Katherine Waterston Quotes

The moment that you start to read a script, you're watching the movie in your mind, and that's the one moment that you have. Then, you go off to make the movie and you become so lost in it.

A lot of writers want everything put on screen, but it doesn't work like that. The screenwriter brings her own imaginative interpretation, just as the director and actors do.

It's hard to see a film that's been made from a book that you really loved because it's such a different experience.

Every time I read a script, I see the movie in my head, and I try to see the best movie in my head because everybody interprets the movie differently.

Any time you read a book and get attached to the characters, to me it's always a shock when it goes from page to screen and it's not exactly what was in my head or what I was imagining it should be.

I thought I understood the story very well, because I've lived with it for so long. But movies change and take on a life of their own once they start to be made, and you have to keep your eye on the real ball, not the ball that's in your head.

As long as they're making beloved books into movies, people are going to be like, 'That's not my mental image of them.' It takes that moment for it to click and become their mental image.

I have deliberately left Sylvester and Julia's appearances to the reader's imagination.

I learned just recently, in fact, that a lot of people who read do not form a visual image from what they're reading. They just don't. They follow the events and get the resonance with the language, but they have only a vague, general idea of what the characters look like.

It's kind of a test when you read a novel thinking about its potential for the screen: How does it play on your mind's screen?

I see myself as a storyteller. So, when I read something, I see the story, and I see it on screen, in my head, in a certain way. I always want to see it and see me in it.

When I start a film, I can sort of shut my eyes, sit somewhere quiet and imagine the movie finished. I can imagine the camera angles, I can even imagine the type of music. Without knowing the tune, I can imagine the type of music it needs to be.

I've never read a script that I've loved equally and differently to the book.

An object is not first imagined or thought about and then expected or willed, but in being actively expected it is imagined as future and in being willed it is thought.

Originality depends only on the character of the drawing and the vision peculiar to each artist.

Turning one's novel into a movie script is rather like making a series of sketches for a painting that has long ago been finished and framed.

Personally, I'm a big reader, and I've never wanted any of my favorite novels to be made into movies.

Sometimes you see things in a script, and it doesn't necessarily mean the director sees the same things. And if you think you're going to be making a different film, then that's not gonna work.

It is all very well to copy what one sees, but it is far better to draw what one now only sees in one's memory. That is a transformation in which imagination collaborates with memory.

It was actually Peter's idea that I should make the film. He called me in the very beginning, and I hadn't even read the book. So I read it and I liked it very much and I knew I'd certainly like to do it.

You know how when you read a book and it becomes a movie, and it's different than you pictured? In some ways, acting is a lot like that.

In my mind's eye, I visualize how a particular... sight and feeling will appear on a print. If it excites me, there is a good chance it will make a good photograph. It is an intuitive sense, an ability that comes from a lot of practice.

If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.

It's hard sometimes, especially with a book like 'Scorch Trials,' to truly adapt to the way the book is because so many of the scenes that take place in the book are really graphed and painted for the imagination. Trying to bring that to life is a really big task.

I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie.