Whenever I talk about being a feminist or speaking out for equality, it's also about the idea that men are treated with respect. It's not just about treating women like people and not abusing them. You also can't abuse men and you can't say things like, 'Oh, he was just a man. He didn't know any better.' Or 'He's a man, what did you expect?' That's just as abusive and damaging to men, I feel.
I would want my son to value himself as a person. To hold himself to a higher standard, and to not listen to all the stuff that's shoved down men's throats about what they're supposed to do and how they're not supposed to feel. I want him to know that he's a person and he's allowed to have emotions and be vulnerable. That doesn't mean he's not strong.
You're always striving for a place of Zen. Or a flow state, where you kind of transcend reality and you go to the other place. It's when everything is in sync, and everyone is connecting with one another. Everything is going perfectly. You lose yourself. It's the ultimate form of meditation where it's an out - of - body experience. Afterward you come back to Earth and you're like, 'What just happened? We just did something awesome!' It's this energy in the room when you know you're nailing it and you know everyone else is feeling it too. That's why theater is so awesome.
Whenever I start freaking out and getting stressed, I have to remember that this is just the beginning.
I love walking onto the set and the blindfold is taken off and then everything I do is fresh and in the moment. That's why I loved working with Darren Aronofsky.
Working with men like Al Pacino, Tommy Lee Jones, Michael Douglas, Edward Norton, David Morse, and Kevin Costner, you have to step up and look them dead in the eye and, you know, scare them. I can see it when it happens, and they don't know it's coming. It's the best look on any man's face when he gets paired with a woman and he doesn't expect her to kick his ass. I'm not saying I've kicked any of their asses, but I feel like I have held my own and said, "I am a force to be reckoned with." It's about not being intimidated. I feel it makes me a stronger woman.
Usually I approach to acting completely blindfolded. I read the script, I connect to the character, and then I try not to think about it too much until I'm there and I'm in wardrobe and I'm with the other actors and we're going through the scene once.
I had been in a place where I was letting too many people dictate who I should be and what I should be, and I was trying to make everybody happy to the point where it was just killing me. I'd completely lost myself. It's kind of funny now that people think I've completely changed myself for Marilyn Manson, when this is actually the first time in my life that I took a stand and said, "This is who I am and this is who I've always wanted to be, and I'm finally with somebody who lets me be who I want to be."
I try to stay out of the public eye as much as possible because I want people to be able to watch my films and not be distracted.
People have misconceptions about Marilyn Manson, of course, but they can think what they want.
I'm not in the media that much, so people don't know my personality very well - they just know my work. I feel bad for people who have to read about my personal life and my relationships and see photos of me going through security at an airport. It's like watching a commercial for a hamburger that looks delicious, like a Big Mac, and then going to where they make it and taking photos of what it looks like behind the counter, and it's horrifying.
I wasn't doing it to shock anybody or to be rebellious or to get attention making "Heart-Shaped Glasses" with Marilyn Manson. I was more proud of that than anything because it took a lot of strength and bravery to put myself out there like that. It was a risk. I'm glad that I did it because usually the best things I've done have come from the biggest risks. Thirteen was a risk and that was amazing.
That's why I love music so much. It completely saved me. There are so many feelings you can't explain, and you can hear one note on a guitar and somehow that sound explains what you can't put into words.
I really fell for Marilyn Manson. I thought how awful it was that an artist like him could be blamed for something - someone who brings so much to the world and, if anything, probably comforts kids who are in pain by saying, "You're not alone."
I haven't got many tattoos, but the two that are most important to me are music tattoos. I have a black heart with a lightning bolt down the middle. And the black heart was for Manson and the lightning bolt down the middle was for David Bowie. I have black diamond with circles that keep swirling and swirling, and it's surrounded by sort of crazy diamonds because Pink Floyd's "Shine On You Crazy Diamond" really inspired me, and everybody's called me Crazy Diamond since I was a teenager, so it was always important to me.
I have my own demons, my own pain and darkness, but I choose to embrace them and look at them head-on and deal with them. Then it doesn't hurt, and you learn from it.
One of the reasons why I fought for my roles is that I think there are so many things about them that are just human, but people like to label them as weird or bad or wrong because they're scared of them. I don't consider them bad - they're girls. They're going to make mistakes, but the films show the repercussions and show that they're going to learn. A lot of people are made to feel bad for being sad, so on top of already being unhappy, you're gonna hate yourself for it.
I actually fell asleep during one take with Jeffrey Wright because I relaxed myself so much. I just stayed so still that I just nodded off, and kind of snapped back into it in the middle of the scene.
What I normally do as an actor in playing different roles, I just have to do in a span of three seconds sometimes, so I think I'm lucky that I've been doing it so long that I can do it rather quickly.
Lisa Joy is so incredible, and she's always on set making sure everyone is okay and being respectful. We have a zero-tolerance policy on that set [ in the Westworlds]. If anyone is inappropriate or makes you uncomfortable, they're literally gone in two seconds. It's no joke. It's very professional.
It was really the dream role, and when they first cast me, and I started playing Dolores [in the Westworlds] and all I knew was the analysis mode and her prairie-girl character, I thought, "Yeah, of course I can do this, and I'm good at it, but why did they pick me?" Not because I'm not capable, but I'm also kind of a tomboy, edgy, so I was curious.
The running joke on set [of the Westworlds] was that everyone at some point thinks that they're Anthony Hopkins. Like, "Guys, I think I'm Dr. Ford. I'm Anthony Hopkins. That's the twist." We love all of the theories. Part of the fun of that show is figuring it out.
There's really barely any sex in [The Westworlds]. But there is a lot of nudity. And it was always described to me as being done in a way that was supposed to be kind of sterile and mannequin-like and dehumanizing.
I think my favorite theory so far is that I am actually a robot. That's pretty great. In real life.
Evan Rachel Wood is a robot, yes. And some of them, there was one person in particular that was so sure, wrote like a whole thesis, and tagged the whole cast. He was like, "Here's my theory. And remember I said it first." He was so proud. And it could not have been farther from what we're actually doing, but it was cute. I love that people are getting so passionate about it because I went through a million different theories, and they would keep changing and evolving.
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