"So I think rather than being attracted so much now to working with my heroes, I'm sort of more attracted to working with completely unlikely strangers because it's more exciting really"
About this Quote
Neil Finn is quietly dismantling a rock-star fairy tale: that the peak of a musician's life is proximity to idols. The line pivots on "rather than", a casual phrase that does the heavy lifting of renouncing the old dopamine hit of hero worship. He's not denying admiration; he's describing a change in appetite. "My heroes" reads like a younger self talking - a version of artistry measured by access and validation. The mature Finn moves the goalposts toward risk.
The subtext is about creative oxygen. Working with heroes can come preloaded with reverence, expectations, and an invisible script: you don't break the toy you spent your life wanting. "Completely unlikely strangers" is the antidote. It's a phrase that romanticizes uncertainty while also insisting on humility; strangers don't owe you anything, and you can't coast on shared mythology. You have to listen, negotiate, invent a common language. That's where the "exciting" lives: not in pedigree, but in possibility.
Context matters because Finn comes from a songwriting lineage (Split Enz, Crowded House) that prizes craft over spectacle. By the time you've earned your own hero status, chasing the heroes starts to look like nostalgia tourism. His preference for strangers is a refusal to fossilize into legacy. It's also a subtle comment on collaboration culture: the best work often happens off the obvious map, when prestige isn't the currency and nobody is performing gratitude. Finn is choosing friction, surprise, and the chance to be changed.
The subtext is about creative oxygen. Working with heroes can come preloaded with reverence, expectations, and an invisible script: you don't break the toy you spent your life wanting. "Completely unlikely strangers" is the antidote. It's a phrase that romanticizes uncertainty while also insisting on humility; strangers don't owe you anything, and you can't coast on shared mythology. You have to listen, negotiate, invent a common language. That's where the "exciting" lives: not in pedigree, but in possibility.
Context matters because Finn comes from a songwriting lineage (Split Enz, Crowded House) that prizes craft over spectacle. By the time you've earned your own hero status, chasing the heroes starts to look like nostalgia tourism. His preference for strangers is a refusal to fossilize into legacy. It's also a subtle comment on collaboration culture: the best work often happens off the obvious map, when prestige isn't the currency and nobody is performing gratitude. Finn is choosing friction, surprise, and the chance to be changed.
Quote Details
| Topic | Work |
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