Jane Campion Quotes

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.

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.

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.

For me, being a director is about watching, not about telling people what to do. Or maybe it's like being a mirror; if they didn't have me to look at, they wouldn't be able to put the make-up on.

Only when you are relaxed can you see what's going on.

Tragedy makes you grow up.

There are some things that are real, that you can see, that you can observe, like the moon, and grass and things. But for ideas to become real, they have to be played on your senses.

There is a different kind of vulnerability when a woman is directing

I'm someone who loves to play. I make films so I can have fun with the characters.

It's harder being a woman director because on the whole women don't have husbands or boyfriends who are willing to be wives

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.

What I have learned from my work up to now, is to try to be open, but also protect myself by not letting the good and the evil get too much importance.

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.

When you first fall in love it's so thrilling, you can't wait to throw yourself away and make this new wonderful twosome.

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 think if it's interesting, it's interesting, and if it's not, it's not working.

To deny women directors, as I suspect is happening in the States, is to deny the feminine vision.

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.

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.

A message I've been telling myself: the cinema is very conservative, and unless you have a story that satisfies you, that is within the unchallenging zone, but you love it, you can't do it as cinema. Otherwise, you better go do it for television, which is more daring now.

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.

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.

The studio system is kind of an old boys system and it's difficult for them to trust women to be capable

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.

I seem to have been able to make a career out of doing what I feel like doing, so why not keep doing it? What's corrupting is wanting to be more important. You want to be more arty - you get your identity from that. Or you get your identity out of making more money.