A Quote by Katherine Waterston

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.
I'm sorry, was that homophobic? No--I think it was, 'cause I hear that a lot. Dave, What?, You're talking about being gay. You probably secretly are gay. And I'm like listen voice in my head, I'm not! HOW DO YOU KNOW YOU WOULDN'T LIKE IT? HOW DO YOU KNOW YOU WOULDN'T LIKE IT? I know I wouldn't like it, other scarier voice in my head! 'Cause one time while making a sandwich, a cucumber went up my ass. Three times.
In the case of a film like The Exorcist or To Live and Die in L.A., I saw the whole movie in my head before I went to shoot it. I never did storyboards, or anything like that. I had the film in my head.
The second book, which was probably more from a professional standpoint - when I read Junot Díaz's Drown, I was like, Oh my god, you can write these stories and people will actually read them beyond your own little community. This guy's book is blowing up and it seems like [he's writing about] the neighborhood that I grew up in. That was a big deal. I read that in graduate school, so that's when I was really taking writing seriously, but I didn't know you could do it. I didn't know you can actually be an author. It was a weird epiphany.
This is quite difficult 'cause I have a really flat head, and so it's quite difficult to get a correct angle. And you can't go up from down below as well, 'cause I've got, like, rock solid gelled hair. And so, like, it was odd. I don't know, sometimes I feel like my head is being, like, turned inside out. Like that episode of Ren & Stimpy when he's inside his own belly button. I don't know.
When I auditioned for 'Pitch Perfect,' I didn't know it was a singing movie. I didn't read the script. I go to the audition, and I'm like, 'Oh, it's a baseball movie.' But then I'm reading the lines, and I'm like, 'This doesn't seem like a baseball movie.'
I'm a comic book writer, so I work with a lot of artists. Sometimes, you get art back, and you're like, 'Oh, no.' Sometimes, you get art back and you're like, 'That's exactly what I imagined in my head,' and you're happy about that.
Sometimes when I go out and drink with my friends, they will say, "Seungri, don't be discouraged. I like Seungri. Why do you walk with your head down? Have more confidence, lift your head and walk." I guess friends understand each other.
I just believe in the movie. I don't care what the book was like. I don't care what the previous film was like or other films were like. I care only about the script I've got.
I think a lot of us have some form of body dysmorphia... You're looking in the mirror, and you're kind of disassociated in some way. I think a good reminder is to actually, physically touch yourself. 'Ah, okay, this is what my arm feels like. It's not what I'm mutating in my head. I'm not some sort of scary monster.'
You ever talk about a movie with someone that read the book? They're always so condescending. 'Ah, the book was much better than the movie.' Oh really? What I enjoyed about the movie: no reading.
I don't know if any of you feel this way, but it's like eventually, you see a woman come on screen and you go, "Oh, thank God!" You just sort of need a break from all this testosterone, which happened, I think, in one of my films, The Hurt Locker. I was in it for like five minutes, and people were like, "You were in that movie!" And I was like, "Well, kind of." And they were like, "No, you were!" 'Cause they needed a woman!
'Parava,' in my head, was always a film about children. And I was like, 'If I can be part of the film and help promote it in some way or the other, I'd be very happy.' I also did 'Ann Maria' because it was a story about kids.
I know a lot of other actors that don't like to look at other references to their characters and things. But I like it. I always look at everything, I read all the books. I read Dieter's "Escape from Laos." I watched the documentary again and again and again. I recorded it just to listen to him a lot. I just don't suffer from feeling like I'm getting caught into an imitation. I just feel like I want to steal some good stuff if it's in there.
There's no benefit to saying that you're a feminist. But you do kind of get a nice patriarchal pat on the head if you say, oh, I'm not like that, like I'm not one of those crazy feminists, which is something that happens a lot, where young women or young men will express some sort of feminist ideal, will say, you know, I think it's crap that Wal-Mart won't give out emergency contraception, but I'm not one of those crazy feminists.
I never read a book if I'm auditioning for a film based on it. I like to stick to the script only because that's exactly what I have to play.
Well, you know, I never want to feel like I have a set plan of what I'm supposed to do. I kind of like to go script by script, and if I like the character and like the story that's why I want to do a movie.
This site uses cookies to ensure you get the best experience. More info...
Got it!