A Quote by Sam Neill
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.
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Almost everything worthwhile carries with it some sort of risk, whether it's starting a new business, whether it's leaving home, whether it's getting married, or whether it's flying in space.
When people use the term magic realism, usually they only mean 'magic' and they don't hear 'realism', whereas the way in which magic realism actually works is for the magic to be rooted in the real. It's both things. It's not just a fairytale moment. It's the surrealism that arises out of the real.
Life is pretty simple: You do some stuff. Most fails. Some works. You do more of what works. If it works big, others quickly copy it. Then you do something else. The trick is the doing something else.
You can't have success without trust. The word trust embodies almost everything you can strive for that will help you to succeed. You tell me any human relationship that works without trust, whether it is a marriage or a friendship or a social interaction; in the long run, the same thing is true about business, especially businesses that deal with people.
[Julian Albert] is a CSI investigator; a forensic expert with similar skills to Barry, which gives them a different relationship to, I think, anyone else that he works with, because they're sort of treading on each other's toes in their field of expertise.
Grace stands in direct opposition to any supposed worthiness on our part. To say it another way: Grace and works are mutually exclusive. As Paul said in Romans 11:6, "And if by grace, then it is no longer by works; if it were, grace would no longer be grace." Our relationship with God is based on either works or grace. There is never a works-plus-grace relationship with Him.
I think any relationship that is normal - I mean, there's no normal relationship, but in terms of a flawed relationship, there's always gonna be awkward moments within that because you're addressing things that the world is throwing at you, whether that's distance or whether that's where this is going or other people and past relationships, all these factors.
Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it – I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world.' And it's not the world. The world is a million possible things.
Any time there's a major change, whether it's going into a relationship, getting out of a relationship, moving to a new city, a death - that usually provides a catalyst for an explosion of creativity.
What Taika [Watiti] still bring to it [Hunt for the Wilderpeople], it really sums up what life is like in New Zealand, or what our sensibilities, our sense of humor, how we come together, how easy it would be, feels like. You know, we have a small population and so you know the bizarreness of the police getting involved in this manhunt, how the men... And then eventually, the army all get intwines.
In my kind of reporting work, you don't parachute in after some big, terrible event, which is important and has to be covered, but offers only a glimpse. It's the kind of work in which you ask, what is my understanding of how the world works, and where can I go to see these questions get worked out in individuals' lives? That was really the question for me: whether I had anything to add to what had already been written.
A film is sort of binary - it either works or it doesn't work. It has nothing to do with how good a job you do. If you bring it up to an adequate level where the audience goes with the movie, then it works, that is all.
It's kind of debatable whether or not the advertisement model is effective. Like whether Nielsen works.
I think it took us all by surprise. I mean, I knew that people in New Zealand would like [Hunt for the Wilderpeople], but no one really anticipated how much they would embrace it as it is. And it's playing widely in Australia now; they're running it as well. It's going to be interesting to see how it does it in the States, but I think if Sundance was any indication, I imagine it could do well.
Fear runs our lives. It doesn't matter who you are. You have to understand your relationship with fear. Whether you're scared of getting into a relationship; or taking the new job; or a confrontation - you have to size fear up.
I'm a person who's been in a long-term relationship. It's not surprising that a lot of my friends - whether they're in same-sex relationships or not, whether they're married officially or just in a long-term relationship - have really interesting and various stages in their relationship. My life is looking at these friendships and saying, "Wait a minute, isn't this something really interesting? How can I explore this?"
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