Top 85 Quotes & Sayings by Katherine Waterston - Page 2

I love connecting with a character out of the blue, not knowing why.

The things I love about this business the most, is that it is a challenge trying to prove to everyone - including yourself - that you can do something different than what people think you're capable of.

For 'Beasts,' I really wanted my character to be this sort of mushy, muscleless Muppet.

I think there's an assumption when you have a parent in the business that you're given some kind of a cheat sheet at an early age. Some kind of upper hand or some kind of advanced understanding of how the whole thing functions - maybe how to operate within it. I never felt I received that cheat sheet and grew up pretty removed from the business.

I think it's quite common for actors to almost rely on their characters to exercise parts of themselves in their regular life they don't tend to explore so much.

It's just a dream of the struggling actor to just have a proper shot - not just in a film that people will see, but with a character that's rich and complicated and that you can show you're capable of taking on.

I love that feeling. I guess I love escaping my life, really. I love going into another world and feeling for this amount of time that this is it, this is the world I'm going to live in. You feel it more during the rehearsal process.

I don't have shame with my body. I don't find a breast more vulnerable than an elbow.

I'm constantly struggling in interviews to engage and finish sentences, because I am being asked personal questions from somebody I don't know.

I was devastated when they stopped making sailors' pants with bell bottoms. There's something sort of spirited about the way they affected a man's gait. They project something good-natured.

The minute you get cast, you worry they've made the most terrible mistake. There's a really awkward stage between being hired and doing the job when it doesn't feel real.

Sometimes we'll walk into a set, and I'll think, 'Oh, this film doesn't look like this.' You know, 'cause I read the script, and I saw it in my head in some other way. Which is a lot like what happens when they're writing a movie that's based on a book - I'm like, 'Ah! He doesn't have a beard.' You have these visions in your head about it.

Can't remember a time when I didn't want to be an actor... though it felt like something I couldn't do until I grew up. I mean, I knew kids could be actors - I recall seeing them on my dad's shoots and getting jealous.

Being interviewed is an odd experience for me because I was an actor a long time before anyone ever asked me a question about myself. When I started being interviewed, I definitely felt I was being asked to defend or explain myself.

Sometimes you meet people, and you somehow feel like you've known them your whole life.

You kind of wake up in the morning, and you don't see anybody but these actors until you go home at night and pass out and do it again. So it's structured a lot like the process when you're making a film. You just kind of get in that tunnel vision. I like that. I like when the rest of the world kind of quiets.

I look back at my adolescence, and Im shocked at the things I did that were my idea of adult behavior.

Ive always wanted to play the villain. But the young girl is never the villain.

So when things start going badly, you're invested in the characters in a way I think amplifies the horror and the fear because you're invested.

What I love about the way they both [Paul Thomas Anderson and Joaquin Phoenix] work is that all of the monkey business is on film. There's no monkey business outside of the monkey business of making the movie. There's no ego bullshit, there's no wasted energy. It's all directed at the story and that's rare.

I dont think Paul Thomas Anderson has a standard approach to anything.

I didn’t find it difficult to live in the “Inherent Vice” world or play those scenes, because they just seemed so real.

It's weird. I feel like people assume if a character is very different than you, that means it's difficult to get into their head or into their skin.

I don't want to be a basket case on set. I try to sort of quiet all of that, all those thoughts, kinda just let yourself be aware of them when you're preparing to do the work but then once you get there you have to feel as free as possible. Anything that I perceived as something that ran the risk of stressing me out, I just left outside the studio doors because I didn't want to undermine myself.

I've never had to talk about my work, nobody's given a damn about it - you know, what I thought. I find that I sort of like that, to get to keep it to myself. It's a bit bizarre.