New Zealander - Director | April 30, 1954 -
To deny women directors, as I suspect is happening in the States, is to deny the feminine vision.
Jane Campion
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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.
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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.
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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.
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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.
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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.
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As for how criticism of Keats' poetry relates to criticism of my own work, I'll leave that for others to decide.
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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.
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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.
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If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough.
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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.
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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.
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