A Quote by Bernard Hill
Actually, parts of New Zealand remind me of Suffolk. There's not many flat bits, but just the atmosphere there. There's a kind of a core tranquility about it, a kind of assuredness that this is fairly close to approaching the perfect way to be.
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New Zealand was kind of getting a reputation for making middle-of-the-road films that weren't really that unique. They were kind of New Zealand versions of overseas films, and for sure, having an Oscar nomination totally helped me get funding.
People just don't like me, and it's unfortunate, because I'm trying to get people to come down and visit New Zealand. I'm an ambassador for New Zealand... it's kind of sad.
There are parts of New Zealand that I absolutely fell in love with that I will miss going back to, but I kind of think that is the part that can continue and will continue on. I don't imagine I'll stop going back to New Zealand, because I feel part of the fabric there, really.
I love New Zealand and don't get to come there much. The south coast of Australia and New Zealand have a similar vibration, and a lot of the music comes from this kind of space.
I'm not a great sleeper. I try and do too many things every day. I think that I get very obsessive about parts and projects. I do let them kind of consume me, and when there's something on the horizon that I want to be involved in, I just kind of hurtle myself towards it.
We weren't the kind of family that talked about our problems. We were a close family, in a kind of faraway way. It wasn't a being-with-each-other kind of close. We all went our own ways.
The core of the film [Hunt for the Wilderpeople] is that relationship. Whether they're getting on or whether they're not. If that relationship works, then everything else works as well. And you kind of almost, sort of, gives into a realm of something like New Zealand magic realism... There is no world in which social work is actually pursues some kid into the woods in this manner.
We are approaching levels - if we're not beyond levels - of threshold for the number of messages that consumers can take in in a given day. There is a kind of hunger for some kind of new approach to getting the word out about something.
When I start to write and record a track, I always think about where it is supposed to take place, what kind of room that is, and what kind of atmosphere it should have. Also how it should be performed, and by what kind of musicians or vocalists. I work in a very theatrically minded sort of way.
I actually dislike, more than many people, working through literary allusion. I just feel that there's something a bit snobbish or elitist about that. I don't like it as a reader, when I'm reading something. It's not just the elitism of it; it jolts me out of the mode in which I'm reading. I've immersed myself in the world and then when the light goes on I'm supposed to be making some kind of literary comparison to another text. I find I'm pulled out of my kind of fictional world, I'm asked to use my brain in a different kind of way. I don't like that.
It's hard to pick. I mean, I think the one that is most emblematic of the collaboration that occurred is "We Know The Way." That's the first song we wrote for the movie [Moana]. We actually got it written that weekend in New Zealand, so we're all in New Zealand, we're all absorbing this culture, and Opetaia [Foa'i] brought it in.
When you're dealing with Hollywood people, it creates a tight, tense atmosphere through the whole thing. And I don't like to work in that kind of atmosphere. I like to make my movies in a kind of relaxed atmosphere.
I mean, in many ways, you know, I felt very connected to Ian (Dury) on, on a lot of levels. I mean, politically, & sort of, socially, our, kind of, social backgrounds are quite similar in many ways, as well as our kind of artistic endeavors. So there were many, many things that sort of chimed in for me, and kind of made me feel very instinctive about playing him, and, and although, there was sort of a certain amount of impression involved, actually, there's a lot of myself in the role.
I spend a lot of my time thinking about how to spend my time. Probably too much - I probably obsess over it. My friends think I do. But I feel like I kind of have to, because these days, it feels like little bits of my time kind of slip away from me, and when that happens, it feels like parts of my life are slipping away.
My family comes from New Zealand, but I'm a London girl. I was born and raised in London, but I've got the blood of a New Zealander, so I always kind of felt like I didn't belong - in a good way.
Once I close the doors, it's closed. I don't open it back up. That's kind of me as a human being. That's just one of the things about me... But yeah, for me, I don't close anything until I'm officially done.
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