Jennifer Beals
American actress who is known for her roles in The L Word, The Chicago Code, Flashdance and Devil in a Blue Dress.
There is no wasted effort. There is no wasted effort. It will all add to the path. It will all add to the journey. Somehow. You just can't even imagine how it will. But you just need to do things fully to the best of your ability. And you go towards the thing that you love. What you love to do.
[On meditation] ...that's the single most important thing that I do...there's something about understanding who you truly are. The essence of everyone is so beautiful that it's startling.
There is this incredible, indelible community that has sprung up around the show, a community that gathers in homes and clubs, from Los Angeles to Topeka, Kansas and around the world. A community that, in some places, meets quietly in a lesbian bar that doesn’t even exist depending on whom you ask.
I am strong-willed, and I am driven, and I am passionate...but I don’t have…a central cause…a motivating cause, I don’t know what that would be…other than trying to tell the truth when I work.
I'm interested when people will stand up for themselves. I'm always interested in that moment when someone decides it's not good enough, and even though it's painful, they're willing to make a change.
Love is large; love defies limits. People talk about the sanctity of love -- love is by definition sacred. Not some love between some people, but all love between all people.
I was doing press for the show and they were going to show a clip from The L Word that included a love scene of sorts between me and another character, and she had the audacity to say, 'If there are any children in the room, you might want to ask them to leave.' And my mind was blown open and I said to her, ‘If it had been a heterosexual love scene, would you have asked the same question?’ I asked her on air, because I thought, it’s important to ask -- it contextualizes the import of the show." My feelings were hurt and it just spoke to me of what the gay and lesbian community has to deal with on a day-to-day basis in terms of popular media.
[On handling stress] When you start projecting on the future—"Oh my God, I gotta do this and I’m not there yet"—well, of course you’re not there yet because you’re here now. That time will come…I try to stay in the moment as much as I can and find whatever joy I can in that moment, no matter what it is. Then it doesn’t feel as stressful.
[Regarding how the L Word change how she selects her roles] I really have a lot less tolerance for being subjugated to simply being the emotional center of a story, rather than being the active portion of the plot. It's as if women can't drive the action so often in stories. I don't know who made up that rule but it can get very frustrating if there's not more to play.
[Speaking about the US military's Don't Ask, Don't Tell policy] The health of a democracy is directly dependent on hearing the voices of its individual citizens. Silence is destructive. What could mar our safety more than this restrictive policy that requires its citizens' silence? What could mar our safety more than this restrictive policy that quietly attacks its own citizens' very selfhood out of fear? What keeps us truly unsafe as a country on a day-to-day basis is our inability to look inside and experience ourselves as a multitude, as a complexity. And as sure as I'm standing here, things are not always black or white, but sometimes they can be both.
[On boxing] [For] The Chicago Code, I did some boxing. It makes you stand differently when you know you can punch someone out.
I think science and spirituality are one and the same, I don't think they're really different…quantum physics is validating all kinds of spiritual teachings.
Every set is a man's world. Even on 'The L Word,' the crew was primarily men. The whole world is a man's world, unless you're in a nunnery. And even that is colored by what you're allowed, what doctrine you're allowed to practice.
It behooves all of us to have everyone experience their deepest, most beautiful, most profound and powerful self, because those people are more apt to give their gift to everyone else rather than shudder in fear.
What’s shocking is to see six-year-old children jump roping in the street at 2:00 a.m.—that’s shocking—a block away from drug dealers. Just to see that the gap in the circle is education, in my mind, primarily for young women, because it’s the young women that are raising the kids and that’s where the circle, I think, perpetuates itself.
[On cancer] One of the problems is that the notion of cancer has been so normalized. You hear about it so often, and it's not ok... it's not ok to normalize this disease. And with all of the pinkwashing that goes on —where companies are selling products based on breast cancer month — it's a lovely gesture, but consumers get so used to it that it becomes more normal.
It has been said, "History is written by the victors." I take this to mean we can make ourselves victorious by writing, and then rewriting our own stories. In a country and culture so dominated by media, by the manipulation of words and stories, telling the tales of people whose stories historically have not been told is a radical act and I believe an act that can change the world and help rewrite history.
When I started out, there weren't that many strong female roles, especially women who weren't just strong emotionally. I mean this is a also woman [her character on The Chicago Code, Teresa Colvin] who is strong physically, who isn't afraid of physicality. But now there are a lot more roles for women that are quite strong. I think the Academy Award nominations bespeak how many really great roles there are for women right now, and that's primarily because women are creating those roles for themselves.
At any given moment in your life, you have the choice between love and fear. And that’s a choice you make. You make the choice of how you react to events.
I hope through The L Word to become an honorary member of the gay tribe. I cherish the thought that some young girl or woman somewhere may one night turn on the television and for the first time ever see her life represented -- not as an isolated incident but as a multiplicity. Her overwhelming fear may have been that she might never find her tribe, she might never find love and now she knows that they are both out there waiting for her.