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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
Film
Called
Throw
Molestation
School
Child
Car
Projectors
Back
Show
Absolutely
Tissues
Children
Family
Anybody
Thrilled
Every
Black
Whose
Inch
Would
Father
Watches
Arrested
Art
Watch
Inches
Shows
Comedy
Super
Projector

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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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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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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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One of the things we learn in movies directed by men is what the 'fantasy woman' is. What we learn in movies directed by women is what real women are about. I don't think that men see things wrong and women right, just that we do see things differently.
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So many actors are not open in front of the camera - they have a persona.
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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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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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And, I mean, I think poetry does need to be met to some extent, especially, I guess, 19th century poetry, and for me, it's just been so worth the effort. It's like I'm planting a garden in my head.
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The Piano ended up on television. Everything ends up there anyway.
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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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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.
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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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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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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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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.
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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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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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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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I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost too obvious, or it's too expected. And it's not the only way to fill two hours, or to phrase things, or to order thoughts, or order ideas.
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