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.

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 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.

I just couldn't believe that it [Into the Forest script] had fallen into my lap, because I felt so incredibly connected to my character, and I understood her, and I really...I haven't had that feeling about a script since I had read Thirteen or The Wrestler when I was just like, "No one else can do this." I just feel so passionate about it.

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.

It was such a bigger picture [ Westworld] than what I thought it was. It's more of a revolution than a TV show.

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.