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"I've been painting. I've also got my own monkey. I've been working on this project for six years. Every morning I would wake up and say, 'How can I bring this story to the screen?'"

"She was an injured woman with an indestructible spirit. People today talk about abuse. But it doesn't apply to that time or culture. Diego Rivera was a free spirit. She thought she could change him."

"Anyone else would have given up by now. But I've been obsessed with this project for eight years, and I know it will be made."

"At that age [of 13 or 14] I did not like her work. I found it ugly and grotesque. But something intrigued me, and the more I learned, the more I started to appreciate her work. There was a lot of passion and depth. Some people see only pain, but I also see irony and humor. I think what draws me to her is what Diego saw in her. She was a fighter. Many things could have diminished her spirit, like the accident or Diego's infidelities. But she wasn't crushed by anything."

"This movie should be played by a Mexican. In a way Frida was like Mexico--her body was broken, but she had a strong spirit."

"To me this is not just another movie. I want to tell this story about my country and my people. For a couple of decades, Mexico was an important center where great people from the arts and politics gravitated. I want to remind the world of that."

"Frankly, Miramax has too much money invested in it now to give up on it. I know this film will be made."

"It is necessary to thank Madonna because of her passion for Frida and her interest in the project that caught the attention of the public who did not know who was this painter before."

"In Mexico they protect the memory of Diego and Frida because figures are keys and I believe that Madonna could not make her project because the ones who had the rights did not want to have her."

"Frida and I have the same facial structure which is the most important thing and the hardest thing to alter with prosthetic. We have the same mouth and same eyes. Of course Frida didnít wear the makeup I wear and she had one eyebrow and her hair was different. She also has a different nose and her ears were bigger. We have done some prosthetics for the ears and the one eyebrow, but Miramax doesnít want me to change the nose and they donít want me to wear the mustache, though I want to wear the mustache. The similarities though are really scary."

"Frida lived at a revolutionary time in Mexico, when the artists spoke for the people. In a way, she represents what Mexico is -- she had a broken body but an indestructible soul. It's good to see that Mexicans are finally beginning to confront their government and starting to speak out to fix things instead of just complaining. This seems to be her personal policy, too. Having Madonna involved has been really good for this project óshe brought a lot of attention to this artist."

"Frida represents a time in Mexico when art and politics were merged together and people were not afraid to express themselves. This story can be incredibly inspiring."

La Gran Vida:
"Carmelo Gomez is my great discovery. People think that he is very serious, and now I got to know him in depth... He is crazy! He makes more jokes than I do."

"I make films for very strange reasons, or at least my reasons are different from the usual ones in the film industry. My agents were against La gran vida because I rejected another film in the United States. But I had to come to Spain."

Time Code:
"This is the most incredible experience I've ever had--and the most stressful because you have to make decisions on the dot and improvise to fix the problems that come to you. Nothing is really set. And there is no room for a mistake. The danger of it, the experimental quality of it, really turned me on."

How the audience will see 'Time Code':
"people feel like they're peeking into different realities"

On improvising:
"Once, Whoopi Goldberg walked by and wanted to know what I was doing. I had to say, 'Shhh, Whoopi! I'm filming a movie."

"I play a muse, so sheís not human to begin with because sheís some kind of celestial creature whoís a little bit flamboyant and lacks all source of reality. Although I have to say I find, that although she has an attitude towards human beings, she has a lot of weaknesses that human beings have, and this is what makes her so funny..."

"I am a Muse that is fed up with everybody taking credit for her work. She has inspired Shakespeare, Mozart, Renoir - and all these people have had acclaim, and she has never been acknowledged. So she asks God for permission to come to Earth and try to become a writer herself. But she gets writer's block....I think people will stumble across a lot of surprises."

"I thought it was very brave, but mostly I thought it was very funny, and I thought it was great to have a comedy which has such complex characters, and these complex characters had great dialogues that were ingenious and witty and at some points, philosophical."

On the controversy:
"Dogma is not a regular kind of movie. It's very modern and Kevin, who also wrote it, is probably one of the most important voices of his generation. It's a very interesting farce. It caused a lot of controversy when it opened in the States. I think maybe Americans are too prudish - wait till it opens in Mexico, where I come from! Really, it's very pro-God and it has a great sense of humanity, but it doesn't applaud religion very much."

"I feel good that it's not the Catholic Church that is mad at Dogma. It's a small group of people that are always mad at everybody. And that they created this organization to protest against things. So they are waiting around all year long for something like this, so they can exist, you know? And justify their existence. And it's quite normal. And I do understand that not everybody should like this film. And [if they don't] then they shouldn't go see it."

Wild Wild West:

On her character Rita:
"I would describe her as a girl who gets into this adventure because she goes on a mission, and she's [also] very naive, about many things. She thinks she knows what she's doing, but she doesn't. But at the same time, she's very clever, and she's a little bit manipulative, and it's all for good reason. But she gets her way."

"I think this role is very fun, because Rita is this woman who has gotten herself into this adventure. She is on a mission. She is a little bit naive, and she doesn't quite know what she is doing although she thinks she does. She gets herself into trouble at the same time that she is naive, she is a little manipulative and clever. At the end of the day she gets her way. It's all for a good reason and it's all in a fun way."

"I wanted to do this film because I wanted to work with Will Smith, because it's fun. And Kevin Kline. And I wanted to be directed by Barry Sonnenfeld. And I wanted to be part of a big blockbuster summer movie."

On Will Smith:
"I really think Will is not just some big movie star. He's a very, very good actor. And I wanted to work with him. And he was everything I expected and much more."

"Will is the most loving creature on earth. He's always in a good mood. He's always singing. He's so talented. He's so giving. He's so professional. I absolutely love him, and I just hope we get to do some more work together."

How Salma reacted when Will Smith and Kevin Kline dropped their trousers:
"So I come out, and they are mooning me: Their butts are where their faces are supposed to be. So I was very professional and very serious and said my lines to Kevin [Kline]'s butt. Then Will [Smith] talked and I turned around and talked to Will's butt. So by the time I turned around and knew they were seeing a little peek-a-boo of my butt, it didn't feel bad, because I saw the whole thing."

"Wild Wild West was both easy and difficult to make because it's a movie about many things, not about the characters, but about the wild, wild West. My character is definitely out of her element and doesn't have a clue how she will manage this adventure. Let's say she's a little naive. But hell, Kevin Kline's character has a crush on me. Can't be too bad!"

"What I responded to in Rita is that she likes adventure. I liked that she's very naive and, at the same time, clever and manipulative. People really want to see me as a sexy woman, [but] there's more to me than that."

The Velocity of Gary:

"The Velocity of Gary has got to be the smallest film there is out there, for 1999. It's a modern tragedy, and it's very intense."

"Why did I want to do The Velocity of Gary? Because although I knew that nobody was going to go see that film, I loved the part. It was somebody that was so strange in my world. Somebody that I have never come across who is so distant from who I am, and where I come from. And I wanted to discover her. And then I wanted to help the people make the film because they couldn't get the money, and I really wanted to make the film. So I became a producer. And that's why I did it. And every time it's for a different reason. You said that you have never run across this woman."

How Salma created the character:
"I went to the streets of New York and spent some time there. Talked to people. And ultimately you find them all in your heart. They're all in there. You just don't want to see sometimes. Or you don't want to know. But they teach you compassion. And learning about them and finding those reasons for doing things makes you a better person when you do run into them and you don't look away. And you just see them in a whole different way. That's wonderful about being an actor, I think. And I really love that character."

"The movie is a love story. It's about this girl who just lives for the moment and doesn't have any plans for the future and doesn't have a job. She doesn't care about anything but this one man, who is her life. This man is going to die; he is in love with her, but he is also in love with another man. She is completely irresponsible and lives in denial and now she has to grow up and take care of him. She has to let that other man that she hates in, and between the two of them they have to walk this man that they both love through death. They are both not equipped for this job, but together they sort of have to do it. It's a modern tragedy. I think what it's about is family; it's about people who don't have families, so they go to the streets and find a family there."

"It's a strange relationship because I hate the other guy. It's not like we're having a threesome. I hate his guts. And he hates me. We're sharing a man. And I don't know if I could share [that] with Ö But you know what? That means that she is a lot more novel [than I am], and understands unconditional love better than I do. I love working with Vincent [D'Onofrio]. Yes, he's fantastic. And then the other guy is Thomas Jane, who will become a very famous person."

"It was very tough to raise the money for this film, even though it was so little it's a joke. Films with this kind of subject matter always have a struggle getting made. Making films is really hard, and if it has anything that's a little bit out of the mainstream, then it's really hard to get made. Especially when it is about a tragedy. There was a point when it looked like it wasn't going to ever get made. They started out by saying, "Can you donate your salary?" and I said, "Yes." Finally, I had to roll up my sleeves and get more money to complete it."

"Itís a very intense movie. Itís a modern tragedy and a really, really weird movie. I loved my part and it was a great role to play."

"Nobody's going to go see ĎGary,'. I did it for the pleasure of doing a part I wanted to get my teeth into."

"This is a character that at one point had a pretty normal life and this is why when she begins to break down she looks back and has to ask herself, how did she get there? She had put her whole past in denial. I pictured Mary Carmen as the sort of person who only lives in the present. She doesn't have any plans for the future. But she is forced to look at the past and start thinking of the future. It's not in the movie, but in rehearsals we did a whole thing about her mother dying and being left alone on the streets. For research, I went to some really bad places in the Bronx and hung around to get the atmosphere. I also went here in LA to a really bad donut shop at, like, four or five in the morning. Boy, did it stink in there! Everyone was drunk or on something."

"For the part, I thought of myself as a child. She has that sense of fun. I still have it, maybe not as much as I used to, but nothing is too important and all you care about is just having fun. Also, we both love to entertain and to be the center of attention."

On imitating Diana Ross:
"I watched a tape of her and studied what she did. I memorized it really fast and that was it. I really do love Diana Ross; I grew up listening to her records. I grew up in a little town in Mexico, so while we got the music, we never got the experience of watching her. I only knew what she looked like from my mom's albums covers. "Ain't No Mountain High Enough" has got to be one of my favorite songs ever."

No one writes to the colonel:
"The novel reflects the soul of my home country, even though itís not a Mexican book. The characters are real and human. The movie expresses home and emotionalism beyond stereotyped ideas. Of course Iím proud to do a movie based on a novel by Gabrield Garcia Marquez. But Iíll really have to go all out for it. ďEl CoonelĒ is not exactly the kind of movie thatís going to sell easily in the United States. It almost torments me how much of my childhood went inside that movie. Thatís why my heart is so attached to it."

"For the last 5 years I think Arturo Ripstein has done most of his films in one-shot scenes. I shot one scene, which was 5 minutes, and there was not one cut the whole time the camera is moving. So you have to have a very good sense of the space and of the rhythm and it is a whole different process. It is also a period piece where I play a prostitute whoís love of her life has been killed and sheís blamed for it. This woman is full of the things humanity does not have for her like compassion and love, so itís a very sad. Itís a film full of humanity."

"El Colonel was my acid test. There wasnít sufficient money, legal problems; the whole project threatened to bust. Thatís when I went out to get the money. Even my agent was impressed, didnít think me capable of that. Then the shooting began, but suddenly the financing collapsed. I went out again. At the end they accepted me in the credits as a producer."

The Faculty:
"Robert Rodriguez gave me my first shot [in Desperado]. He asked me if I could do a cameo in his film. And I was really busy; I was doing Dogma, and getting ready to do this one. And I said, of course, yes! Definitely. [He said] "Should I send you the script?" I said, "Don't worry about it. How many scenes do I have?" "Two scenes." [I said] "I'm there. I'm there, and can we do it in a day?" And he said yes. And I flew over, and I said, "What do I do? Where do I stand, what do I say?" And I did it. And I will do anything he asks me to do."

"When you look at the faces, they were 20, 30-year old people who had expression of a child. I think [Studio 54] was about selling dream to ordinary people of being a start for a night. People wanted to feel free and feel loved and feel good. There were doing drugs and thinking, 'We can just be promiscuous.' More than thinking of it as decadent, I think of it as innocent. It's pretty naive to think that you can live like that and not have any consequences. They thought they could hold on to youth by doing that."

Fools Rush In:
"Alex and Isabel start at the end and work their way back because usually, when you meet someone, you get to know them little by little until one day you have the courage to make a stronger commitment. These characters make the commitment at the very beginning, and then start getting to know each other."

"I really fell in love with this story and had faith in it even before the screenplay was written. I saw this project mature little by little, going through different phases, until I saw everything fall in the right place at the right time; three years ago, I might not have been ready to play this character. I knew that this film was my destiny in much the same way that Isabel believes in destiny's role in her life."

"Isabel takes the step of marrying Alex because, to begin with, there is this strong, incredible attraction. She believes in destiny, although she doesn't realize that love has found her until the end of the story."

"I was attracted to Isabel's humanity. It's very rare to run into a character so human in a romantic comedy." "She's Catholic, she's very close to her family, she's a very nice girl, but she does have that one-night stand."

"I am extremely grateful to this country (Mexico), and I have learned many, many things here. This movie gives me the opportunity to give something back to this country. To show something about where I come from, and about who I am, about my roots, that this country could use. And that is family values. Family unity. Family support. Of all the bad things we have, that is one good thing, family values. I just hope in some ways it's inspiring for the young American couples that are beginning a family. Because we are very affectionate. We are not afraid to touch, we are not afraid to show or say how much we love a member of the family."

"People usually describe this kind of film as `Boy Meets Girl,'. But I think that's a little sexist, so I'm going to say it's `Girl Meets Boy.'"

"It's basically about two people who know nothing about each other and how they deal with being married. It is a romantic comedy, but it also deals with some tough issues. Hopefully people will cry a little bit, too."

"What interested me about the part was that I saw the possibility of playing a real woman. This is a woman who makes a conscious choice. . . . It gave me the chance to show a range."

On Matthew Perry:
"We're neighbors. He lives four houses away from me. "I see him every day on the way to work. It would be foolish of me to make an enemy of him. He could come over and stomp all over my flowerbeds."

Matthew Perry: "He's a joke machine. He knows exactly what faces he's going to make, how he's going to move the lines around to give it the right timing. He's very good."

"The moment I read it, I knew I had to do the part. It's a film that really knows the soul of a Latino woman. It's based on a true story of a Mexican woman and an American man who got married because she was pregnant."

"It's honest and gritty as well as funny and romantic and there are very few of those kind of roles out there for Latino women."

From Dusk Till Dawn:
About Robert Rodriguez: "I will be his slave because he believed in me when no one did. I will tell you one good thing that I'm proud about myself, and that is gratitude to the people who have been good to me."

How Salma lost her fear of snakes:
"Fear? I had a phobia. I tried meditation, dream work, reading about the snake, what they meant in Egypt, for the Aztecs, the Toltecs, the Mayas. Then I started going to this pet shop. I would talk to this little snake, "Panchito, what a beautiful little tongue you have." I got kicked out because it would be a party every time I walked in. Then I met this producer, a Mexican-American. He told me, "You really want to get rid of your fear? Lay down. Take your shoes off." Then he went tap, tap, tap on my chakra points-I thought it was ridiculous-and then I started crying and crying. To my suprise the next time I saw a snake, I grabbed it and danced with it."

"Some men have a silly theory about beautiful women - that somewhere along the line they'll turn into a monster. That movie gave them a chance to watch it happen."

"There was a lot of work behind those five minutes. A lot. It might have just looked like I was dancing with a snake, but I think I really created a character."

"But I've had so many laughs in my working life. A recent one was when the snake dance I did in From Dusk 'til Dawn became a hit with the strippers in Las Vegas. I was shooting a film there and went with the guys to a club for a bit of fun. During a break in the show all the strippers came up to me and asked me to do the snake dance for them because they get a lot of people coming in and asking them to do the dance for them. "I didn't do the dance, but I took it as a huge compliment."

Robert Rodriguez about the role of Carolina:
"The studio wanted a blonde for Desperado. I thought we should have a Latin star play a Latin heroine."

Salma explains how she first was contacted by Robert Rodriguez:
"I went to see El Mariachi. I thought it was so great, new and brilliant. I was driving home thinking how much I'd love to meet Robert Rodriguez, because he's a genius and he's part Mexican. So I went home, went to bed, and was woken by the phone. It was Elizabeth, Robert's wife, saying, 'My husband would like to meet you...'"

Salma talks about her character Carolina:
"He told me: 'bookstore'. That was it. Carolina owns a bookstore in a town where no one reads. She is a realist but has a fantasy world. Theses books are her friends and lovers. She travels and meets people through her reading. She's a dreamer, and when she sees the Mariachi walking down the street, she knows he's her destiny and is coming to save her."

Salma Hayek and the stunts in 'Desperado':
"You know how macho boys get when they're all together? Well, the set of Desperado was like that. They were all trying to put me down, saying, 'Bring on the stuntwoman, Salma can't do that.' But I did everything. The scene where Antonio and I jump across two buildings was great. They put cables on us and it really was like flying. I didn't want to stop. I kept saying, 'Can we do it one more time?' I had a blast..."

Salma talks about the hot-wax depilation before shooting the love scene:
"I was screaming from the pain. These three girls were supposed to be from the best manicure place in the town. It turned out they never waxed a leg before. They only had waxed mustaches. I couldn't let it interfere with my performance. That's all that matters."

Breaking Up:
Salma about the movie:
"After Desperado, I had the chance to do bigger, studio films. But I didn't find any scripts that intrigued me more than my next film, Breaking Up. There's only two characters in the whole film: Russell Crowe and myself in a comedy about love. . .and sadness. It's funny and sad at the same time. Just like life."

Salma about relationships in the 90ies:
"We want to analyze absolutely everything the other person's doing, and we want to understand why he's doing it, right? You try to control everything, and it's terrible. You want to be so healthy that you're not."

"Breaking Up deals with something that fascinates me - the phenomenon that we never marry the person that we truely love. Because you fear the true love and you completely commit to the other person and lose control over your own life. So you rather marry someone you can get along with well."

On Russell Crowe:
"Russell Crowe is one of the best actors I've ever worked with,"

Midaq Alley:
"I went back to Mexico last year to do Midaq Alley, a film that has now been selected to represent Mexico at the Academy Awards this year. That was another example of doing something I believed in that paid off in the final result. I follow my instincts. They've never betrayed me."

Four Rooms:
Salma about her cameo as showgirl:
"I said to Robert, 'I've never danced and you want me to wear a bikini?' He said it was a favour and , 'You have to be in every movie I make. You're my good luck charm.'"

Fair Game:
Salma about rewriting her scene in the movie:
"Billy (Baldwin) was freaking out, saying, 'Excuse me, I need to see the director'. But he loved the scene--we got a standing ovation from the crew and became good friends."

"Honestly, I needed the money"

Mi Vida Loca:
"I auditioned for the lead in MI VIDA LOCA for four months. At the end, she came up to me and said, "I'm going to give it to the other girl, but I really like you. I can give you some small parts so you can get your SAG (Screen Actors Guild) card." I said OK. The poster came out, and I was very big, and the other girls were really small. No one saw the movie, but they saw the poster.

"I don't know how the Mexican people could sit through it every night and bear it. I couldn't. I did a terrible job. I had people constantly saying to me, `I love you, Teresa!' and I said, `This has nothing to do with real life! If I have any real talent, this is going to kill it.' So I decided I had to leave, go somewhere else and start from scratch. But this time I had to do it right."

"Telenovelas are like a mirror reflecting the hopes and dreams of the Mexican people. We are romantic and melodramatic. And we are always hoping for a miracle thatís going to happen and change your life."

Salma talks about her aspirations as an actress:
"I always wanted to be an actress ever since I was a little girl, but later I tried to convince myself that's not what I wanted. That I wanted to settle down with a stable career. That's what everybody else was doing, and it's what my parents expected of me. So, I tried to put that part of me away. but, I couldn't fool myself."

"When I finally decided to leave school and pursue acting, my parents didn't take it very lightly. My friends thought that it was the tackiest thing they'd ever heard of. Acting was really beneath them. They couldn't believe that I would want to become an actress. Not now, of course."

How Salma choses her roles:
"I don't have a formula. I have instincts. When I was in Mexico, I had a good, stable acting career going. I had a very comfortable life. But I also had my instincts telling me to move on, to get out of here. Even though I had to start from the ground floor all over again in L.A., it was the right thing for me."

"It breaks my heart because there are some parts I know I would have the right spirit for, and I just don't get them because I have an accent."

"When I'm doing a movie, that's when I relax. As stressful as it can be, as much pressure as it should be, making movies is still the place where I feel the most at ease and I truly enjoy it. That's why I make so many."

"I'm creating my own projects, so I can choose parts that are closer to me." It is totally without anger when she explains that "all this stuff you've been seeing me in is a stretch. They're not well-structured characters. I have to come in and make something out of nothing, most of the time."

"I've come to the point where, if Hollywood doesn't give me the parts I want, I'm at the place where I can supply them for myself. Because I do believe in myself even if they don't."


"I'm a bit of an abstract figure that people can project their fantasies on; it's pretty much what we all are, otherwise we wouldn't be stars, and people wouldn't be interested. But people project things on you that have nothing to do with what you really are, or they see a little something and then exaggerate it. And you can't really control that. Robert Rodriguez saw me as very sexy for Desperado, but that's not the only thing that I am."

"When I was in Mexico, I never had this sexy image. I was not a sex symbol or anything I think it's great that people find me sexy ó as long as they realize there is a lot more than just that I am not this perfect, huge woman. Actually, I'm very short, and people, when they see me in these films, think I am a statue. That was an illusion created by Robert Rodriguez, and everybody bought it. I don't reject my sexuality. But I have been studying acting for 10 years. I can do a lot more than dance with a snake."

Love & Life:
What Salma looks for in a man:
"I'm a sucker for talent. I think it's the sexiest thing in the world. I'd like them to have a sense of adventure and fun. Loyalty, obviously. And some sense of humor. But I don't like the really funny ones. You always have to laugh at the jokes. It makes me nervous."

On the meaning of life:
"Life is tough, and if you have the ability to laugh at it you have the ability to enjoy it."

"It's got a lot to do with listening, to yourself and to who you are," she confides, "instead of just what you want. That applies to both love and career, because sometimes people want something for the wrong reasons. Out of ego, out of competition, out of revenge. That's not who you really are. You've got to know how to trust yourself."

"I aim for a lifetime full of movies. I want to work for a long, long time and keep growing in my work, and if I am very lucky and very blessed, maybe somewhere along the line there will be one movie in there that becomes a classic.

"At least 20 years of constant work. And even then, it's not about one movie. It's not about two movies. Whoever thinks they've made it, no matter how big they are, if it's before the age of 60, they're wrong. They may have had a time in their life when they were famous, but you cannot evaluate a career like that. Even if you get an Oscar, what happens if you don't work again? Are you going to be kissing the Oscar in your free time? I think you're successful when you're 70 and you look back at an honest life you can feel proud of, that you left the world stamped with children, grandchildren and many wonderful movies to watch."

"I'm proud to be Mexican, but we've been lied to a bit too often by our government. It's made me realize that this system can sell people, especially women, a lot of dreams they never get."

"When I got to Hollywood, being Mexican was considered so uncool. If I have my way, that's going to change."

"We shouldn't be bitter toward Mexico: our generation should be about having the choices our parents didn't have, whether it's politics or movies."

"I'm not impressed with any party in Mexico. That's what makes me and my generation different: we don't believe in anyone until they show us they deserve it."

"When I first started, they said, ďJust donít say youíre Mexican. With your name and your looks, you can pass for Lebanese. Work on your accent. If you cannot get rid of it, just so that it sounds more Middle Eastern. And then youíll have a better opportunity."

"I am very proud that Mexico has fought so hard to have a voice and make it count, I think it has been a fight fought with a lot of dignity and I think we have won a different kind of respect from the world because we did it in peace and in harmony"

Being called bombshell:
"I was excited because I'm in these publications and I would find all these new words to my vocabulary that I've never heard before, and some of them I still don't understand. Bombshell? Is he saying something bad? What does that mean? That I bombed in the film? Nobody can tell me where this bombshell adjective comes from."

Working out:
"That's the one part of American culture I hate. The concept of going into a room full of people who are sweating and inhaling their sweat while I'm painfully driving myself into exhaustion . . . I don't understand it. I walk on the beach or ride a bicycle or jump around my house, but I will not participate in that collective hysteria."

On her friend Penelope Cruz:
"There isn't just friendship, but admiration and respect for her; I feel happy when she works, I'm her biggest fan and the first one to go to the cinema when her movies premiere. She is very talented, with a certain magic that makes her out of this world."

On independent movie productions:
"I can play just another beautiful girl, but where is that gonna take me? I can have the money and buy all these things, but that's not why I am an actress. I am an actress because I love what I do. I'm not crazy about how much money I get paid... it's not about the money."

On the so-called Latin revolution:
You see, I am not the one breaking the Latin barrier you're the one breaking the Latin barrier. You're the one who put it up, and you're the one who's tearing it down now. All I have to do is be who I am."

On fashion & style:
"My image here (in the U.S.) has been associated with style and fashion. I've made a conscious choice to put a lot of effort into it--not only because it's creative for me, but to break the stereotype of Mexicans ... it's important for me to show that we don't wear huaraches and sombreros all day long."

On the H&M bikini poster campaign:
"I didn't have a movie and I thought I might never work again so I took the campaign."

On her first driving experiences in the US:
"One time, I was going to Santa Monica, and I drove for hours. They told me to get on the freeway, and of course, I stayed on the freeway. I called my friend and said, "I see a sign on the hill that says MONTEREY . . ." I had to stop the car and ask someone, "How do I get to Burbank from San Francisco?"

On losing the 1996 MTV Movie Award for Best Kiss to the Species character:
"I'm a helluva kisser, but I can't beat the tongue going through some guy's head and killing him."

On her USO trip to Kosovo (Thanksgiving 1999):
"I've kissed thousands of soldiers today. It's not a bad job."

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