Campion, Jane Filmography

• Une journée particulière (2012)
• Top of the Lake (2012)
• Top of the Lake (2012)
• I'm the One (2012)
• Gilles Jacob, l'arpenteur de la croisette (2010)
• Bright Star (2009)
• TV Festival Du Cannes 2009 (2009)
• Bright Star (2009)
• Bright Star (2009)
• Bright Star (2009)
• 8 (2008)
• 8 (2008)
• Cinema16: World Short Films (2008)
• Oscar, que empiece el espectáculo (2008)
• Cannes, 60 ans d'histoires (2007)
• My Sister and I (2007)
• Man of Cinema: Pierre Rissient (2007)
• Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence (2007)
• Abduction: The Megumi Yokota Story (2006)
• The Water Diary (2006)
• The Water Diary (2006)
• Somersault (2004)
• In the Cut (2003)
• In the Cut (2003)
• Femme et cinéaste (2001)
• With the Filmmaker: Portraits by Albert Maysles (2001)
• Holy Smoke (1999)
• Soft Fruit (1999)
• Holy Smoke (1999)
• The Portrait of a Lady (1996)
• The 3th Annual Women in Hollywood Awards (1996)
• The 66th Annual Academy Awards (1994)
• The Piano (1993)
• The Piano (1993)
• The Audition (1991)
• An Angel at My Table (1990)
• An Angel at My Table (1990)
• Sweetie (1989)
• Sweetie (1989)
• Sweetie (1989)
• Two Friends (1987)
• Dancing Daze (1986)
• After Hours (1984)
• Mishaps of Seduction and Conquest (1984)
• A Girl's Own Story (1984)
• A Girl's Own Story (1984)
• After Hours (1984)
• Passionless Moments (1983)
• Passionless Moments (1983)
• Passionless Moments (1983)
• An Exercise in Discipline - Peel (1982)
• An Exercise in Discipline - Peel (1982)
• An Exercise in Discipline - Peel (1982)

Famous quotes by Jane Campion:

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

"Actual violence has no attraction for me at all."

"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."

"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 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 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."

"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."

"Between 18 and 26 I acted professionally, on the stage and a little bit on television. Acting is okay, but it's quite pressurized. Then I went to England - I wanted to reinvent myself."

"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 had this spooky psychological thing about 'The Piano' before it began, which was how everybody was going to go nuts on the set. Because a film tends to set up the way people are going to behave."

"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."

"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."

"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."

"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."

"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."

"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."

"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."

"'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."