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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.

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
Stories
Biographies
Something
Motion
Love
Purity
Fresh
Wrote
Keats
Letters
Wept
Story
Andrew
Read
Biography

More quotes by Jane Campion

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In some ways Holy Smoke is about people's journey to the heart.
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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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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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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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I have to admit that I had a lot of problems with poetry.
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Only when you are relaxed can you see what's going on.
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Actual violence has no attraction for me at all.
Jane Campion
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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 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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If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough.
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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.
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The Piano ended up on television. Everything ends up there anyway.
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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.
Jane Campion
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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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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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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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If you start with a good idea, you can encapsulate it in a phrase and explain it. I like high-concept films. Everyone can get hold of it. I don't think there's any harm in that at all.
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So many actors are not open in front of the camera - they have a persona.
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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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