Jane Campion Quotes

A collection of quotes by Jane Campion.

Jane Campion is a highly acclaimed New Zealand filmmaker and screenwriter, known for her distinctive storytelling and intimate portrayals of complex female characters. Born on April 30, 1954, in Wellington, New Zealand, Campion's passion for cinema began at an early age and she went on to study anthropology and painting before pursuing a career in film.

Campion gained international recognition with her 1989 film "Sweetie," which earned her the prestigious Palme d'Or at the Cannes Film Festival. She further solidified her reputation as a groundbreaking filmmaker with her 1993 film "The Piano," for which she became the first female director to receive the Cannes Palme d'Or and was also nominated for an Academy Award for Best Director.

Throughout her career, Campion has continued to challenge societal norms and explore complex themes such as sexuality, power dynamics, and the inner lives of women. Her filmography includes critically acclaimed works such as "An Angel at My Table" (1990), "Portrait of a Lady" (1996), and "Bright Star" (2009).

Jane Campion's work has received widespread acclaim and numerous awards, including multiple Oscars, Golden Globes, and BAFTAs. She has made significant contributions to cinema, particularly in the realm of women's representation and storytelling. Campion's distinctive style and compelling narratives continue to inspire and captivate audiences around the world.

I had a daughter who was 9 years old and I had the feeling I

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.

I think I made good movies.

I think I made good movies.

You know, sex is actually not so original as the way people

You know, sex is actually not so original as the way people love or the stories behind each relationship, which is what you remember. Sex is sex in the end.

My musical knowledge is so bad it's embarrassing. When compo

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.

I have to admit that I had a lot of problems with poetry.

I have to admit that I had a lot of problems with poetry.

But short films are not inferior, just different. I think th

But short films are not inferior, just different. I think the short gives a freedom to film-makers. What's appealing is that you don't have as much responsibility for storytelling and plot. They can be more like a portrait, or a poem.

I didn't like England. I couldn't take the look of the place

I didn't like England. I couldn't take the look of the place or the style of friendship. I need more intimacy from people than is considered okay there, and I felt that my personality and my enthusiasms weren't understood. I had to put a big lid on myself.

There's no artist in this world that doesn't enjoy the dream

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.

I did this Super-8 film at art school called 'Tissues,' this

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.

I feel that directors at times are like the janitors on the

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.

As for how criticism of Keats' poetry relates to criticism o

As for how criticism of Keats' poetry relates to criticism of my own work, I'll leave that for others to decide.

Women today are dealing with both their independence and als

Women today are dealing with both their independence and also the fact that their lives are built around finding and satisfying the romantic models we grew up with.

But I think it's quite clear in my work that my orientation

But I think it's quite clear in my work that my orientation isn't political or doesn't come out of modern politics.

I can get very philosophical and ask the questions Keats was

I can get very philosophical and ask the questions Keats was asking as a young guy. What are we here for? What's a soul? What's it all about? What is thinking about, imagination?

Women often postpone their lives, thinking that if they're n

Women often postpone their lives, thinking that if they're not with a partner then it doesn't really count. They're still searching for their prince, in a way. And as much as we don't discuss that, because it's too embarrassing and too sad, I think it really does exist.

It's a luxury to be able to tell a long form story. I love n

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.

I think women don't grow up with the harsh world of criticis

I think women don't grow up with the harsh world of criticism that men grow up with, we are more sensitively treated, and when you first experience the world of film-making you have to develop a very tough skin.

There was a big drive when I was at art school to make you a

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.

I think that the romantic impulse is in all of us and that s

I think that the romantic impulse is in all of us and that sometimes we live it for a short time, but it's not part of a sensible way of living. It's a heroic path and it generally ends dangerously. I treasure it in the sense that I believe it's a path of great courage. It can also be the path of the foolhardy and the compulsive.

Performers are so vulnerable. They're frightened of humiliat

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.