Quotes By Jane Campion

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.

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.

If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough.

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'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.

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.

I think I made good movies.

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 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 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.

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

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.

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

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?

Actual violence has no attraction for me at all.

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 would love to see more women directors because they represent half of the population - and gave birth to the whole world. Without them writing and being directors, the rest of us are not going to know the whole story.

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.

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.

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

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