Rhys Darby Quotes

I'm so hard on myself that when I'm in the studio, I'll write 10 songs and only use one. So those nine songs that are left over, I always think, 'Where could these go? Who could they be for?'

I think if you speak to any creative person, there's something so powerful - so intoxicating, if you will - about discovering another voice, another instrument, another way of looking at things, another way of perceiving things.

When I give over to somebody's vision rather than have an idea of what I need to do, it takes me to places I wouldn't have got to by myself. I'm always attracted to a strong director.

I like messing around, and I like working with artists who I respect.

You can never tell when an artist really will take up someone's work and work with it happily.

Fashion is much more collaborative than one might think. You have to have an idea and vision, and you have to communicate that vision to a team of people, and you have to create an environment that allows those people to give the best that they can give.

I would never assume to tell another actor how to do his job!

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

When I finish a picture I don't show it to anyone if I feel it's not good enough yet. I've learnt to listen to my partners and my friends. For me it's the biggest success if they like it.

I always prefer shooting on locations, because when I'm at home, it's harder to sort of get lost in the world of whatever you're making. It does, it does force this bond and community amongst a group.

The great fun for me is these collaborators. I'm nothing by myself. Being with these people, whether it's the 'Homeland' cast or stage collaborators, they make you everything you are. They make you come to work. They make you be alive.

There are times when the writers ask us to improvise. Sometimes the animators are inspired by what you do, and sometimes you are inspired by what the animators do.

There are so many designers that I love, and I'm so lucky that I get to work with so many of them and sometimes spend time with them.

There's something about coming up with something out of nothing. I work with somebody else's creation already, and I just try to make it better.

I like to choreograph and create and design the costumes and do it all and then step back and watch it and then move on to the next project.

That's one of the great things about creativity. You labor away in a room, and when you're writing a film, it couldn't be more of a solitary activity or a lonelier job, but if you then write a film that gets made and goes out into the world, it kind of flies away from you. It's not yours anymore.

I feel that I don't know anything, I don't know how to act, but I can surrender myself to a director I respect and love. I feel very lucky to be a part of their visions.

In the beginning we were creating our music, ourselves, every night . . . starting with a few outlines, maybe a few words for a song. Sometimes we worked out in Venice, looking at the surf. We were together a lot and it was good times for all of us. Acid, sun, friends, the ocean, and poetry and music.

Every first draft is perfect, because all a first draft has to do is exist.

With a film you go with the script that's already written. And I've never thought of a project, a film that would come from my own desire. I don't think I can do it. I need someone else's desire to be able to do something. With a record, it is completely different, it's a collaboration with another artist, but I'm willing to go into intimate places with no masks on.

Perfectionism is the enemy of creation, as extreme self- solitude is the enemy of well- being.

I'm constantly striving to break through to something new. You try to maintain a neutral approach to your work, and not be too hard on yourself.

I always feel when you work with an artist and whenever I work with a really good photographer, I try to give him or her their own artistic freedom because that's the way you get the best work or at least the most interesting work.

To switch right into creativity usually takes a bit of time, and this came up right at that juncture where I thought, okay, here's an opportunity to work with somebody I really respect in a new medium.

I can write the stuff and play it myself and have something in my head, but the best feeling is when somebody else plays it and they're hearing something other than what I'm hearing.