We haven't evolved a hero story that's female. We're always trying to fit women's stories into this male structure, which is this rising action, this powerful conflict, and this falling action. And I think a female hero story is not that. It's something else.

My family was always wondering why I ended up playing people who were mentally ill, insane, downtrodden, and a little crazy. I think what they don't understand is that most female parts are written basically as hysterical women.

I've never felt terribly attached to acting because I always feel like the world is really big and really interesting, and there are a lot of places that I can put my energy and be fulfilled.

The women I know are smart, interesting people who aren't just there to service the men's stories, so I don't know why our art continues to do that.

I left drama school to do 'The Book Thief' - it was a real trip going straight from school kind of right into it, but I feel like the momentum of being in school put me in a good mindset as far as going into it as a learning experience.

Education is the tool. Even if we haven't directly instructed a session, I think Wu-Tang has been an instructor of education to anyone who has been a fan, anyone who has supported our movement, whether its been from buying a Wu-Tang CD or coming to see a show.

Some of the most exciting space education in the country is not coming out of Washington or New York or California or even Texas. It's coming from a place in Kansas called the Cosmosphere.

To see this place would truly be worth a trip to India in itself, and from the spirit of the religion that lived here one can learn more in an hour of viewing than from all the books ever written.