New Zealander - Director | April 30, 1954 -
When you first fall in love it's so thrilling, you can't wait to throw yourself away and make this new wonderful twosome.
Jane Campion
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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?
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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.
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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.
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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.
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I'm someone who loves to play. I make films so I can have fun with the characters.
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Eight years ago, I was drawn into Keats's world by Andrew Motion's biography. Soon I was reading back and forth between Keats's letters and his poems. The letters were fresh, intimate and irreverent, as though he were present and speaking. The Keats spell went very deep for me.
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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.
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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.
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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.
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'The Piano' ended up on television. Everything ends up there anyway.
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I have to admit that I had a lot of problems with poetry.
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