Cycle I: Reference
Cycle II: Media
Cycle III: Interact

Mechanical Animals, Antichrist Superstar, & Holy Wood

--Radio One Rock Show - August 2000
MM:"Antichrist Superstar began a three part story. I started with the ending and worked my way backwards, so Holy Wood is the begining and the glue that ties the three together. When you put the three albums together it's a whole body of work."

--Alternative Press - December 1999
MM:"I always work in threes, and Anti-Christ Superstar, Mechanical Animals and the forthcoming album all tie together as one story. Once again it's very different from the prior two things. It's the most dark and violent music we've ever done, probably because of the abuse in the media I recieved last year. I thought that if I was going to get blamed for something, I'd give them a real reason. This album will make them wish I'd never been born." - September 2000
MM:"Once Holy Wood is finished and you take our previous albums and listen to Antichrist Superstar, Mechanical Animals and Holy Wood, you'll realize that it's all part of a story. The story I worked on for the past 10 years. And once the book is finished it will become even clearer - at least on a rather esoteric scale. All the albums are just links on a chain."

--German Official Site Webcast - October 2000
MM:"Holy Wood differs from Antichrist Superstar and Mechanical Animals, but it also relates to them as well. Antichrist Superstar was full of brutality and rage but it was emotionless and cold. Mechanical Animals didn't have that same type of rage, but it had a broader sense of emotion to it, and this record has a combination of the two." - September 2000
MM:"Mechanical Animals was an album that expressed my personal revolution. But it was two years ago. I dared to record exactly the album I wanted to record. Mechanical Animals and the character Omega were just elements of my art. Now, in retrospect, they've become very essential elements of my art. A character like Omega (which I adopted for the previous album) and a song like "Rock Is Dead" were both satirical pictures of a rebellious rock star. I played a role. It wasn't Marilyn Manson. It was a parody, but a lot of people didn't get that. I have the idealism to start a revolution, but I had to realize that my revolution started to be just another product of the system. Omega is the perfect example for it. The new album Holy Wood will remind everyone about the things they always hated." - September 2000
MM:"Every album is some sort of a mirror, a mirror of the feelings I used to have when I wrote the album. But people change and I change too. I am not the same person I used to be. It would be sad if I still was. If you take the albums and look at them, they're like photo albums, pictures of the past, pictures of an evolution, my own personal evolution."

--Official Website Webcast - Part 1 - September 17, 2000
MM:"Holy Wood when taken on its own is a record about revolution, it's a record dealing with the evolution of man, and where violence comes from. When incorporated with the other two albums before it, it's more of an autobiographical story. After I finished writing Antichrist Superstar, I painted an ending, and I knew that there was more to tell. But the strange thing was that the story itself, since it was my own, began writing me. So I was in a position where I had projected myself as something that I am today, and I knew what it would take to get there, and I knew what I'd have to do to myself in order to make that transformation. But I still had to live it, rather than just tell it. So I began by going backwards. And Holy Wood itself deals a lot with growing up, and it deals a lot with relating to the way I think a lot of people feel today in America, trying to exist in this culture that makes you feel worthless, and I feel like if you treat somebody like they're worthless they're gonna treat others with no value as well."

--Official Website Webcast - Part 1 - September 17, 2000
MM:"The story, if I were to put it in a simple paragraph or two, is my story, but I chose to tell it with metaphors. Holy Wood itself is a name and a metaphor I've created for the perfect world, with the ideal that everybody tries to hold up as what we all should be. And the story is about spending your whole life trying to fit into that world that doesn't want you, and being knocked down over and over again, and just fighting and fighting until you finally get there. And when you get there you realize that everyone around you are the same people that kept you down in the first place. So that causes a resentment. And in this case, that resentment became a revolution. And with anyone that starts a revolution, there's always an idealism that you can change the world. And, rather than changing Holy Wood or the rest of the world around me, that revolution became turned inside-out and it ended up being another product, and it ended up being everything that I was fighting against. And the only thing that you can do at that point is to destroy what you've become. And that's a story that I saw beginning "Antichrist Superstar," and it's a story that I ended up living. And that goes through "Mechanical Animals," and now back to the beginning with "Holy Wood." - November 2000
MM:"The strange thing is that I started writing a story, but then it started writing me. With Antichrist Superstar, for example, I was not the rock star and the Antichrist Superstar that I claimed to be when writing it. But by doing that, I became that. That's not to say that I'm a prophet or anything like that, but to say that the story took me where I needed to go. Mechanical Animals was me writing it and making a comment on how I saw the music industry and the media trying to exploit and sell out my revolution and my ideals. I myself wasn't doing that. I was making a sarcastic character, and that itself happened. With Holy Wood, the beginning of the story, it kind of traces back and shows where it all came from. In a way, it's kind of an end, because even if it's the beginning of the story, I'm finishing what I started. It's come full circle. The story itself existed in its rawest form, and after Antichrist Superstar was done, I knew what I wanted to say. It was a long-term commitment to know I'm going to put out this record that is going to be very different and a lot of people may not understand. But I know that when I do Holy Wood and they look back, or when they read my book, they'll see the bigger picture. Maybe they won't appreciate it, but for me, I will. I enjoyed it and I was at no point trying to be self-indulgent. I think that's where a lot of people really fuck up. I wanted to make something that had a strong story, but I kept in mind at the same time that some people just want to listen to music. I didn't want to burden them with something that's self-indulgent, because I think that's pretentious and it's not fair to your fans. I always try to put myself in the shoes of a music listener, or how I felt when I was growing up listening to music." - November 2000
MM:"I feel like Mechanical Animals was continuing up on the graph. A lot of people had an awkward expectation in a sense. When I wrote the record, it's important to note that I was making a sardonic comment on what I perceived the media and the record company were going to try to make me up to be. So half of the songs were these hollow, cynical and sarcastic representations of what Marilyn Manson was. The other half were dealing with the pain of knowing that this wasn't me. At the same time, in America, a lot of people considered that record to be a step down, or not to have done as well as Antichrist Superstar, which is not true. If you look at the basic facts and numbers, it was more successful on every level for me. I felt that musically we had grown. It was a different type of record. Antichrist Superstar contained and relied upon rage and abrasiveness, while Mechanical Animals relied on melody and a little bit of a complicated message. From there, we go to 1999. This is where I hit a wall, because America decided to really close the door on my face. It wasn't the same as the battle that I fought on Antichrist Superstar, which was more one I was meant to fight, one I was born to fight and one that I created."

--MuchMusic - November 17, 2000
MM:"I started out with Antichrist Superstar. Which is just completely opposing religion altogether, but now I wanted to re-examine things and interpret it on my own terms and say, Well, now I can enjoy the image of Christ or the story of Christ, but on my own terms, not the way I was taught to."

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