Moby vowed to start locking the doors of his Los Angeles mansion this week, after waking up early to discover a drug-addled complete stranger standing next to the couch in his living room.
Writing about the incident on his blog, the multi-millionaire producer described calmly asking the intruder to leave, before giving him a jumper and a small amount of cash.
“I guess he and I are both lucky,” Moby concluded.
“He's lucky that I didn't have guns and that I didn't call the police and that I gave him some breakfast money. I'm lucky that he wasn't a violent crazy person and that he didn't stab me in my sleep. I’ve also decided that locking my doors might be a good thing. I know, who doesn't lock their doors? Well, I don't. Or didn't,” he added.
Moby moved into his mansion, called Wolf’s Lair, in August, some two years after it was advertised for sale at US$7.5million. Press reports said the canny New Yorker paid less than 4million dollars for the faux chateau, described by one local real estate agent as ‘a Hollywood Hills castle-like fortress with views of the Hollywood sign, downtown and the ocean’.
His relatively benign close encounter contrasted markedly with that of much stalked fellow LA celeb Paris Hilton who similarly discovered a stranger trying to enter her home when she awoke at 6.30 last August.
'So Scary, just got woken up to a guy trying to break into my house holding 2 big knifes,” Paris Tweeted hours after the incident, “Cops are here arresting him.”
http://bit.ly/gBNewU (Wolf’s Lair (2008): ‘SELLERS: Debbie Matenopoulos and Jay Faires LOCATION: Durand Drive, Los Angeles, DESCRIPTION: Wolf's Lair–One of Los Angeles' architectural icons. 3 acre walled & gated castle compound.
This is a truly incredible one of a kind property with views of Downtown, Griffith Park Observatory, Catalina Island and the Hollywood Sign. 3.3 acres. 8 bedrooms & 6 bathrooms. Main house built by L. Milton Wolf–Hollywoodland developer. Guest house by architect John Lautner. Heart shaped pool, pool house, cabana & a 1920s speakeasy . . .’)