I have a commitment to real worlds on screen. I like working in real communities. I like telling real stories. — Niki Caro Copy Share Image
I recognised that femininity and strength are not mutually exclusive, and I think that femininity has often been equated with weakness, but we know… — Niki Caro Copy Share Image
I'm not at my house storyboarding, and telling them they need to move from A to B, 'Move here and then there.' Never, ever!… — Niki Caro Copy Share Image
I don't see myself as a crusading feminist filmmaker. Not at all. I have the luxury of coming from New Zealand and I've had… — Niki Caro Copy Share Image
Fundamentally, the way I work is exactly the same whether I'm making 'Whale Rider' or 'Mulan'. And those two stories are somewhat similar. They… — Niki Caro Copy Share Image
Martial arts are inherently both incredibly impressive and incredibly beautiful. And that's my female nature, maybe, and my instinct, to make things beautiful. — Niki Caro Copy Share Image
I blew up the mine in 'North Country'. It was about a kilometer long. I was so nervous that I'd do it wrong that… — Niki Caro Copy Share Image
As far as people getting into the industry and creative roles as writers and directors, I would say that technology is on your side,… — Niki Caro Copy Share Image
In all cases, I will always hire the best person for the job, and it just so happens that many of those are women. — Niki Caro Copy Share Image
The problem for me, with most movies for children, is that the filmmakers make the mistake of making it too simplistic. Where a child's… — Niki Caro Copy Share Image
When I was starting out I was way too scared to ask real directors how to do it or ask for advice, I'm really… — Niki Caro Copy Share Image
If you look at my body of work, which is not very big, really, it took an evolutionary leap with 'The Zookeeper's Wife'. — Niki Caro Copy Share Image
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… — Niki Caro Copy Share Image
