I don't really have a problem with that. I have a problem with, you know, those companies not treating artists fairly. But I think it's great that there are companies around the world that help people realize their dreams. Boots on the ground is a wonderful thing.

At the end of the movie, there’s a postscript that says that EMI still claims you’re $1.7 million in debt to them and that you’ve still never made any money from the sale of your albums. The film ends so triumphantly with them caving to your demands and you getting a great new contract. So, my question is: What happened? How is possible that they didn’t forgive the debt?
Exactly. That's the question.

You have lawyers! You made it sound like you were starting over with a clean slate.
I thought so as well. I thought so as well. [Laughs.]

What happened?
I have no idea. You know, it's another chapter in a never-ending saga here.

Have you at least changed lawyers now?
That’s a great question. I'll make sure to ask my lawyer after this. "Hey, I just did an interview with someone who thinks we should fire you, number one. Number two, why's this happening?" I think it's a good example of the insanity of the business. We're still in debt, still never made any money and, you know, we've had a phenomenal amount of success. So therein lies the debate.

What was the deal you got? What made it better than the deal you had before?
Well, you can imagine how bad our deal was before ... legally, there are some restraints as far as talking about specifics. So, uh, I'm not really allowed to talk about specifics.

Are you indentured to them for fewer albums?
We have one more album after the one we're making now. So we're in the middle of making another album right now. It's a lot more fun to make an album without a $30 million lawsuit than it is with one.

Do you feel like being up against the wall like that while making your third album gave you creative fire?
It did. I'm certainly glad that we went through this, had this experience. I think it made us stronger. It inspired an album — I mean, it's called This Is War for a reason. It will always be an important part of our story. We're really glad that we chose to take this on. We chose to fight.

There is a slight sense of mythmaking in the movie. You very poetically describe how you and your brother “climbed out of the muddy banks of the Mississippi with our instruments in one hand and food stamps in the other.” And there are some conversations with your lawyers on speakerphone that seem too perfect to be true. Was anything staged?
No, all of those are real; 100 percent real. As soon as you make an edit, you manipulate. So in that way there's a lot of creation. But it's a document of what happened. There's no crazier fiction than reality, right? And that's certainly the case here: You don't have to make this shit up. Irving Azoff [their manager] and Peter Paterno [their lawyer] and Bob Lefsetz [music writer] — these characters, these icons, these titans of the industry — they're wonderful because they say everything they think because they don't give a fuck. They've got nothing to fear, and they're brave enough to kind of put it all out there. This is a different experience for me, too. I've been in front the camera a lot in my life and I've never revealed … I've never woken up with a camera in my face. Literally. And shared these moments. So it's kind of strange. I'm a really private person, and, you know, I have my comfort level with what I do with my work and public life and all of that. And this certainly breaks new ground for me.

There's a lot of talk in the movie about how you don't care about money. But then there’s also a lot of talk about money, too.
Well, I don't say we don't care about money. I never say that. I said that we never worked for money. And I still have that philosophy. I don't go to work for money. I've never chased money. Or else I'd have much different career. And I wouldn't have made this film, that's for sure — of where I'll lose money.

You will?
Of course!

Because it cost a lot of money.
An enormous amount of money! It did cost a lot of money over four years. You don't make money on films like this. This isn't a popcorn flick. It's not going to have a big, wide distribution. You do it because you love it. You're compelled to tell a story. That's why I've done everything I've done: because I've been compelled to do it. But, I think, money is discussed as well because, you know, that's value. And there's an incredible amount of money generated, but that revenue is being held onto and not shared with, not only the artists, but the employees of the companies as well. I'm sure a lot of employees at EMI would watch this film and actually empathize with the band, because if they're treating artists like this, you better believe they're treating employees like this as well.

It’s funny that you’ve made this movie about the horrible time you’ve had with your record deal, and now you’re going to have to negotiate that same territory in the movie industry.
We don't have to. We could Kickstarter the film. We may do that.

How?
You basically would use it as a platform to presell your movie, whether it is DVDs or tickets to a screening or, uh, anything else.

Why is your whole acting career sort of almost not mentioned in the movie?
I don't think there was really much thought about it. I don't think we felt that we were missing anything.

Do you feel like having been an actor before you did 30 Seconds to Mars helped the band, at least initially?
Absolutely not. No, I think it hurt us.

Really?
Of course.

But didn’t it give you recognition, of not just being any old band starting out?
No, no. It was the opposite of recognition. You know that.

How do I know that?
I think having been an actor and then making music — do you know anybody that's ever gotten an easy time from that?

I don't know. Did Kris Kristofferson sing first or act first?
You tell me. I think you start at a deficit.

How do you feel about acting now? Do you still want to be doing it?
There's a lot about it that I love. I've always loved filmmaking. I started as a painter. I was studying to be an artist, at an art school. Then I switched to filmmaking, and I got interested in acting. I thought that would be an interesting thing to learn about, and then to continue with directing. I'd been making music since I was a kid. I had always made music. It became a bigger and bigger part of my life. Now that we've had some success, it's really hard to find the time to make a film. It's a great chunk of time that you have to be very committed to. So I haven't made a movie in quite some time.

Do you still want to?
I think at some point, maybe, it would be interesting to try it again.

But it's not a burning desire anymore? Was it ever?
Yeah, for sure. I think it has to be, at least for the things I was doing. I don't think you would want to do it unless it was a burning desire.

Like Darren Aronofsky, being in Requiem for a Dream?
Yeah. That was a really intense journey. So I think if it's not a burning desire, you probably shouldn't be doing it. But, um, I do have a love of cinema. I like to make things and share them with people. That's really all I do. Whether it's music or its acting or its filmmaking — I like to create things and then share those things with people. That seems to be the common thing. It's pretty simple at its core.

Is there a reason why you look like Kurt Cobain in parts of the —
— No.

— because there’s a whole section where you have dyed blonde hair and stubble and are doing a photo shoot thrashing around with Terry Richardson.
— No, no. Just coincidence. [Pause.]

Okay. Just curious. Was there anything weird to see of yourself on film?
Uh, it's a weird experience to share my personal life. I think overall that's a different thing for me. I'm not used to that.

Any part that you were, like "Ah, man I wish this wasn't out there."
I didn't really love the argument with my brother and I.

When you were ragging on him for not getting the beat to a track right?
Yeah. I felt like the film had so much conflict in it already. I toyed with the idea of chopping that out of the movie. I thought, There’s so much conflict, and do you really need to see it in the band, too? Where we talk about conflict all the time? I left it in because [my editors] Shelby [Siegel] and Stefanie [Visser] liked the fact that you see the band affected by what was going on. And I agreed. It was a really stressful time. I mean, we're all human.

I like the parts that were just the band goofing off.
Some levity and stuff, right?

Well, it gave sense of like why you would want to be in a band. It seems like a nice lifestyle.
It's not always about that. I mean, from the band perspective. I think for me, I make music because I'm compelled to do it. And I have been since I was a kid. It's not to goof off. I never had that approach. I mean, I can go on a hike. I don't need to make music to have a good time. It's like, I don't know, why you write. Why do you write?

I don't know, it's what I know how to do.
There you go … these reasons why we do the things we do. They're interesting questions. There's another film there, to get into that deeper … uh … antagonistic questions here you ask.

[Surprised.] They are? How so?
I don't know. You put a little spin on it. It's interesting. What's next? [Looks at my notebook.]

Well, I don’t know how this will sound, but whenever I’ve gone on a hike with an actor in L.A., and it hasn’t been that many times, for interviews, they always end up breathing really hard. I think it’s funny that I’m with people who are supposed to be working out all day long and walking up a canyon in L.A. just knocks them out.
I'll take you on a hike. You wanna go on my hike? I'll take you on a hike.

Well, you were breathing pretty hard on the hike in the movie.
Oh, I was very sick. So what's your point? [Grinning.]

I just thought it might have been funny to see yourself on film, getting knocked out by a hike a little bit.
No.

[Laughs.]
I didn't think that. But I was very sick. I wasn’t even walking up a hill. It was a street, basically. It looks like a hike. But it was a paved little road, about 300 yards.

No judgment. The hikes kill me in L.A. too.
There are some fun hikes out there. I'll take you on one sometime if you want.

Not trying to be antagonistic. I just don’t want to repeat what was in the movie.
Sure, sure. I'm game .

You said in the Q&A that you're going to keep editing the movie?
The movie's not done yet. For us it's a chance to take what we learned here, make it better, and, you know, hopefully we can do that. Tighten it up. Make it more succinct. Cut out the shot of me breathing too heavily while I'm hiking because I'm not in shape enough.

[Laughs.]
I'm gonna bring you on a hike next time in L.A.

No, I'll die! I'm not saying I’m in shape —
I’m the one who’s going to die. We'll see. No complaining though, when we go up there.

Promise. You show some funny encounters with fans in the movie. What's been your weirdest fan encounter in Toronto?
Oh! I just went to a screening to introduce the film and I'm about to go back for Q&A — but I had this guy yell my name from across the street and he started running towards us and the people I was with started getting concerned, because he was very animated and excited. And he ran across the street. And he started taking his shirt off, "I've gotta show you something, what I did, what you inspired me to do!" And he ripped his shirt off and he had a tattoo with lyrics from This Is War ... and he ended up being really cool. He was a kid in art school here, like a real creative young kid.

Oh, that's cool.
So I hope that the film creates some conversation beyond "Jared's so out of shape."

[Laughs.]
Walking up this mountain …

I wasn’t saying that!
And what else were some of these questions here? [Looks at my notepad.] Why does he look like Kurt Cobain?

You did look like Kurt Cobain. You can’t deny it! And then there's that whole Terry Richardson thing —
— and Terry Richardson. What else? What else? Keep pickin' on me. Come on. What else you got?

You did look a lot like Kurt Cobain and —
— Sorry, I don't know. I have blonde hair and a scruffy beard.

What’s next for you?
We're about 80 percent done with new album, and we are focusing on that mostly.

You’ll tour again when?
Next year. We did two years, four months, 311 shows.

I loved the moment at the end of the movie when you asked the audience at a concert, "How many of you stole the album off the Internet?” And everybody was like, "Me!"
Yeah, right, wasn't that crazy? And I must have said that, like, 50 times.

It's like they don't even get it, right?
No. No. And you know its not entirely their fault, you know? I'm not so sure that the way people feel about record companies doesn't play into the fact that, the justification that people actually use when they actually do steal music. There's not a lot of love there for record companies from audiences out there. And they should change that. I mean, if I had a company and people felt as negatively as consumers seem to feel about record companies, I'd wanna change that, you know? I wouldn't want to feel that way? Would you want to work at a company that people hated? That would make me feel really bad. And I feel badly for the people that work at the company. There's a lot of great people there that work really, really, really hard — and they deserve better. I hope that it continues to change.

I think you're supposed to go. [His business partner, Emma Ludbrick, is motioning that he needs to go to the Q&A.
Can't wait to read this. Are you going to be nice to me?

Yeah! It's a just a Q&A. It's your own words.
Is it? But you know. Oh, but come on. You know! You're too smart.

Do I know what?
What did you study in school?

History.
History? Hmmm. I thought maybe you were a psychology major.

No
I love history, though. I could have easily studied history. I love to read about history. And I don't read enough about it. But that's always my favorite thing, historical things. What's the best book on history I should read, besides A People's History of the United States?

Oh, I mean. I’ve been out of school for so long, but I liked American Slavery, American Freedom.
There are some biographies that are pretty good, right? What about the guy who wrote the Steve Jobs book? Have you read his other books?

Walter Isaacson? No. I mean, what I liked about studying history was going through primary sources, not reading history books.
How long have you been at your job now?

Like twelve years. Forever.
You're too young for that.

No, I'm 34.
I'm 40.

You don't look 40. How does it feel?
I can't wait to get you on that hill. When you come to L.A., I am going to take you on that hike.

And I will die.
And I am going to pound you. I'm going to tell Emma. [To Emma] Emma, she made fun of me for breathing hard in the film. Like “’Every time I go on a hike with an actor they're always breathing hard.’ She’s like, ‘They’re all out of shape. Is there anything in the film that you're embarrassed by?'"

*This post has been edited since it was first published.

Source Tweeté par Echelonsfl

Citation :

I think you're supposed to go. [His business partner, Emma Ludbrick, is motioning that he needs to go to the Q&A.

Ludbrook poulette, Ludbrook...

Citation :

*This post has been edited since it was first published.

Ouais ben ça c'est pas juste !

J'ai comme l'impression que s'il avait pu partir avant la fin, il l'aurait fait

Ambiance bizarre pour cette itw, pour le coup je pense pas qu'il la tweetera celle ci
Par contre pas mal d'infos intéressantes dedans !!!

En vrac...

Citation :

We're still in debt, still never made any money and, you know, we've had a phenomenal amount of success. So therein lies the debate.

What was the deal you got? What made it better than the deal you had before?
Well, you can imagine how bad our deal was before ... legally, there are some restraints as far as talking about specifics. So, uh, I'm not really allowed to talk about specifics.

Are you indentured to them for fewer albums?
We have one more album after the one we're making now

What’s next for you?
We're about 80 percent done with new album, and we are focusing on that mostly.

You’ll tour again when?
Next year. We did two years, four months, 311 shows.

Citation :

On doit encore de l'argent, on a encore jamais rien gagné (c'est bon Jordan Catalano t'as sauvé la peau pépère), et on a beaucoup de succès. [...]

*C'est quoi le marché que vous avez passé [avec EMI] ? Est ce qu'il était mieux que celui que vous aviez avant ?*
Bien, tu peux imaginer à quel point notre contrat était mauvais à la base... légalement, il y a des restrictions et des détails. Mais je ne suis pas vraiment autorisé à parler des détails.

*Est ce que vous êtes sous contrat avec eux pour d'autres albums ?*
On en a encore un de plus après celui que nous sommes en train de faire maintenant

*C'est quoi la suite pour vous ?*
On est en environ à 80% de l'album, on est concentré sur ça pour le moment.

*Quand est ce que vous allez repartir en tournée?*
L'année prochaine. On l'a fait pendant 2 ans, 4 mois et 311 concerts.

J'ai mis en gras les points que je trouve les plus importants
Bon ben finalement on a pas le droit d'en savoir plus à propos d'EMI, mais ça on le savait déjà... Quand on sait que seul EMI USA est au courant... mais en tous cas ils sont pas sorti du truc encore !! oO
Et album beaucoup plus avancé que je pensais...

J'ai le droit de brailler et de dire qu'il n'y a pas eu 311 concerts nom d'une charette à bordayl

et il est clair qu'on ne saura jamais ce qu'il en est du contrat, mais bon faut arrêter de faire pleurer dans les chaumières au niveau financier

je veux entendre qu'ils se sont fait spolier de ce qu'ils auraient du avoir, cela j'en conviens aisément et c'est total injuste , mais le coté COSETTE me lourde sévère

ah 80% du nouvel album? effectivement je pensais qu'ils en étaient genre à 5-10% moi

et oui bah oui on se doute que vous êtes encore dans la mouise avec EMI les choupinous mais te fais pas passer pour la cosette de la musique garçon, t'as vu tes maisons ou t'as pas vu tes maisons?
je suis la seule qui me soit dit "allez encore 2 albums et après ça sera de nouveau bien peut-etre" ?

Citation :

Ute Ohoven kann wieder viele Stars begrüßen Pelé kommt zur Unesco-Gala
VON ARNE LIEB - zuletzt aktualisiert: 06.09.2012 - 02:30

Düsseldorf (RP). Die brasilianische Fußballlegende Pelé ist der berühmteste Gast der 21. Unesco Charity-Gala, die am Samstag, 27. Oktober, im Maritim Hotel am Flughafen gefeiert wird. Der Erlös soll wieder Kindern in Not zugute kommen. Pelé wird an diesem Abend für sein wohltätiges Engagement den "Children in Need"-Preis der Unesco erhalten, genau wie Schauspielerin Iris Berben, die ebenfalls ihr Kommen zugesagt hat.


Als Paten und Stargäste konnte Veranstalterin und Unesco-Sonderbotschafterin Ute Ohoven zudem mehrere bekannte Schauspieler gewinnen: "Sex and the City"-Star Kim Cattrall, Oscar-Gewinner Cuba Gooding Jr., Jared Leto – der auch Sänger der Band Thirty Seconds to Mars ist – sowie die Französin Carole Bouquet, die unter anderem als James-Bond-Girl im Film "In tödlicher Mission" (1981) bekannt wurde. Auch Moderatorin Sylvie van der Vaart wird dabei sein.

Mehr als 1200 Gäste werden zu der Gala erwartet, auf der Ohoven Geld für die Unesco-Stiftung sammeln will. Die Society-Dame und Ehefrau des Unternehmers Mario Ohoven, die sich seit 1992 für die Unesco engagiert, berichtete bei der Vorstellung des Gala-Programms auch von ihren erneuten Reisen in Krisengebiete, in denen die Stiftung aktiv ist. Besonders ergriffen hat sie ein Besuch in einem Notlager in Burkina Faso im Frühjahr. Als Ohoven bei der Pressekonferenz im Dachrestaurant des Maritim-Hotels von ihren Erlebnissen unter den hungernden Menschen in der Sahel-Zone berichtete, kamen ihr die Tränen, für mehrere Minuten unterbrach sie ihren Vortrag. "Menschen dürfen unter solchen Bedingungen nicht leben müssen", sagte sie, als sie sich wieder gefangen hatte.

Die Gala soll aber trotzdem ein "erfreuliches Thema" sein, meint Ohoven. Für die Musik auf der glitzernden Party werden Roger Cicero und die israelische Sängerin Noa sorgen, die – wie alle Gäste – keine Gage bekommen, wie Ohoven betont. Unter dieser Bedingung Stars zu gewinnen, gestalte sich zunehmend schwierig. "Wir rudern Tag und Nacht, um Menschen zu überzeugen."

Der Eintritt für die Gala inklusive Show und Essen kostet pro Person 250 Euro, dazu wird um eine Spende gebeten – die ist zwar freiwillig, sollte aber mindestens eine Höhe von 300 Euro haben. Lose für die Tombola kosten 25 Euro. Karten können bestellt werden unter 0211 611133 oder per Mail an peter@unesco-kinder.de

Si quelqu'un veut traduire, faites-vous plaisir...

Tout ce que je peux dire, c'est ce que Mandolinaes a posté sur Tumblr, à savoir que Jared participerait au 21e Gala de charité de l'UNESCO le samedi 27 octobre au Maritim Hotel de Dusseldorf.

Citation :

UNESCO Charity Gala

Remember Jared Leto will be at 21st International UNESCO Charity Gala on 27 October 2012 at the Maritim Hotel in Dusseldorf

Source

J'ai compris Jared Leto, samedi 27 octobre et Kim Cattrall!

A priori, c'est un gala aux profits des enfants dans le besoin dont l'invité d'honneur sera l'ancien footballeur Pelé. Il sera récompensé pour son engagement au sein de l'association "Children in need".

Bon et sinon, y aura 1200 invités dont des célébrités, comme Jared Leto.
Aucune de ses stars ne recevra de cachet pour sa venue, au contraire, chaque invité doit verser 250€ pour le repas plus un don d'au moins 300€.

Je vous ferais pas l'affront de traduire plus que ça, mon Allemand est trop rouillé pour faire plus précis!

Merci! Tu as dit l'essentiel, pour ma part j'ai pas besoin d'en savoir plus

Citation :

MEN FROM MARS MAKING AND BREAKING RECORDS
So, the call from the bosses at Download goes a little something like this. Hello, The Week. We’re making a big announcement on Monday: 30 Seconds To Mars, among other bands, and we’d like you to interview Jared Leto. Would that be okay?
Yes. Yes, that’s quite okay by us.
We can’t pretend we weren’t massively excited about interviewing the 30 Second To Mars frontman and Hollywood actor, but we like to think we remained consummately professional throughout.
“Thanks for taking the time to speak to me, I know it’s late over there, I appreciate it,” says Jared. Squeal!
He’s in sunny LA when he calls. “We’ve just got back here from Europe – this year we’ve taken time off the road to work on a new album, and we’re wrapping things up now. We’re closer and closer to finishing, which is pretty exciting.
“We’re enjoying this time that we’re getting to create and write songs.”
Touring
The band – famous for hits including The Kill (Bury Me), Kings and Queens, This Is War and Closer To The Edge – have taken the time out to work on the album after touring for a long time. Two years and four months, to be exact.
“In fact, we ended up touring so much we got the Guinness World Record for the longest tour,” says Jared. “It wasn’t like we were trying for that, but we got it. It was great, but it’s incredibly nice to be home.
“We’re getting close to finishing the album and it should be good, we’re really excited about it.
“I think it’s the best thing we’ve ever done, I think it really represents a seismic shift for 30 Seconds To Mars. It’s a total evolution.
“It’s hard to kind of pinpoint exactly, or define the record while we’re in the middle of the process – sometimes you need a little hindsight.
“But it’s all the things we’ve loved, the territory we’ve loved exploring, and I think our experience making albums – this is our fourth – and touring, seeing the world and meeting all kinds of inspiring and interesting people, I think has helped shape this one. At this point, it’s shaping up to be the record we always wanted to make.
“At times it’s the darkest album, at times it’s the biggest, most bombastic, and full of energy.”
Fans in the UK will get to hear the new material first at Download, which will be the band’s first UK date next year.
“I love playing in the UK, it’s one of the best places in the world to play,” says Jared. “People are so connected to the music over there.
“I think one of our proudest accomplishments ever as a band is the success we’ve had in the UK. We never felt we’d have anything like the success we’ve had there. It’s incredible, it’s a dream.
“I don’t think any of us ever expected we’d sell out places like Wembley and O2 Arena and now, to come back to Download, it’s a pretty big deal. We’re incredibly fortunate.
“We’re really excited about coming back and playing in the UK and Download, especially.
“It’s mayhem, it’s amazing, it’s crazy, and there’s a lot of variety.
“Download will be the first time in the UK that we play our new songs off the new album, so we’re really looking forward to it.”
But how do UK festivals compare to those across the rest of the world? They’ve got to be the best, surely?
“I definitely think they’re the best festivals in the world, that’s for certain.
“They’re recognised around the world as being incredible events. You guys have been doing it for a very long time and I think other festivals learn from festivals in the UK.
“The audiences going to them year after year, that’s what makes them so great, the fans.
“And, you know, a little mud never stopped anyone having a good time. I always like a good pair of wellies.”
Next year will mark 15 years since Jared formed the band with his brother, Shannon.
Since the release of their self-titled debut album, they’ve enjoyed platinum sales across the world.
“But it feels like we’re just getting started again, and this album is a new beginning,” says Jared. “It’s new and exciting but I think we keep things in perspective, remembering how fortunate we are to make music and travel the world.
“That’s really important.”
Although Jared first rose to prominence in teen drama My So-Called Life, and has starred in several films since – American Psycho, Fight Club, Chapter 27 and Girl, Interrupted, to name just a few – it’s the band he’s concentrating on at the minute. “Right now I’m just focusing on 30 Seconds to Mars and getting this album wrapped up. That’s enough to keep anyone busy.

Source

Crédit Tumblr + UK_ECHELON sur Twitter

En bref, c'est trop bien d'aller au Download, l'UK est un des endroits les plus chouettes où jouer, concernant l'album c'est le meilleur qu'ils n'aient jamais fait, une totale évolution de qui ils sont, par certains côtés, l'album le plus sombre et par d'autres plein d'énergie et le plus gros. Il représente un nouveau départ, ils ont l'impression de tout recommencer malgré les presque 15 ans qui sont passés depuis la création du groupe, c'est nouveau, excitant mais ils n'oublient pas à quel point ils sont chanceux d'en être où ils sont, de faire leur musique et voyager à travers le monde. Il revient aussi sur le Guiness pour les (soit-disant) 300 concerts et voilà, je crois que c'est tout.

Merci Audrey... En fait rien de nouveau sous le soleil

je crois que je vais me faire un plaisir de ressortir toutes les vieilles itw de chaque album... et ho surprise on aura les mêmes arguments

Citation :

Absent des écrans de cinéma depuis le film de Jaco Van Dormael,Mr. Nobody, la fashion victim Jared Leto s'apprête à faire un retour remarqué, aussi bien au cinéma que sur la scène rock avec un début de tournée de 30 Seconds to Mars, son groupe.

Barack Obama fraîchement élu pour un second mandat, l'engagé et démocrate Jared Leto peut désormais retourner à ses véritables amours, le cinéma et la musique. Deux passions que l'acteur-chanteur avait réussi à lier dans le documentaire Artifact qu'il préparait depuis près de trois ans et qu'il a pu présenter en avant-première mondiale au Festival international du film de Toronto. Il y raconte le combat et la remise en question de son groupe 30 Seconds to Mars contre le label EMI qui lui réclamait 30 millions de dollars après un rupture de contrat abusive. En 2009, le groupe négocie alors avec EMI avant de sortir l'album This Is War, suivi d'une longue tournée de deux ans.

Fin de l'été 2011, Jared Leto se consacre à son documentaire ainsi qu'à son engagement politique aux côtés de Barack Obama pour sa réélection. Le chanteur apparaît lors d'un meeting réunissant une pléiade d'acteurs engagés, dont Scarlett Johansson avec qui le beau gosse affiche une complicité médiatisée. D'autant que la séparation de la sculpturale actrice hollywoodienne d'avec Nate Taylor a relancé son ancienne histoire avec Jared Leto, qui s'était depuis affiché aux côtés de Cameron Diaz ou .

Côté septième art, Jared Leto commencera prochainement le tournage de The Dallas Buyer's Club où il remplace Gael Garcia Bernal. Il donnera ainsi la réplique à une autre vedette masculine du moment, Matthew McConaughey ainsi qu'à Jennifer Garner. Le film, qui ne possède encore aucune date de sortie, raconte l'histoire de Ron Woodruff (Matthew McConaughey) qui en 1986, après avoir contracté le sida, décide de tester sur lui-même divers traitements expérimentaux non approuvés par les autorités américaines. Leto campera Rayon, un ami de Ron, également atteint par la maladie.

Un rôle fort dont on ne sait s'il demande une nouvelle prouesse physique de l'acteur. Inoubliable en junkie dans Requiem for a Dream, Jared Leto est un habitué des changements physiques. Pour le film de Darren Aronofsky en 2000, il perd 13 kilos avant d'en prendre 30, sept ans plus tard, pour camper au plus près Mark Chapman, l'assassin de John Lennon dans le film Chapitre 27. Un geste que l'acteur regrette, affirmant avoir trop souffert pour prendre les traits du tueur obsédé par l'ex-Beatles. Pour le retour critique et commercial que l'on connaît : le film sera un flop monumental.

Enfin, Jared Leto fera également son retour sur scène avec 30 Seconds to Mars, puisque le groupe est programmé en juin prochain, avec Iron Maiden au Download Festival (Angleterre).

source

T'as oublié de traduire le point clé audrey parce qu'un peu un gros LOL quand même !

audrey a écrit:

Although Jared first rose to prominence in teen drama My So-Called Life, and has starred in several films since – American Psycho, Fight Club, Chapter 27 and Girl, Interrupted, to name just a few – it’s the band he’s concentrating on at the minute. “Right now I’m just focusing on 30 Seconds to Mars and getting this album wrapped up. That’s enough to keep anyone busy.

"Pour le moment je me concentre uniquement sur 30 seconds to mars et sur la préparation de l'album. C'est assez pour garder quiconque occupé"

Dis le gars qui a annoncé quelques jours avant de faire cette itw qu'il allait participer à une pub de parfum, et quelques jours après qu'il allait jouer dans un film... ET QUE C'ETAIT PAS UN COMEBACK, OK ? XD
La logique Jaredienne et moi on fait deux... voire plus...

Maryarmy a écrit:

je crois que je vais me faire un plaisir de ressortir toutes les vieilles itw de chaque album... et ho surprise on aura les mêmes arguments

A qui le dis tu !

Citation :

I think it really represents a seismic shift for 30 Seconds To Mars. It’s a total evolution. [...] At this point, it’s shaping up to be the record we always wanted to make.

"Je pense que c'est vraiment un changement radical pour 30STM. Une totale évolution. [...] Au point où on en est, cet album s'annonce être l'album qu'on a toujours voulu faire... "

Il a dit la même chose sur TIW, j'ai vomi dans ma bouche en l'écoutant, ça me rassure pas des masses tout ça...

Je le mets là mais vous pouvez le déplacer si vous jugez qu'il a sa place ailleurs ^^

Citation :

Jared Leto: The unsung hero of cloud computing?

An unlikely cloud hero emerged at this year’s Boxworks event in San Francisco in the form of VyRT founder, musician and actor Jared Leto

Sometimes people say things to you and it takes a while to sink in. Granted, several months is a long time and then some. But it’s only now as I look back over my favourite cloud moments of 2012 - as we stare 2013 in the face - that have I realised insight often comes from unexpected sources.

Jared Leto is a well-known authority on many things. Pick anything from modelling to acting, his band 30 Seconds to Mars and anything in between and he’s probably got a lot of really credible things to say. He was an unexpected but welcome guest speaker at Box’s Boxworks conference in San Francisco earlier this year.

The panel was entitled ‘The cloud - Hollywood’s newest star.’ It was moderated by Chris Kantrowitz, founder and CEO of Gobbler and Leto was joined on the panel by Josh Kline, head of online services at Final Draft and D.A Wallach of Indie pop band Chester French. The aim of the discussion was to debate the cloud’s increasing influence on Tinseltown’s entertainment industry.

“The balance of power has shifted down from the old gatekeeper to the audience. This has revolutionised our business and allowed me to do things I hadn’t dreamed before,” Leto said.
“…Final Draft is a great example of how technology can empower people. Technology gives opportunities and there is a lot of opportunity.”

Rather than try and paraphrase what he said post the panel session, here’s our mini Q&A. We only had five minutes with the man himself, but it was enough to ensure his passion for sharing his crafts and utilising what the cloud has to offer shone through.


During your panel session, you talked a lot about sharing things with people and solving problems. That leads us to VyRT and what you’re trying to do with that. Would you be able to expand on what you said earlier about creating opportunities? And how it empowers people and allows you as an artist to do the things you got into this industry to do?

Right now, if you wanted to create a live experience online and share that with people you really have limited choices. You can cobble together some form of corporate sponsorship and broadcast using a third party platform that is generally filled with a lot of other clutter and hope that you get the biggest, broadest audience and that your advertisers were happy with what you did… At the end of it I think you would be largely going through this process and the hopes you were doing it as a promotional effort.

What VyRT aims to do is give people the ability to create live experiences and then monetise those experiences without corporate sponsorship, without advertising, by selling directly to consumers. It’s kind of a big deal because there isn’t really a turn key solution out there for this. But there is a lot of live content that is created. I’m not just talking music, there’s education, other forms of entertainment, conferences, psychotherapy.

There are a lot of applications out there right now for VyRT but right now we’re focusing on music first because that’s what we know best. I think there are a lot of audiences and fans around the world that would love to participate and see their favourite band in a specific venue, playing a specific show or creating an event from scratch - maybe an event that’s really intimate that you can’t get in a physical location. Maybe there’s no physical audience at all and it’s all digital. We do know there is a desire for that both from the artists’ side and from the audience side as well, but there really isn’t a fluid solution, so we’re aiming to provide that.

You’ve shared some frustrations with how the industry has worked historically, was VyRT borne out of that frustration as well as a desire to share and let people get value out of new experiences?

I wouldn’t like to say frustration but it was borne out of the fact that there wasn’t a solution. So I decided to create one and that’s what VyRT is for. It’s, I hope, an answer for one problem out there. I also think it doesn’t just serve artists who could actually generate revenue, maybe have a livelihood for themselves and their families, it gives them the opportunity to continue to create live experiences, to re-think what a concert is - maybe it’s not just directly singing at somebody, maybe there’s a two-way conversation that happens with groups of people.

VyRT is great because you don’t have to have millions and millions of people watching, you can actually exist with a much smaller group of people and therefore have a much higher quality social experience. And a better quality broadcast. There always will be the free content out there and the commercially sponsored content, but this allows us to take a different approach.

You’re very busy! You have VyRT, The Hive, the band, the acting… How do you prioritise?

I love what I do. So I don’t mind working weekends. I love to work late. My favourite day of the week to work is a Saturday. I’ve learned to really prioritise my time. It takes practice but I’m getting better and better at that. You also have to learn to say ‘no’ so you can focus on what’s important. And then you build great teams who can execute and help bring vision and ideas to life.

So when you’re not around you have good people at VyRT et al [looking after things]?

I’m always around! But I do have good people as well. We’re watching each other. We don’t have a hierarchal network. We have a very open conversation.

Source
Crédit ONTD!30STM

J'ai enfin eu le courage de le lire merci audrey !

La première chose que j'ai retenu :

Citation :

“The balance of power has shifted down from the old gatekeeper to the audience. This has revolutionised our business and allowed me to do things I hadn’t dreamed before,” Leto said.

Parce que "To the warriors and the keepers of the gate, we await" * comment ça, sa va pas ?! *

Il y a du bon et du mauvais dans ce qu'il dit, comme d'hab... Expliqué comme ça, VyRT apparait comme un super moyen mais l'utilisation abusive qu'il en fait et pour le genre de prestations proposées depuis un moment ahem

Citation :

There always will be the free content out there and the commercially sponsored content, but this allows us to take a different approach.

On a pas la même définition du "always" alors Monsieur l'expert en Marketing parce que ça fait un moment qu'on en a pas vu

Je pense que dans sa tête c'est quelque chose de génial et que ça part d'une bonne intention mais oui c'est ça, au final ça en fait un truc pas top avec toute cette sur-commercialisation.

Après, est-ce que ce serait devenu ce que c'est si les gens n'avaient pas suivi comme ça a été le cas, je pense pas...
Pour le côté gratuit ben on verra bien si un jour on a effectivement quelque chose de gratuit... Quoi qu'il y a eu le "Concert for Sandy Relief" retransmis gratuitement mais bon, c'est pas d'eux

Citation :

01 March 2013 at 07:19pm via mtv.com with 31 notes

THIRTY SECONDS TO MARS BLAST NEW SINGLE INTO ORBIT

‘PUTTING YOUR MUSIC INTO SPACE IS NO EASY FEAT,’ FRONTMAN JARED LETO TELLS MTV NEWS.

Thirty Seconds To Mars spent Friday (March 1) morning literally launching their brand new single … sending the first copy of “Up In The Air” into orbit on board a SpaceX rocket.
And an hour after liftoff, MTV News spoke to frontman Jared Leto from Cape Canaveral, Florida, where he was still trying to wrap his head around everything that had happened. And, for a guy who’s witnessed no shortage of amazing things with his Mars mates, well, that’s saying something indeed.
“It was a phenomenal morning; it’s been a mind-blowing experience, sending our music up into space, where’s pushing into orbit and going around the earth, that’s a pretty amazing thing to think about,” Leto said. “It seemed impossible; for a moment I played with the idea of a weather balloon, but I had been speaking with NASA for quite some time about ways to find something creative to do together. And I presented them with this idea and here we are.”

Leto said the process of getting a copy of the single aboard the SpaceX cargo capsule began months ago — “It wasn’t easy,” he laughed, “but most worthy things aren’t.” — and that the decision to launch it into orbit had nothing to do with the song’s title. Instead, he and his bandmates were looking to kick off the next chapter of their career in an appropriately massive manner.
“From the beginning, it was clear this was a special song for us. I wrote and recorded about 70 songs for this album, and I think there’s a feeling that all of us in the band have that, especially after touring as long as we did last time, that this is a really important album for us … and ‘Up In The Air’ is the first step, the beginning of a conversation,” he said. “It’s a song that has a lot of energy, a lot of optimism, a lot of life in it. And it’s incredibly important to me and Shannon and Tomo.

“A core part of what Thirty Seconds To Mars is about is dreams … creativity and dreams are one in the same,” he continued. “And so it’s inspiring and challenging to try to make the impossible into reality. And this has certainly been an example of that; putting your music into space is no easy feat.”

Source
Trouvé sur Tumblr

En gros, Jared dit qu'envoyer le titre dans l'espace était loin d'être facile, qu'ils ont voulu faire quelque chose de nouveau et approprié, selon eux, pour ce nouvel album et lancer le nouveau chapitre de leur carrière. Que "Up in the Air" est une chanson très importante pour eux (comme K&Q donc ça risque de ne pas être notre préférée... lol". Chanson pleine d'énergie, d'optimisme, beaucoup de vie dedans (toujours comme K&Q). Que Thirty Seconds to Mars est en grande partie à propos des rêves, la créativité et les rêves tout en un donc c'est inspirant et un challenge de tenter de rendre ses rêves rééls. Au final, c'est pour ça qu'ils ont choisi d'envoyer la chanson dans l'espace, c'est pas facile mais réalisable et ça vaut le coup. Il a d'abord penser à l'envoyer juste dans les airs avec des ballons mais c'était moins bien et ensuite il a discuté de cette idée d'espace avec la NASA et ça s'est fait.

Si quelqu'un veut faire une vraie traduction, faites vous plaisir !

Trop de références à Kings and Queens pour moi

Citation :

SEX sells - and so does Jared Leto.

The Thirty Seconds to Mars frontman sings, "I'll wrap my hands around your neck so tight with love'', on new song Up In The Air.

"To me, it's a line that has obvious sexual connotations but .. it's kind of like that, what they say, 'everything is about sex except for sex. Sex is about power', right?,'' Leto said in Melbourne.
"Ultimately that line is overtly sexual but really, about power.
"It never really struck me so much as a line that would connect with people in the way that it has.''
Leto sent a disc of Up In The Air into space on board a Falcon 9 rocket from Cape Canaveral, Florida, last month.
"When I first came up with the idea, 'okay, that's impossible, never going to happen,''' Leto said.
"At another time I wouldn't have even bothered to ask. But guess what? I asked. I asked NASA. They went up in space.''

Leto looked fresh-faced wearing a Burberry coat to our interview and was a far cry from the emaciated frame he sported for his role as a HIV positive transvestite in Dallas Buyers Club, opposite Matthew McConaughey.

The Hollywood heart-throb put his healthy appearance down to "sleeping''.

Leto directed a short film for Up In The Air, to be released in the next few weeks, starring Dita Von Teese, following his controversial Hurricane video from 2010, which had to be censored.
"I don't know if this will get censored. It did have some nudity in it but I don't know if that's going to make the cut. But it'll certainly provoke.''

Love Lust Faith + Dreams is out on May 17 (Universal). Thirty Seconds to Mars will tour nationally later this year.


Read more: là

J'aime bien le "j'avais envie d'envoyer le titre dans l'espace mais je pensais que c'était impossible mais j'ai demandé quand même et on m'a répondu qu'on pouvait le faire ! "
Il va y avoir de la nudité dans le clip, tiens donc... Et il se demande si ça va être censuré... On verra bien hein !

Source UK_ECHELON sur Twitter

J'avais lu ''I did have some nudity in it'' pendant un instant, j'avais pensé qu'il parlait de lui haha! En tout cas, j'espère bien que ce sera liui hihi :3
Mais on verra bien si c'est censuré.

Au fait, est-ce que c'est demain qu'il sort, le vidéo? Je lis des trucs sur facebook et j'ai l'impression que y'a de quoi qui sort demain?!

Citation :

Thirty Seconds To Mars s'exprime sur son nouvel album
16 mai 2013

Dans le cadre d'un entretien avec le site américain Radio.com, le groupe de rock Thirty Seconds To Mars a donné quelques détails sur son prochain album, "Love Lust Faith + Dreams", qui paraîtra le 20 mars. Les membres ont notamment déclaré que chaque morceau contient des mots du titre. Ainsi, le premier single, "Up In The Air", contient notamment les mots "love" et "lust". Ces quatre mots du titre auraient été choisis parce qu'ils "résument vraiment ce qu'est l'album, sans équivoque. C'est un nouveau départ pour nous. C'est un nouveau chapitre de nos vies."

A propos du nouveau single du groupe, "The Race", paru le 15 mai, Jared Leto a déclaré qu'il s'agit d'un titre "à propos de la folie de l'amour et la vie, la démence des rêves, et à propos de comment - parfois - les proies peuvent devenir des prédateurs". La sortie de "The Race" est accompagnée d'une vidéo, où défilent les paroles du titres. Les animaux y ont la part belle et démontrent ce que souligne Jared Leto dans ses propos.

J'aime bien ce dont il est question pour The Race


Source dans mes alertes Google

Par contre, sortie le 20 mai et non le 20 mars!!

Ah oui :/ Ça prouve que j'ai bien lu l'article dans son ensemble...