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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.

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
Love
Deep
Youngest
Journey
Poets
Getting
Romantic
Also
John
Posthumously
Young
Amazing
Keats
Mean
Died
Shelley
Thing
Poet
Byron
Really
Close
Epitaph

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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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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'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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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 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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Actual violence has no attraction for me at all.
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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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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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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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To deny women directors, as I suspect is happening in the States, is to deny the feminine vision.
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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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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 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 have to admit that I had a lot of problems with poetry.
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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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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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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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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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If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough.
Jane Campion