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Rhys Darby: ‘Luckily, no one's given me a full clay model of my nose'

Rhys Darby: ‘Luckily, no one's given me a full clay model of my nose'

The Guardian5 days ago

Who did you look up to when you were starting out?I had an obsession with BBC comedy, mainly sitcoms and Monty Python. The Goodies was a big one for me. It was all sketch, absurdity, silliness. I didn't get into standup until my university days because I just didn't think it was a vocation, especially not in New Zealand.
You served four years in the New Zealand army when you were a young man. Did it inform your career in comedy at all?I grew up watching Dad's Army with my mum, and that's one of the reasons I joined up. I thought all the action would be fun. I brought my sense of humour with me so got told off a lot. Turns out, it wasn't really Dad's Army but it was the New Zealand army, so it wasn't too far off. We had moments where we were literally rescuing sheep. I've taken some of the skills with me into my career: self-discipline, drive, getting up on time.
Can you recall a gig so bad, it's now funny?I did a gig on an aeroplane just after 9/11 for a brand-new airline. They wanted to have me on the inaugural flight as an entertainer. It was at 8am. People started looking at me like I was a threat. I did some weird stuff about clouds and some of the airline upholstery. One thing you'd never do as a standup is go and sit with your audience if it goes badly. But I had no other choice. One guy said to me, 'Why'd you do that?' I said, 'I got paid.' No one believed it.
What has inspired your latest show, The Legend Returns?It's about me fighting against artificial intelligence. Back in the day it was fun when robots were robots, but now it's actually getting quite scary. The future doesn't look good – especially in creativity. AI should just leave us alone because all it's doing is plagiarising us, stealing our stuff, and people are then taking advantage of that.
It's a huge subject matter, but I do it in a very silly way, a very human way. I think there's no robot that could do what I do, and that includes all the flaws. When I screw up, when I break the fourth wall, take the mickey out of myself or laugh at myself or what I'm doing, that's very human.
Do you have any pre-show rituals?I stretch because I do a lot of physical comedy. Drink water. I normally have one beer to make me remember the good old rock'n'roll days.
What's one of the strangest encounters with a fan you've had?I've had a lot of things made for me. Depending on my material, they'll find something in the stories I tell. Back in the day, I said I was the freestyle dance champion of a small town called Ohakune in New Zealand. So someone knitted me a woollen jacket that had 'dance champion' on the back. Also, someone made a small bust of me once. I remember with Flight of the Conchords, Jemaine Clement once received a plaster impression of his lips. I don't know how they did it, but to present something to you that is of you is insane. Luckily, no one's given me a full clay model of my nose or anything like that.
Did you have any idea when filming that Flight of the Conchords would have such lasting cultural impact?I don't think we did. And that was good, because we really felt like we were making this thing for ourselves. Because we were young and it was our first time in the States making something with their money and their brilliance, we got caught up in it all. We just concentrated on how could we be so funny that we're cracking each other up and have to redo the scene?
As we had some control over the show, we could improvise and do seven or eight takes. And that was really the key, because I got funnier every take. I know that for a fact. I still say this to people when I do shows. I say give me a couple more because I'll peak on the sixth take.
With Our Flag Means Death, you went from 'that guy from Flight of the Conchords' to a Tumblr sex symbol overnight. What was that like?I'm a comedy guy, not a sex symbol. [Pirate character] Stede wore some very attractive attire but is still a very insecure, bizarre, weird little man who has to try and find himself. The character was perfect for me because I like dressing up, being the captain, and I do overcompensate with authority because I really have no idea what I'm doing. There were definitely some similarities there, but I was not expecting anything on a sexual note from fans. The audience are amazing. They really come to the table, but it was a little bit too much for me.
You've long had a passion for cryptozoology. What draws you to creatures like Bigfoot and Mothman?It's the mystery of the unknown. I think I've always thought of myself as someone that mysteriously shouldn't be here. I was a mistake as a child, as I was born nine years after the rest of my siblings, so I think I've always had this belief in what else is out there.
I think these things are real. Not all of them, but I love the idea that we don't really know and we can search. The search for stuff that we don't know yet – I think that's one of our purposes here.
Rhys Darby: The Legend Returns is on tour in the UK and Ireland until 29 June, and at Pleasance Courtyard, Edinburgh, 1-10 August

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‘This could be our last year': student comedy troupes priced out of Edinburgh fringe
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‘This could be our last year': student comedy troupes priced out of Edinburgh fringe

'I don't have any family connections in comedy or television, my leg up was that I went to a posh university that had this relationship with Edinburgh,' says Nish Kumar, who joined sketch group the Durham Revue while he was a student and got his first taste of the Edinburgh festival fringe – and his future career – as part of the troupe. 'The Revue going to the fringe created so many opportunities for me. There is nothing anywhere in the world like it. For all of its problems, I still see that it has this ability to change people's lives and teach people the job of being a comedian.' Now, as the cost of taking shows to the fringe continues to rise, current members of the Durham Revue and other student sketch groups say they are being priced out of the performing arts festival. 'We're looking at the fact that this could be our last year,' says Alannah O'Hare, co-president of the Durham Revue, which as well as Kumar, counts Ambika Mod, Ed Gamble, Bafta-nominated TV writer Tom Neenan and Taskmaster's Stevie Martin as alumni. The group has gone to the fringe almost every year since the mid-70s. 'There's a huge legacy there,' says O'Hare. 'But it's becoming increasingly impossible.' Durham isn't the only university with a legacy of developing comedy talent. As well as the Cambridge Footlights and Oxford Revue, there is the Bristol Revunions, rekindled in 2008 by Charlie Perkins (now Channel 4's head of comedy), which counts Jamie and Natasia Demetriou, Ellie White and Charlotte Ritchie as former members. In the north-west there are the Manchester Revue and the Leeds Tealights, which boasts comedians Annie McGrath and Jack Barry, producer Phoebe Bourke and comedy agent Chris Quaile among its alumni. Kumar first experienced the fringe's transformative effects in 2006. Every year, Revue members write sketches and put on shows in Durham, with the goal of creating an hour of comedy gold for the festival. 'That was the whole purpose, because we wanted to be professional comedians and there isn't an obvious route,' Kumar says. Performing every day for a month improved his writing, plus, he says: 'You get a certain comfort that means you're not having a full-blown physiological panic attack every time you stand on stage. That confidence never leaves you.' Students also get the chance to watch other shows, which 'teaches you a lot about what you can do in comedy' and helped Kumar understand that not every interesting comedian is a TV star, but there's a pipeline to it. 'I got to see Russell Howard in a room with 100 people and then six months later he appeared on TV,' Kumar says. Crucially, students get to experience this without racking up substantial debt. 'The opportunity to go as students where you're not putting huge amounts of personal finances at risk, it's a really fleeting opportunity,' says O'Hare. If students must fund the experience themselves, 'you'll lose working-class voices, you'll lose lower-middle-class voices,' says Kumar. 'But we won't lose art from posh people because they have independent wealth.' McGrath, who attended three fringes with the Tealights, agrees: 'Edinburgh has already become wildly unaffordable for so many acts and punters, and landlords have a lot to answer for. It's really sad as it could wipe out a generation of new talent. It also means there's a lack of diversity in what is being created if only the wealthiest acts and biggest names are able to go.' Her student experience was 'totally magical' and 'instrumental in shaping the path I took after university,' McGrath says. 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