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Bruce Beresford

There were movies that always made me want to be a director. You see brilliant scenes and the way the emotions were handled. I thought, I'd really like to do that.

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In opera, everyone's watching from a fixed viewpoint, and that really challenges you. Lighting, the sets, stage groupings, the music-but doesn't relate too much to film.

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It's not enough to hit the notes. There is no point in the singers just standing there and sounding wonderful if they're not connecting with the characters they are portraying.

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In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of move. You could go to this government bureau with scripts and and get finance for films.

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Tender Mercies is a very low-budget film, but it was a huge budget compared to anything I had done in Australia. My fee for Tender Mercies was something like five times all of my Australian films combined.

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It is essential to do everything possible to attract young people to opera so they can see that it is not some antiquated art form but a repository of the most glorious music and drama that man has created.

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I don't rehearse films as much as opera or theatre. When I began directing films I thought a long rehearsal was a good idea. Experience showed me that the best performance was often left in a rehearsal room.

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When we were trying to get the money for Driving Miss Daisy, everyone kept saying no one could direct it well enough to entertain an audience for 100 minutes essentially watching three people chatting in the kitchen.

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