Bird's Eye View

Jane Campion speaks on Bright Star and her Filmmaking Career

Bright Star, starring Abbie Cornish and Ben Whishaw

Jane Campion, the only woman to have won a Palme D’or, and one of only three to have been nominated for an Oscar in directing, has delighted us all by creating another filmmic masterpiece out in cinemas this Friday: Bright Star. It’s the most exquisit film - poetry and astounding beauty in every moment. Huge fans that we are, we went along to hear her speak at the London Film Festival, and here we share some of her pearls of wisdom with you…

Sandra Hebron: Can you tell us a bit about your route into filmmaking?

Jane Campion: When you are studying, you are young and energised. You are in a fantastic position to take risks. I was looking at the study of man, language, how the brain works, and how these symbols can be decoded. I was particularly interested in how other households worked as a young person, and endlessly fascinated by normal behaviour. I had an ongoing curiosity in films and began to follow this energy.

SH: Your early shorts were screened at Cannes. How important was this to you?

JC: Well, I didn’t really know what Cannes was at the time. My teachers didn’t like my films, which was actually a good upbringing for me. I learn’t not to get crushed by opinions, and found happiness in making the work, I didn’t do it to please anyone.

SH: Sweetie came next. Lots of your characters are pretty unconventional, why is that?

JC: Sweetie is clearly a wild thing, something that every woman represses. We all fake sanity all day long. Life is unconventional, I much prefer the company of real people, who express themselves in this way.

SH: How do you feel about externalising the creative process? How can you be creative?

JC: Nothing good comes out of consecutive thinking. Inspiration and creativity comes like a bolt. It’s not until you relax that the answers will come. Take Keats, he sits under a plum tree in the field relaxing, and produces Ode to a Nightingale, an incredible love poem out of nowhere. This subconscious thought is especially important when working with actors, Part of the Directors job is getting actors to relax. Motherhood definitely helps this.

SH: The Piano was your first film with big actors. Did you find this intimidating?

JC: Completely. Particularly with Harvey Keital. I’d heard some scary stories, but he was really sweet and passionate about the role, and championed the script to anyone he could.

SH: Your films have been made all over the world. How do you find location shooting?

JC: I am actually a very good organiser. I love planning. This is so vital to keep the film in control. Obviously sometimes this can be affected by nature too, so there’s lots to consider but you must be practically focused.

"A film of pictorial beauty" - Total Film

SH: How did you come across the story of Bright Star?

JC: I took a 5 year break from filmmaking. I wanted to be a parent. And I was actually great at being really indolent. In that time off, I began thinking about poetry. I’d read the story of Keats and Fanny, and was shocked that it wasn’t more well known. That story with the love letters at the centre, and such innocence and tenderness was such an amazing way to get into poetry. I began to feel the moment of another project approaching, and trusted that the story Bright Star was right.

Don’t miss Bright Star in a cinema near you this weekend. For more information see our First Weekenders Club page, and remember, buying a ticket this weekend will make a huge difference to the impact of this film.