Women Directors in Focus: Jane Campion on The Power of the Dog | Interviews

You’ve really worked in this industry through, I think, a big transition in terms of how it treats women who are making movies now and women who have made movies in the past. I’d love to hear your thoughts if you think we’ve finally reached a watershed, or if you still feel there are some roadblocks we may not even know are still there.

I don’t want to be too Pollyanna about it, but I think the #MeToo movement was a bit like the fall of the Berlin Wall, although it was never as bad as it was. I don’t know if it will ever be 50/50. Because many women have split priorities; they want to have families and they want a personal life that is fulfilling. They have this expectation or dream more than men. But the 50/50 audience likes female-centric stuff, which is a really big new thing. I think that’s bigger news than women doing things. It’s always about money. It’s always about, Who will pay for this? Well, now people are willing to pay for it because they know women are shooting it, women will watch it, and women are buying it. The economics of who pays for things has really changed.

For example, when I started, Gillian Armstrong had done My Brilliant Career and she was the only woman on the platform. At that point it was like, oh, women don’t do that at all. Now it is clear that they do. But even if I talk to women now, they still say it’s really hard. I think this is a change that should not be taken lightly and is something that we should preserve.

I think empowering more women in the area is the most important thing. Women making great material is the big thing. It’s the only way. You can’t just dictate that it happen. This should be a situation where women can do great things. I think that’s the truth. It doesn’t really matter if we are women or men. We are the creators and we don’t want to be adding “female director” all the time. You don’t say “male director”. This is also part of that capital. That you can’t tell the difference between your gender. Every time you do something, it’s just the quality of the work.

I think this is definitely because there is no equality and it helps to specify the gender to see the low percentage employed. I actually interviewed Gillian Armstrong last week for a book I’m working on and she talked about how in Australia they’re trying to deal with employment practices there. Women will go to film school 50/50, but then they don’t get hired 50/50.

Have you talked to her? How amazing!

yes It was great to talk to both of you in such a short period of time because you are both one of my favorite directors. Her story reminded me of when you presented The Piano at the Academy Museum last year and mentioned that you might be starting a school to help mentor more women. Is this still happening?