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I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost t
I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost t
I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost t
I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost t
I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost t
I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost t
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Jane Campion:
As for how criticism of Keats' poetry relates to criticism of my own work, I'll leave that for otheJane Campion:
I think that the romantic impulse is in all of us and that sometimes we live it for a short time, bJane Campion:
But short films are not inferior, just different. I think the short gives a freedom to film-makers.Jane Campion:
I had a daughter who was 9 years old and I had the feeling I wasn't going to be a real parent if IJane Campion:
When I read Andrew Motion's biography, I wept. It's something about the purity of the story and howJane Campion:
If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough.Jane Campion:
I'm a much better filmmaker than painter. But studying it did make me visually acute and taught meJane Campion:
A message I've been telling myself: the cinema is very conservative, and unless you have a story thJane Campion:
When you first fall in love it's so thrilling, you can't wait to throw yourself away and make thisJane Campion:
I can get very philosophical and ask the questions Keats was asking as a young guy. What are we her