When I first wrote 'Papa Hemingway,' there were too many people still alive, and the lawyers for Random House didn't want to OK it. But now all that's been filtered away by the passage of all these people. And having the fortune of surviving, I now feel that I am the custodian of what Ernest wanted the world to know about him and these women.
Because when you go out, and you have fun, basically you're performing for these tabloid outlets and the paparazzi. And when you perform and create this story, they're chuffed - they get excited, they capture it, and they put it out.
I'll be having lunch with my mum and she'll complain about the paparazzi outside. I tell her that she could have worn a beanie, but of course she never does. She loves it - it's how she chooses to connect with people. That's fine, I can respect that. But I'm the opposite. I always have been.
My son, Arzhel, is two, and he eats vegetables twice a day. We have a vegetable garden on our farm in the Southwest, and he gets two baskets, one over each arm, and says, 'Garden, Papa!' and then he eats what he picks.
There's a continuity between what I care about in any form: I care about it in my music, in article-writing, in how I dress, in how I live, in my relationships, in how I navigate paparazzi, how I decorate my home. There's such a continuity between everything that I don't really care what form it shows up in.
I'm not bothered by the paparazzi and I don't feel hemmed in, I've never felt that. My youth, mind you, there wasn't quite the same attention to celebrities as there is now, but I've never felt that.
Anaheim is not like Los Angeles, where there are more people and more paparazzi. You don't have that in Anaheim. It's more laid-back.
We were living in California, and it just wasn't conducive for the lifestyle that we wanted with kids. Los Angeles is tricky to get around, there's paparazzi to deal with, and I had this feeling that I just wanted to move back to Australia.