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- Whatever my film work was, it was a departure from the sex symbol previously, who was blonde and more docile than the characters I portrayed as a sex symbol…I think it was a different role for women. Women watch other women, and they are affected by that.
- On how she felt that her early roles were a form of liberation in “Body of Work: Screen Siren Raquel Welch Gets Her Lincoln Center Retrospective” in The Observer (New York, February 7, 2012)
- A lot of times I would play a lot of roles a man would play…In One Million Years B.C.—yes, the costume was revealing. But I was outdoors all the time, I was fighting to survive, there was a girlfight. I was participating, it was physical, and I was independent. I wasn’t that pushover kind of a girl. And I think that left an impression.
- On how she felt her roles were masculine in “Body of Work: Screen Siren Raquel Welch Gets Her Lincoln Center Retrospective” in The Observer (New York, February 7, 2012)
- It’s not that I wanted to go into the male mentality, but into the duality. There’s a duality in every man and every woman. And when you have a homosexual man who’s a movie critic and he wants to make himself into a woman who somehow resembles a film goddess, like the women in film from 1935-1945, and then you have to watch how she interacts with these young people who have know idea who they’re really dealing with. The film never could embrace the different layers of complications of what’s going on with Myra/Myron…
- On her role in the cult classic film Myra Breckenridge in “The GQ&A: Raquel Welch” in GQ (February 10, 2012)