Jane Campion

Campion, Jane Filmography

• Play in Full Screen Top of the Lake

  2013, role: writer
• Play in Full Screen The 65th Primetime Emmy Awards

  2013, role: actress , character name: Herself - Nominee
• Play in Full Screen I'm the One

  2012, role: producer
• Play in Full Screen Une journée particulière

  2012, role: actress , character name: Herself
• Play in Full Screen Gilles Jacob, l'arpenteur de la croisette

  2010, role: actress , character name: Herself
• Play in Full Screen Bright Star

  2009, role: miscellaneous crew
• Play in Full Screen Bright Star

  2009, role: writer
• Play in Full Screen Bright Star

  2009, role: director
• Play in Full Screen Bright Star

  2009, role: writer
• Play in Full Screen TV Festival Du Cannes 2009

  2009, role: actress , character name: Herself
• Play in Full Screen 8

  2008, role: director
• Play in Full Screen 8

  2008, role: writer
• Play in Full Screen Oscar, que empiece el espectáculo

  2008, role: actress , character name: Herself
• Play in Full Screen My Sister and I

  2007, role: miscellaneous crew
• Play in Full Screen Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence

  2007, role: director
• Play in Full Screen Man of Cinema: Pierre Rissient

  2007, role: actress , character name: Herself
• Play in Full Screen Cannes, 60 ans d'histoires

  2007, role: actress , character name: Herself
• Play in Full Screen The Water Diary

  2006, role: director
• Play in Full Screen Abduction: The Megumi Yokota Story

  2006, role: producer
• Play in Full Screen The Water Diary

  2006, role: writer
• Play in Full Screen Somersault

  2004, role: miscellaneous crew
• Play in Full Screen In the Cut

  2003, role: director
• Play in Full Screen In the Cut

  2003, role: writer
• Play in Full Screen With the Filmmaker: Portraits by Albert Maysles

  2001, role: actress , character name: Herself
• Play in Full Screen Femme et cinéaste

  2001, role: actress , character name: Herself
• Play in Full Screen Soft Fruit

  1999, role: producer
• Play in Full Screen Holy Smoke

  1999, role: director
• Play in Full Screen Holy Smoke

  1999, role: writer
• Play in Full Screen The Portrait of a Lady

  1996, role: director
• Play in Full Screen The 3th Annual Women in Hollywood Awards

  1996, role: actress , character name: Herself - Winner
• Play in Full Screen The 66th Annual Academy Awards

  1994, role: actress , character name: Herself - Winner: Best Original Screenplay & Nominee: Best Director
• Play in Full Screen The Piano

  1993, role: director
• Play in Full Screen The Piano

  1993, role: writer
• Play in Full Screen An Angel at My Table

  1990, role: director
• Play in Full Screen An Angel at My Table

  1990, role: director
• Play in Full Screen Sweetie

  1989, role: writer
• Play in Full Screen The Audition

  1989, role: actress
• Play in Full Screen Sweetie

  1989, role: writer
• Play in Full Screen Sweetie

  1989, role: director
• Play in Full Screen Two Friends

  1987, role: director
• Play in Full Screen Dancing Daze

  1986, role: director
• Play in Full Screen A Girl's Own Story

  1984, role: director
• Play in Full Screen Mishaps of Seduction and Conquest

  1984, role: director
• Play in Full Screen After Hours

  1984, role: director
• Play in Full Screen After Hours

  1984, role: writer
• Play in Full Screen A Girl's Own Story

  1984, role: writer
• Play in Full Screen Passionless Moments

  1983, role: director
• Play in Full Screen Passionless Moments

  1983, role: writer
• Play in Full Screen Passionless Moments

  1983, role: producer
• Play in Full Screen An Exercise in Discipline - Peel

  1982, role: writer

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."