Katherine Waterston Quotes

Basically, the way you get into any role is just doing research on the type of character you're playing.

The process of rehearsal means you learn so much and really get the chance to develop your work on a character.

I personally take cues directly from the script, then I like to surprise the other actors. But you must maintain control on a level and see how far you can go up, down or out emotionally. You have to balance the craft with spontaneity.

I do not use any set methods, not even The Method. The character after all is in the lines.

In choosing any role, I ask the same questions: what kind of part is it? is the role challenging? does the director have a vision? is the story moving? etc.

I love an acting challenge, and I love getting to sit down with my script and do all my drama work.

I demanded two weeks of rehearsal because to me as an actor, that's the most important time.

With any actor, if you know your character well enough, you'll know pretty much what he would say under any circumstance, or whatever situation might rear its head.

The trick to acting is not to show off, it's to think the thoughts of the character.

I think people are always trying to demystify whatever acting is, so they want to know what your method is.

I love having the opportunity to explore a part for a great length of time, really get deeper and deeper into it, because you only have a chance to do that once or twice in a career.

The thrill of acting is the discovery part, so it all changes, but it has to change in a way that fits what is written. You can't just wander off and get interested in your own tangent.

As an actor, I know it is my job to shape myself for a role - any role.

When I find those actors who are going to work that hard and collaborate that deeply, my role is to make sure there's a whole lot there for them to work with.

I think my concerns are the same as every actor. Can I find this character and make it come to life properly?

When you start out on a project as an actor, you know, you approach the character from the standpoint of maybe writing a list - even if it's a mental list that you make - of the adjectives that the character has or that character possesses.

I had an acting teacher tell me once that if you're playing a car salesman, you don't want to be an OK car salesman, you want to play the best car salesman.

I have just gained a deeper and deeper respect for acting and the whole art of it because you're really trying to live a life and to do the best justification for it.

You know, I've never been much of a method actor. I feel like, with every project I go in extremely prepared and I like to have a good time.

My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.

I started to see acting as a real science. That really helped me grow as an actor.

I don't really prepare for each role the same way.

It's kind of up to the actor to deconstruct the scene and deconstruct the character and figure out how to make it real. That's what I love about this job: It's sort of a puzzle each time, and figuring that out is sort the key, whether I'm playing a cop or a killer.

There are always practical decisions to be made about any character you're playing.

I know a lot of actors who get a part and then they dissect it and they want to change it and they want to add stuff. I'm always amazed and so impressed by actors who do that.