Jemaine Clement and the architecture of imagination

Jemaine Clement, the Emmy-nominated and Grammy-winning artist, remains anchored to the creative impulses that defined his early career in Wellington despite a decades-long trajectory that has taken him to the center of global entertainment. At 52, the actor, writer, and musician continues to prioritize projects that demand a suspension of disbelief, most recently lending his voice to the character of a soda can in the Andrew Niccol-directed feature I, Object.

The film, which arrives in New Zealand cinemas on July 23, centers on a young protagonist who projects human traits onto inanimate household items as a mechanism for coping with personal loss. This psychological phenomenon, known as pareidolia, serves as the narrative engine for a project that Clement describes as both weird and emotionally resonant. He recorded his performance for the character Pop at The Armoury, a facility in Wellington, highlighting a preference for local production environments that allow him to remain grounded in his home city.

Clement notes that his selection process for roles is driven by a desire for originality, often questioning why a specific story needs to exist before committing to it. His filmography reflects this eclectic approach, ranging from the marine biologist Dr. Ian Garvin in the Avatar franchise to a manipulative assistant in the stop-motion feature Wildwood. These roles often require him to inhabit spaces far removed from his own reality, a process he finds both challenging and deeply satisfying.

Wellington landmarks including the Tākina Convention Centre and the Public Trust Building appear throughout I, Object, highlighting the city’s role as a versatile cinematic backdrop. Clement is well-acquainted with this geographic utility, having previously transformed the capital into diverse international settings for the Time Bandits series. These transformations illustrate the city’s ability to serve as a canvas for global storytelling.

Reflecting on his path from theatresports in Masterton to international acclaim, Clement acknowledges that his lack of formal training in acting or writing has been a defining feature of his career. He identifies with the concept of imposter syndrome, a sentiment he shares with the late actor Sam Neill, yet he views this lack of formal structure as an advantage. This perspective allows him to approach every new project as a student, constantly learning from both veteran performers and younger collaborators.

The artist is currently balancing several creative commitments, including the development of a What We Do in the Shadows sequel with long-time collaborator Taika Waititi. He also continues to work on a script adapted from a comic book that resonated with him during his youth, alongside a project based on a true story with Oscar Kightley. These endeavors underscore a career that refuses to settle into a single medium or genre, favoring instead a restless pursuit of new narratives.

Clement observes that younger audiences are increasingly seeking out creative and unusual content, a shift he attributes to a reaction against the dominance of large-scale corporate film productions. He finds this trend encouraging, as it aligns with his own history of supporting smaller, cult-favorite projects like Tongan Ninja. The ability to engage with such varied material remains the primary driver of his professional life, even when the writing process itself proves difficult.

The significance of his work lies in its capacity to provide a safe space for audiences to process complex emotions, whether through the lens of a talking soda can or the surreal humor of his mockumentary series. By maintaining a connection to his own imagination, Clement bridges the gap between the mundane and the fantastic. His ongoing collaboration with established filmmakers like Niccol and Waititi ensures that his influence on the industry remains both substantial and unpredictable.

The artist’s journey is defined by a refusal to fully belong to the systems he inhabits. This outsider status is not a limitation but a deliberate choice that keeps his curiosity intact. As he continues to write and perform, the focus remains on the act of creation itself, rather than the accolades that often follow.