Famous Quotes

Quotes by Jane Campion

• 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.
• As for how criticism of Keats' poetry relates to criticism of my own work, I'll leave that for others to decide.
• But I think it's quite clear in my work that my orientation isn't political or doesn't come out of modern politics.
• 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 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?
• 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 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.
• 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.
• 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 have to admit that I had a lot of problems with poetry.
• I think I made good movies.
• 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 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.
• 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.
• 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.
• 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.
• 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.
• 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.
• 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.
• 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.
• With 'Bright Star' and with 'The Piano,' too, I felt a kind of sadness about it being in such a different era, because of my lack of experience with the era. And one of the ways I'd get over it is to remind myself that every film, even if it's contemporary, creates its own world.
• 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.
• 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.
• 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.