Equally comfortable performing Chekhov as she is working with the likes of Paul Thomas Anderson or Ridley Scott, leaving indelible stamps on independent features and Hollywood blockbusters alike, the Anglo-American actor can do it all. Talking to friend and special guest editor Michael Shannon, Waterston reflects on the dreamy nature of her craft, climate change, the limits of language, and how motherhood will forever shape future performances
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Katherine Waterston: That’s true.
Your new film, The World to Come
, was extraordinary. How did it come to you?
The director, Mona Fastvold, sent me the script and after reading the first page, I didn’t read the rest for a week. I got scared – it was that good. There was a line: “At night I often wonder if those who have been my intimates have found me to be a steep hill whose view does not repay the ascent.” I found the character – a rural New England woman in the mid-1800s with no prospects, no autonomy – who was kept up at night wondering not what they didn’t