New Zealand writer-director Jane Campion, whose few but impressive credits include “The Piano,” which won three Oscars including Best Screenplay for Campion, “The Portrait of a Lady” and “An Angel at my Table,” has always marched to the beat of her own drummer, and always liked a challenge. She certainly found one with her latest film, “Bright Star,” the story of the passionate affair between an unknown 23-year-old English poet, John Keats (Ben Whishaw) and the young, flirty fashionista next door, Fanny Brawne (Abbie Cornish).
In fact, Keats’ love for Fanny inspired some of the most beautiful poems and love letters ever written, which in turn formed the basis for the film which tells a heartbreaking story of romantic obsession and tragic early death -- the quintessential Romantic poet died of TB in Rome in 1821, his genius still unrecognized by the world.
What inspired you to make this film?
I’d read this biography of Keats, by Andrew Motion, and thought it was such a beautiful, tragic love story, and so moving. That was the initial inspiration. And then I’d taken four years off and my job was to do nothing, and I was in this paddock one day with a thermos of coffee and a ragbag collection of horses, and they sniffed around me for a while and then wandered off -- except for this one mare, who was obviously very curious to see what I had in my bag. Chocolate? Carrots? Biscuits? (Laughs). But it was hard for her as she only had a hoof. So I watched her and she just put her muzzle up to my bag and very gently slipped it open and sniffed around for sugar or whatever. And at that moment I got the flash of inspiration.
I’d read this biography of Keats, by Andrew Motion, and thought it was such a beautiful, tragic love story, and so moving. That was the initial inspiration. And then I’d taken four years off and my job was to do nothing, and I was in this paddock one day with a thermos of coffee and a ragbag collection of horses, and they sniffed around me for a while and then wandered off -- except for this one mare, who was obviously very curious to see what I had in my bag. Chocolate? Carrots? Biscuits? (Laughs). But it was hard for her as she only had a hoof. So I watched her and she just put her muzzle up to my bag and very gently slipped it open and sniffed around for sugar or whatever. And at that moment I got the flash of inspiration.It’s weird how it happens. I was just so moved by her delicacy and the tenderness, and the gentleness with which she explored the situation. I thought right then, that’s exactly what I want to do with my story.
Their doomed Romeo and Juliet love affair is fairly well-documented, and Fanny kept all her letters from him. Did you feel an obligation to stay as close as possible to all the known facts?
I think it depends on the particular project. Sometimes you can tell a biography even when you’re way off the facts, like the Bob Dylan “I’m Not There” one. By being way off, you can get to the heart of it, the truth of it, in a strange way. In this case, I gave myself the guidelines of staying historically true and just working with it. Of course, I don’t know what they really said to each other, but it was a way of restricting myself, in acceptance of it. I think every biography is a work of fiction anyway -- even the autobiography.
I think it depends on the particular project. Sometimes you can tell a biography even when you’re way off the facts, like the Bob Dylan “I’m Not There” one. By being way off, you can get to the heart of it, the truth of it, in a strange way. In this case, I gave myself the guidelines of staying historically true and just working with it. Of course, I don’t know what they really said to each other, but it was a way of restricting myself, in acceptance of it. I think every biography is a work of fiction anyway -- even the autobiography.
Were you worried at any point that this could easily have turned into one of those stuffy period pieces?
I was terrified! I don’t think anyone really wants to make that kind of film, but it’s often the kind of casualty of having too short a rehearsal period and too unconsidered a preparation time.
I was terrified! I don’t think anyone really wants to make that kind of film, but it’s often the kind of casualty of having too short a rehearsal period and too unconsidered a preparation time.
