Taika Waititi Quotes

Genre might certainly increase some of your narrative freedoms, but it also diminishes others. That's the nature of genre.

Oh! this opponent, this collaborator against his will, whose notion of Beauty always differs from yours and whose means (strength, imagination, technique) are often too limited to help you effectively! What torment, to have your thinking and your phantasy tied down by another person!

As soon as I found out how compartmentalized the industry was, I realized, Well, no wonder the cartoons are so bad.

Artists themselves are not confined, but their output is.

Could I have worked under a system where there were Draconian controls on my creativity, meaning budget, time, script choices, etc.? Definitely not. I would have fared poorly under the old studio system that guys like Howard Hawks did so well in. I cannot.

Some people have a taboo about doing advertising in the States. You know, where they kind of make their bread and butter. But to me, that's crazy.

Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits.

Some of the smallest things on a smaller film, to me, are greater achievements than on a big film when you have the resources and the time and everything else.

I find in working always the disturbing intrusion of elements not a part of my most interested vision, and the inevitable obliteration and replacement of this vision by the work itself as it proceeds.

You have to shelve a lot of your inspiration. There's only so much you can do with one record.

I wish I'd been better able to resist the sense of obligation to write some of the poems I did. It's in the nature of commissioned work to be written too much from the side of your mind that knows what it's doing, which dries up the poetry.

Most filmmakers can't afford to try something out that doesn't work.

Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.

In my journey as a cartoonist, I seem to have accidentally stumbled into all sorts of traps, damnations and blacklists.

In order to understand what they need to understand, in order to write what they write, they have to be free. And yet, they aren't ever free. They are not free because they are not free of the constrictions their art puts on them.

In film work, you do the best you can under the given circumstances, but you don't have control. At least, I don't.

I suppose the worst case scenario is that people will get to the point where they can't actually afford to make what they want to make creatively. The industry is collapsing.

Not many architects have the luxury to reject significant things.

The artist must bow to the monster of his own imagination.

Working within the limitations of the shared world generally made the writing easier, because I didn't have to invent any of the characters or background, which is usually the hardest part.

The kind of films I want to make are struggling to get made. And if they are getting made, they're getting made on shoestring budgets with not enough time.

If the creative artist worries if he will still be free tomorrow, then he will not be free today.

Once I had left 'Twin Peaks' and started doing other shows and other movies, I kept running into, 'No, no, we can't do it this way. This is the way it has to happen.' I'm like, 'No. I've already done it, and it worked, so I don't understand what you're saying.'

I like television, but there's not as much freedom as there is in film or theatre, and I always felt that there is a certain pressure in being able to put out a product, but it's OK.

Honestly, I got a lot of offers which were similar to 'Badlapur,' and I didn't want that. Unfortunately, we live in a world which is so myopic that they only want to offer you what you have already done.