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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.

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
Art
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Comedy
Super
Projector
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Called
Throw
Molestation
School
Child
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Absolutely
Tissues
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Every
Black
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Father
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Arrested

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My musical knowledge is so bad it's embarrassing. When composers discuss music with someone as primitive as myself, they have to talk about it in terms of senses and emotion, rather than keys and tempo.
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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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Because there is that sort of feeling that people don't know what to do with gaps in their lives. It's a scary notion, but actually, if you can stand in space just for a little while, a new door will open, or you'll be able to see in the dark after a while. You'll adjust.
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The Piano ended up on television. Everything ends up there anyway.
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So many actors are not open in front of the camera - they have a persona.
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I feel that directors at times are like the janitors on the set. I am the secretary, I am the organizer, I am the maid, and I ask if they have eaten or rested. The best things are always out of your control. It's those moments that surpass the imagination that are thrilling.
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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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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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To deny women directors, as I suspect is happening in the States, is to deny the feminine vision.
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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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I don't belong to any clubs, and I dislike club mentality of any kind, even feminism - although I do relate to the purpose and point of feminism. More in the work of older feminists, really, like Germaine Greer.
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When I read Andrew Motion's biography, I wept. It's something about the purity of the story and how fresh it was because of the love letters Keats wrote.
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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 feature film can be quite conservative, because you have to now get audiences to come out, and it's quite a hard thing to do. Of course, television can be conservative too.
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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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That's just how I see things on a base level: there's so much going on. Or at least I like to have that feeling. It's part of being interested in notions of reality apart from storytelling. I don't know if it has something to do with having an art school education, which makes you aware of the way visuals speak, or makes you trust them more.
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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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It's harder being a woman director because on the whole women don't have husbands or boyfriends who are willing to be wives
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What I have learned from my work up to now, is to try to be open, but also protect myself by not letting the good and the evil get too much importance.
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If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough.
Jane Campion