A Quote by Natasha Lyonne
I'm not to be confused with Natasha Henstridge in 'Species,' where I just emerge out of the weird alien womb looking amazing. I really rely heavily on my black outfits and my gold chains to give me sort of a thing.
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Film work can be anything from just really hard and stressful and you're subjected to really weird deadlines to really draconian and weird and disconnected. You're working in service of the thing, and that can be really amazing for everyone involved, or be kind of just a waste of time.
And I guess the thing that I really sort of rely on in me is that I love racing and I love competing and so I know that you know when the time comes and the pressure's on and I have to swim well, I'm sort of able to pull it out and sort of get the best out of myself.
I wore the gold is symbolic of my African heritage. When my black ancestors was bought over here from Africa they were shackled by their neck, they wrist and they ankles in steel chains. I turned those steel chains into gold to symbolize the fight. I'm still a slave, only my price tag is higher.
What I like to do is to give my real name in Starbucks but be really hostile each time, as if they're asking me something that I've never heard in my life. I give them a really dirty look, "Really? It's Natasha. Okay?" Like I've never been to Starbucks before. Each time. I enter the premises looking for combat.
I felt like my job is to go out there and put on a good show, amazing fights and give an amazing effort and hope that people can recognize that sort of thing, and maybe they would want to find out more.
She was an alien, really - a sort of eating, pooping, tantrum machine - and he didn't understand anything about her species.
I pay my models to work with me, so there becomes this weird sort of economic bartering thing, which made me feel really sort of uncomfortable, almost as though you were buying into a situation - which, again, is another way of looking at those paintings. The body language in those paintings is a lot more stiff.
I was wowed by Margo Jefferson's memoir, Negroland, which is about growing up black and privileged in Chicago in the fifties and sixties. It was a window into an alien world. Obviously, I'm not black, but what was really alien to me was her family's focus on respectability. I was never taught when to wear white gloves, what length skirt is appropriate.
The human species is no more unsuited to give birth than any other of the 5,000 or so species of mammals on the planet. We are merely the most confused.
Someone once bought me loads of clothes from a charity shop - and sent them to me in a black bin liner. That was weird. I went through it and it was full of bizarre outfits like Abba costumes.
The key to looking great in the evening is to look original. Try to look different from others without looking out of place. When everyone else is wearing black, stand out in a bold, bright color. When everyone else is wearing dress that falls to the floor, shock them with a short gold brocade suit. But try not to overdo it. Focus on one thing: Will it be a statement neckclace, a stunning pair of earrings, or really big hair? You decide.
To me, skin is alien and kind of weird; it weirds me out. It's strange, but it's also really intimate and personal; it's living, organic. That's how I want the music to sound; I want it to feel alien and strange, but also like it's got a heartbeat, like it's got a soul, like it's not made by a robot.
We live in this irreparably broken world, and I don't wish to deny reality, but the amazing thing to me is not that we refuse to relinquish hope as a species. The amazing thing is that we're right to hold on to hope. The world may be broken, but hope is not crazy. ... Obviously not all stories end happily. We don't always have good fortune, but hope gives us, as a species and as individuals, what we otherwise wouldn't have: A chance.
My mother might find a thin gold chain at the back of a drawer, wadded into an impossibly tight knot, and give it to me to untangle. It would have a shiny, sweaty smell, and excite me: Gold chains linked you to the great fairy tales and myths, to Arabia, and India; to the great weight of the world, but lighter than a feather.
I'm on Grace And Frankie, which is also about that time in life, I'm realizing. But I would - so I guess I am sort of in that show. But there's something about The Golden Girls and the sort of multicam set and Bea Arthur that I just want to be around those ladies all day long, and I want to be on those comfy couches and want to sit in that kitchen in those chairs in those pastels, and I want to wear Blanche's outfits and it's just really... and I want to sit outside in that weird little courtyard.
Normally, I rely heavily on my director to massage me out of my actor comfort zones.
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