A Quote by Niki Caro
When I made 'Whale Rider' - of course, I'm not Maori and have no business, as a white girl, telling people how to be in this movie - I started by learning the language, as best I could.
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A film like 'Whale Rider' is equally truthful, perhaps more so, to the Maori experience; Maori people respond to 'Whale Rider' because it's a world that they understand.
Maori get pigeonholed into the idea they're spiritual and telling stories like 'Whale Rider' and 'Once Were Warriors,' quite serious stuff, but we're pretty funny people, and we never really have had an opportunity to show that side of ourselves, the clumsy, nerdy side of ourselves, which is something I am.
I've never not felt Maori, ever. And because of the era I grew up in, I was never not seen as that. I would walk down the street with Mum and Dad and people would say, 'Look, there's a little Maori girl.'
With every film I've made, 'Whale Rider' included, I've had a vision that was far bigger than the budget allowed.
I made 'Whale Rider', I saw that to be specific and authentic is to be universal, and I've continued to work in an identical way ever since.
I couldn't know about my culture, my history, without learning the language, so I started learning Arabic - reading, writing. I used to speak Arabic before that, but Tunisian Arabic dialect. Step by step, I discovered calligraphy. I painted before and I just brought the calligraphy into my artwork. That's how everything started. The funny thing is the fact that going back to my roots made me feel French.
I'm quite proud of growing up in New Zealand where, from quite early on in primary school, you're learning to count in Maori, Maori mythology and dances and colours and history, and I think that gives a child a really good grounding.
I didn't play the Ghost Rider in the first movie. That was a stuntman. In this film, the Ghost Rider feels much more alive because I did put some thought into how he should walk and into how he should move. I was so into the character, in fact, that I would paint my face with white and black makeup to look like a skull. And I put on blacked-out contact lenses, so I almost looked like an Afro-New Orleanian voodoo icon by the name of Baron Samedi. Oh man, I would walk around the set without saying a word to anybody, and I could see the fear in my co-stars' and co-directors' eyes.
Whale Rider' was a very authentic and specific movie about the indigenous culture from where I come. Amazingly, by the fact it was so authentic and so specific, it became really powerfully universal.
I can use movie as a language. Not only could it send a good message, I could let people know about my thinking and how I see the world, how I see the colour, how I see the music, how I see everything.
'The Sopranos,' for instance, is arguably the best cable show of all time. They could have made a movie, but that show ended so perfectly, it would almost be a disadvantage to make a movie like that. Then again, if you made a 'Sopranos' movie, people would be lined around the block to go see it.
Even before I started going to movies, I loved the idea of them. When I started learning to read as a kid, I started reading the movie pages in the paper and I could tell you what was showing at every theater within a ten mile radius of our house.
I'm part Maori. My mum's Maori, and she raised me. And my grandma, she's Maori.
I have become a subscriber for 'Business Week.' It teaches me a lot about business, and I have really started to get into it. I'm interested in business and learning about how everything works.
I'm the worst rider. I'm a terrible rider. Me and horses are not a good mix. For some reason, people are always trying to get me on a horse in a movie.
People don't connect the girl that sang 'Mickey' with the girl who was one of the seven original Lockers or the same girl who was in 'Easy Rider' or the same girl who choreographed David Bowie, Tina Turner, and Bette Midler tours. It's like I've led five lives.
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