katherine waterston Net Worth

She has an estimated net worth of $1 million.

katherine waterston fantastic beasts and where to find them

Fantastic Beasts and Where to Find Them is a 2016 fantasy film directed by David Yates. A joint British and American production. She played Porpentina “Tina” Goldstein role.

katherine waterston boardwalk empire

Is an American period crime drama television series created by Terence Winter and broadcast on premium cable channel HBO in 2012–2013. She played Emma Harrow’s role.

katherine waterston inherent vice

It is a a 2014 American neo-noir film directed by Paul Thomas Anderson, adapted from the novel of the same name by Thomas Pynchon. She played Shasta Fay Hepworth’s role.

katherine waterston the babysitters

The Babysitters is a 2007 independent drama film. Waterson played the role of Shirley Lyner.

katherine waterston hot | Bikini

Katherine Waterston Hot and Bikini

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katherine waterston Interview

‘State Like Sleep’ Star Katherine Waterston on Balancing Indies and Blockbusters [Interview]

Source: slashfilm.com

The film made me realize that we process sudden death differently than one that might result from a long-term situation. Sudden death sends us into this strange investigative mode.

Yes. We talked a lot about Joan Didion’s thoughts on it in “The Year of Magical Thinking” and how the rational mind makes sense of something horrific and painful and disorienting. I don’t know if Meredith and I got into why that happens, but I know I thought a lot, as we were making the film, about [her character] Katherine’s reluctance to initially face this loss and to let the grief in when she does return to face it. I was thinking a lot about how recovery can feel like a betrayal if you stay stuck in your own life; it’s a way to hold onto the connection to the person who’s gone. If you stop your life from moving forward, it’s a way to stay bound to them.

So here is this woman who is going through the motions, but she’s not living. She’s not taking pleasure in food, she’s not sleeping, she’s not laughing. She has cut herself off from the world and from the one thing that will one thing that will let her live again, which is facing the loss. I thought that was interesting, when a reluctant person is forced to face it and what happens when all of the stages of grief converge, interact and spiral together—it’s almost violent, and you see how there’s no good avenue to go down. The person is miserable not facing it, but facing it will be miserable too.

That’s the predicament and why I thought while reading and making the movie that the introduction of Edward [Shannon] was so interesting. To have someone who seems like a bad guy makes it easier to open up to because you know you’re not going to have to be responsible for this person or commit to them in any way. It’s a safe place to dip your toe, as it were, into living again. But then it turns out that someone who would be remotely attracted to Katherine is someone who understands loss too and is lost too. She thinks she’s inching her way back into life in a very, very safe way, but actually she’s run into something extreme.

I have to thank you for contributing to a film in which Michael Shannon is portrayed as a sexy leading man, with no irony. I had completely forgotten that you two have worked together twice now playing a couple. Is it fun to watch him and work with him on that level?

We actually made The Current War after State Like Sleep, but I had known him for 10 years before that. We’d done a workshop of a play in New York. I met him when I was 24 or 25, and I’d known him and been a huge fan, of course, of his work over the years. I can’t take any credit for putting him in this role; it was Meredith’s brilliant idea. But I think most people who know him would not be surprised to see him in a role like this at all. He’s so convincing playing unusual people and some pretty scary dudes, so I can understand how the public might be surprised. But in reality, as I’m sure you know, he’s really funny and charming and smart and has all the necessary characteristics of a leading man. He’s just too interesting to play them all the time [laughs]. I thought it was a brilliant idea and I’m so glad he did it, and I think he’s one of the greatest actors who has ever lived.

Getting to do The Current War after this was such a treat, but it fucked with my head and made me think we were contract players for a studio, and we were just going to keep getting to work together, which is totally my expectation now and not how the movie business works. But I hope to get to work with him again because he is so inspiring and creates such a great feeling on set. All actors want to work with people who raise the bar for them, and when you’ve got a great script and great director and great co-star who says “Let’s take this thing that’s already good and take if further,” it’s really exciting.

One of the things that binds your two characters is this idea that you both are away from home, in Brussels, being homesick. Were you able to identify with that longing to go home and be a fish out of water in a foreign country?

I hate to ruin the movie magic, but we actually shot this in Toronto [laughs]. They did a good job, and there are a few little parts of Toronto that, when framed correctly, look a lot like Brussels. We got lucky there. That’s something in the script that both Mike and I identified with. As actors, you’re always on the road, living in hotels. It can be very disorienting. Just as all travel can, it can also free your mind up a bit to see things from a different perspective. The character Katherine is very uncomfortable being forced back into this environment against her will, but the place permits her to face a lot of things by herself that she could avoid in the comforts of home.

I know a lot of actors I’ve talked to have said that you can see aspects of your life more clearly when you remove yourself from a familiar place and gain that perspective you get from being far away. But Katherine, she so forcibly disconnecting herself from the world around her that actually the feeling you get from spending too much time in hotels might not affect her as much as it does other actors I know. She’s already denying herself that. But certainly, the strangeness of hotel life is something Mike and I knew about and used in the film.

Now that you’re part of this Fantastic Beasts franchise that comes back into your life every couple of years, has that changed the way that you have chosen the roles you do in between? Maybe you’re looking for shorter-term commitments or smaller roles.

I don’t really care about the size of the part. It’s just the scripts and the characters and the people I want to work with. I did the first Fantastic Beasts and went right into Alien, and that was a lot of time away, but it was so much fun and I learned so much. I don’t really plan it t hat carefully, because it’s so hard for movies to come together—big or small—and you never really know what’s going to work out in the window you have available. There are so many factors that have to come into place that are out of my control entirely. I love doing small films and try to do them whenever I can and anyone will have me, but I’m not really that calculated [laughs]. Maybe I should be. I just kind of follow my nose.

Katherine, thank you so much for talking. Best of luck with this.