You just dropped the tracklisting for your album and you shot the video for your next single “Change Your Life” in Vegas. How’d that go?
Hot as hell cause it was like the hottest day in 100 years. [Laughs] I was like, cooking from the inside. But, it was good. It went great. I did it with Jonas & François who did “Work,” which has been nominated for the VMA. We teamed up again. I loved working with them. They are crazy French people and they are super passionate and so am I. We can get into these heated, crazy discussions where we are screaming at each other. [Imitates Argument] We go back and forth and I love that. I get so passionate about what I do and I think sometimes people will come away or will be around me or just met me and be like, ‘She’s a bitch. I can’t believe she said that. It’s so blunt.’ So, I love being around Jonas & François where we can have the most heated discussions and walk away and we come up with a solution and no one is offended by anyone. I love that.
So the energy is there.
Yeah, I got arrested in my video. I was topless. I got to show some skin. There was dancing. There were things caught on fire. We went to the strip club; we did it at the casino house. I had a tiger. [Laughs] I feel pretty good about this video; people will definitely want to rewatch it. I think a great thing about a video is when there’s so many things happening in it that you didn’t get process all the information. You want to watch it again, so you can see what it properly [is]. You feel like you missed something, you need to watch it again. Everybody that I showed it to so far watched it again. They say, ‘Wait, I didn’t catch that. I need to watch it again.’ So, that’s a good sign. I’m really happy with it and I am happy that I am finished with the album.
How is the video inspired by Bladerunner and Showgirls? What did you take from those movies?
When I heard this song, I just kind of felt like it…“Change Your Life,” it has a bigness about it. It’s a big record. It feels like, ‘Whoa, this is humongous when you listen to it.’ When I think of a Vegas show, I think they are always spectacular and humongous. I didn’t want it to be cabaret, I didn’t want it to be cheesy. I just started to watch all the movies that I could think of that were kind of Vegas-based. I loved Showgirls because I think it’s a fucking awful movie and I just love that it was so tacky and kind of awful but hilarious in its own way. I think some things can be so bad that they’re good. I think it was so bad, it was good. [Laughs] I loved it. I loved that this girl in Showgirls, Naomi, the character that I play in my music video, she’s a badass. And she’s rebellious. She does things in her own way, but she still has a dependency on this man or this casino. She needs them to get her job off or her dream. She’s dependent in a way, but she’s rebellious. I identified with that. Myself with needing a label, but being an artist and wanting to do it your own way and having to kind of dealing with the devil I guess. I really liked this movie. I connected with it in that aspect.
I love the song that I got, “Change Your Life” with T.I. I am saying to a man, essentially, ‘You need me. I’ll make things better.’ I guess it’s a bit [to] upgrade you. T.I.’s going back and forth with me saying, ‘No, bitch. You need me. What the fuck are you talking about?’ And so I love that. I thought it was appropriate to base it on that storyline of Showgirls where she needs the person, but she’s still rebellious. ‘No you need me. No I need you.’ I like the back and forth of it. I thought it was a good storyline to base on.
Of course, Bladerunner, I just love. I didn’t want to do the traditional Vegas. I still love the neon lights. I love neon lights, bold lighting, and the lighting of Vegas. I thought in a way similar to what I had seen in Bladerunner. I like Bladerunner. It’s a little bit futuristic throwback. It’s like ’80s, but ’80s future. I like that. Vegas can be really tacky and ’80s—that kind of gaudiness. I thought it was a good combination.
You were with Interscope, but you’ve dealt with some label drama when they weren’t on the same page as you and Hustle Gang. How’s the new situation at Def Jam treating you?
I love them. I came to them with my album in a state of about 80 percent done. They loved it. They loved the direction. They respected T.I. being a part of it. I think they saw why T.I. was important. Not necessarily my creative, but our relationship and our business relationship and him supporting me. It was nice to have that for a change. To be friends with a lot of the guys up there—Pecas and people that work there too and have their own relationships. I think it just worked out. It was a good fit. I’m happy.
Of course, I still have my label struggles. There’s budgets or things that I am going to disagree with. For the most part, I think they are brilliant. I think they feel passionate about trying to do something new or trying to have a new story and they always say to me, ‘If we did this, then this could be the first time somebody from Australia has done something like this. And we want to be part of the story.’ We want to help build the story or part of the history. They love that.
If you can make history with anybody, then fuck, it should be Def Jam, right? I think it’s perfect and I love that they love that. Other people that I experienced [was] kind of me meeting hostility. ‘Oh, it hasn’t been done, so we shouldn’t have given it a bigger budget because it’s a risk.’ I think with them they are almost the opposite. ‘No, we should because we haven’t done this before.’ If we are going to do it, we should do and put our all into it and see if we can take it all away. I love that about them.