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Performers are so vulnerable. They're frightened of humiliation, sure their work will be crap. I try to make an environment where it's warm, where it's OK to fail - a kind of home, I suppose.

Jane Campion

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Jane Campion
Age: 70
Born: 1954
Born: April 30
Actor
Film Director
Film Producer
Screenwriter
Wellington
New Zealand
Elizabeth Jane Campion
Dame Jane Campion
Dame Elizabeth Jane Campion
Failing
Performers
Environment
Crap
Sure
Frightened
Home
Vulnerable
Trying
Suppose
Work
Warm
Kind
Fail
Make
Directors
Humiliation

More quotes by Jane Campion

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I had a daughter who was 9 years old and I had the feeling I wasn't going to be a real parent if I didn't quit making movies for a while and spend time with her. I also felt that I'd made enough movies and said what I had to say at the time.
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I did this Super-8 film at art school called Tissues, this black comedy about a family whose father has been arrested for child molestation. I was absolutely thrilled by every inch of it, and would throw my projector in the back of my car and show it to anybody who would watch it.
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I love it when actors come to you with a problem and you have to listen. You'd like them to just get on with it, but it often means that there's a problem with the script.
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The Piano ended up on television. Everything ends up there anyway.
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I would love to see more women directors because they represent half of the population and gave birth to the whole world. Without them the rest [of the world] are not getting to know the whole story.
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I think the whole tension about romanticism is the way it builds and builds, and the moment it's consummated, the tension's over.
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There was a big drive when I was at art school to make you aware of the economy of meaning - after all, this was still during the tail end of minimalism. Being responsible for everything you put in your picture, and being able to defend it. Keeping everything clear around you so you know what is operating. To open the wound and keep it clean.
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It's been such a deep and amazing journey for me, getting close to John Keats, and also I love Shelley and Byron. I mean, the thing about the Romantic poets is that they've got the epitaph of romantic posthumously. They all died really young, and Keats, the youngest of them all.
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When you first fall in love it's so thrilling, you can't wait to throw yourself away and make this new wonderful twosome.
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It's a luxury to be able to tell a long form story. I love novels, and I love to have a long relationship with characters.
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If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough.
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In some ways Holy Smoke is about people's journey to the heart.
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There's no artist in this world that doesn't enjoy the dream that if they have bad reviews now, the story of Keats can redeem them, in their fantasy or imagination, in the future. I think Keats' poem 'Endymion' is a really difficult poem, and I'm not surprised that a lot of people pulled it apart in a way.
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I think if it's interesting, it's interesting, and if it's not, it's not working.
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Actual violence has no attraction for me at all.
Jane Campion
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The Piano Lesson' is very sophisticated, easily the most adult or complex material I've attempted. It's the first film I've written that has a proper story, and it was a big struggle for me to write. It meant I had to admit the power of narrative.
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To deny women directors, as I suspect is happening in the States, is to deny the feminine vision.
Jane Campion
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Only when you are relaxed can you see what's going on.
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I'm a much better filmmaker than painter. But studying it did make me visually acute and taught me lessons like being economic: Say something once and you don't have to say it again.
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This is the first generation to grow up on Thatcher - it's a different ethos. It's money minded, and it's the cult of yourself. Now that's fine, except when it falls down, and you can't achieve your goals - through high unemployment, through the fact that you probably need inherited money to get anywhere.
Jane Campion