Jane Campion Talks Her Career and ‘Top Of The Lake: China Girl’

Finally we work our way around to her most famous work to date,”The Piano,” which is still one of the most successful independent films of all time. “We were really surprised by that,” she said, “it was an incredible situation almost hard to believe.” Campion graciously thanked those that financed the film then, “we were able to do exactly what we wanted to do and I am terribly grateful for that.” Harvey Weinstein came into the fray soon after, who Jane noted as being, “extraordinary in loving up these movies and bringing them to a wider audience,” a skill that sadly seems to have faded in recent years.

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Asked what she thinks resonated most with audiences in the film, “well,” Jane began, “talking to people since then I think it was because of the strong female point of view. The fact that she doesn’t speak, her interiority, stubbornness and strength.  The story speaks to not being given a voice in the world but that’s not to say you don’t have an opinion.” Understandably many can relate to this and the film’s incredible popularity is a testament to that, as well as Jane’s skill as filmmaker. Her unmistakable ability to create both memorable and relatable characters makes her work communicative and long lasting as the themes in “The Piano” still hold today.

Even before “The Piano,” feminism touched Campion’s career well before it even started. A feminist movement for filmmakers began in Sydney right at the time Jane was starting to begin film school and really shook up the film commission. Feminists actively pushed for female directors to get a chance in Sydney as well as fighting for tax money to be evenly divided between both men and women. “Its public tax money, it shouldn’t just go to the men,” Jane said, “we all pay into it, why should all the guys just get it?” The audience applauded and cheered. “It should be equal, it should be half and half. So I benefited greatly from their work.”

During the time Jane served as President of the in-Competition features for 2014, Jane recommended an all-female jury for the Cannes Film Festival. “I think it would be great because for the first time all those male filmmakers would have to think ‘What are the women thinking? What are the women going to like about my movie?’ I think it’s a good thing! I spent my whole life thinking ‘what are the men thinking?’ I think it’s time!” The crowd roared and cheered in agreement.

READ MORE: Essentials: The Films Of Jane Campion

“The most irritating thing,” Campion says, “is the idea that everything associated with women has to be boring and uninteresting.” Female filmmakers are just as talented and interesting as anyone else, “I know women artists and filmmakers that are awesome,” Jane continued, “and when given the opportunity we do great stuff.” One of Campion’s closest colleagues was Janet Patterson who worked with her for nearly all her films as costume designer, creating the iconic looks featured in “The Piano,” “Portrait of a Lady,” “Bright Star” and more. “I was lucky enough to work with some extraordinary women, my dear friend Janet being one of them.” She sadly passed away last year from cancer.

When casting for “The Piano,” Campion initially wasn’t really interested in meeting with Holly Hunter, “she just wasn’t what we thought the character would look like.” Although after a few calls from her agent, they eventually met and did an audition, “it’s really hard to audition for a character who doesn’t speak,” she said with a laugh.  Ultimately it was Hunter’s mesmerizing brown eyes and her skill with the piano that won her the title role in the film as well as her strong commitment to the character.

Coming full circle, Jane once more mentioned “Sweetie” and its visual inventiveness. “Tone is very important to me. You can’t have the agenda to make someone feel.  You have to have the agenda of telling the story with feeling or tenderly. And however anybody receives it, is however it’s received.” Jane Campion is a film-making icon and has single-handedly helped to pave the way for female directors.  She is a testament to perseverance, patience and tenacity and is an inspiration to women in film all over the world.