Taika Waititi’s Journey from New Zealand to Hollywood
(Written with the help of TextCortext.com)
Taika Waititi is a renowned New Zealand filmmaker who has made a significant impact on both the New Zealand and American film industries. This article will explore Waititi’s career, focusing on how he has incorporated his New Zealand and Maori background into his films. It will also examine how Waititi fits into the larger context of New Zealand and American film history.
Taika Waititi’s Career in New Zealand (2003–2016)
Waititi’s filmmaking career is closely tied to his nationality and indigenous background. He grew up in New Zealand, with a Maori father of Te Whānau-ā-Apanui descent and a Russian-Jewish mother [1]. His filmaker-debut began in 2003 when he wrote and directed the short film “Two Cars, One Night,” which featured a New Zealand setting and Maori lead actors [2]. The film received numerous festival awards and was nominated for an Academy Award [1].
Waititi went on to write and direct four feature films in New Zealand: “Eagle vs Shark” (2007), “Boy” (2010), “What We Do in the Shadows” (2014), and “Hunt for the Wilderpeople” (2016) [3]. These films all shared a common thread, with New Zealand settings and characters played by New Zealand actors [3]. Waititi’s career in New Zealand can thus be described as heavily influenced by his connection to the country and the Maori people [4].
Transition to Hollywood (2017-present)
Waititi’s transition to Hollywood began with the Marvel superhero film “Thor: Ragnarok” (2017), followed by its sequel “Thor: Love and Thunder” (2022). These films featured fictional settings with no direct connection to New Zealand [4], although they did include some New Zealand actors, such as Rachel House, who has a Maori background [5].
Waititi’s other American production, “Jojo Rabbit” (2019), can be linked to his Jewish heritage, as it is set in Germany during World War II and tells the story of a young Nazi boy’s relationship with a Jewish refugee [5]. Despite this, the film still features a New Zealand connection through actress Thomasin McKenzie [6]. It is also worth noting that Waititi himself appears as an actor in all three of his American feature films, which can be seen as a form of representation for the Maori people [6].
Waititi in Film History
In the context of New Zealand film history, Waititi can be connected to the rise of Maori filmmakers, following in the footsteps of pioneers like Barry Barclay [7]. The growth of Maori cinema was largely due to government support through the New Zealand Film Commission, established in 1978 [7]. As a filmmaker of Maori descent who has made films about the Maori people, Waititi can be seen as continuing this tradition of Maori stories told by Maori filmmakers [8].
Compared to American film history, Waititi’s emergence as a Maori filmmaker can be likened to the rise of marginalized filmmakers in Hollywood during the 1990s [8]. While the growth of marginalized filmmakers in Hollywood was due to increased production, in New Zealand it was the result of government support [9].
Waititi’s career trajectory can also be compared to that of African American filmmaker Ryan Coogler, who gained acclaim for his low-budget debut “Fruitvale Station” (2013) before moving on to direct the blockbuster “Black Panther” (2018) [10]. Like Coogler, Waititi, as part of a marginalized group, has achieved success by building on the work of previous Maori filmmakers [11].
Waititi is part of a historical trend of New Zealand filmmakers transitioning to Hollywood [11]. This trend can be traced back to the 1980s, when New Zealand directors who achieved recognition abroad were often lured away to Hollywood [12]. Waititi’s transition to Hollywood can also be compared to the trend of American independent filmmakers moving into high-budget Hollywood productions in the 1990s [13]. The main difference between these trends is that New Zealand filmmakers came to Hollywood for “arthouse” films, while American filmmakers transitioned to high-budget productions.
Conclusion
Taika Waititi’s career exemplifies the journey of a filmmaker from a marginalized background who has achieved success both in his home country and in Hollywood. His films have consistently incorporated elements of his New Zealand and Maori heritage, even as he has transitioned to larger-scale American productions. Waititi’s career can be seen as part of a larger historical trend of filmmakers from diverse backgrounds making their mark on the global film industry.
Sources:
[1] Khan, Jennifer. 2022. “The Multifarious Multiplexity of Taika Waititi.” Wired. May 31. Retrieved November 12, 2023. https://www.wired.com/story/multifarious-multiplexity-taika-waititi/
[2] Thompson, K., Bordwell, D., & Smith, J. 2022. Film History: An Introduction, p. 614.
[3] IMDb. 2023. Taika Waititi’s filmography.
Retrieved November 14, 2023. https://www.imdb.com/name/nm0169806/
[4] Khan, Jennifer. 2022. “The Multifarious Multiplexity of Taika Waititi.” Wired. May 31. Retrieved November 12, 2023. https://www.wired.com/story/multifarious-multiplexity-taika-waititi/
[5] Hesjedal, Tone. 2021. “Taika Waititi — a New Zealand Filmmaker.” NDLA. 3. december. Retrieved November 12, 2023. https://ndla.no/subject:6e2e2319-cb8a-4dd2-b382-e30f001633bb/topic:94de9967–1492–479b-b0a8–6764a616b50d/topic:fb143078-ea4e-42cb-aac4-cb5cace24170/resource:9d7ecec0-dc14–4dc1–8773-afcd2a9759d7
[6] IMDb. (2023). Thomasin McKenzie. Retrieved November 14, 2023. https://www.imdb.com/name/nm5057169/
[7] Thompson, K., Bordwell, D., & Smith, J. 2022. Film History: An Introduction, p. 613.
[8] Hoëm, Ingjerd. 2023 “maori.” Store norske leksikon. March 27. Retrieved November 14, 2023. https://snl.no/maori
[9] Thompson, K., Bordwell, D., & Smith, J. 2022. Film History: An Introduction, p. 662.
[10] Thompson, K., Bordwell, D., & Smith, J. 2022. Film History: An Introduction, p. 662.
[11] Thompson, K., Bordwell, D., & Smith, J. 2022. Film History: An Introduction, p. 614.
[12] Thompson, K., Bordwell, D., & Smith, J. 2022. Film History: An Introduction, p. 613.
[13] Thompson, K., Bordwell, D., & Smith, J. 2022. Film History: An Introduction, p. 674.
