Australian - Director | August 16, 1940 -
In my view, the operas of Carlisle Floyd will find a place in the permanent repertoire.
Bruce Beresford
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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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In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent.
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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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On stage, the audience watches from a fixed viewpoint and the director cannot retake something he doesn't like. It has to work straight through.
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Perhaps the most difficult thing is shooting scenes set 6,000 feet up in the mountains of Mexico.
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Quite a few operas are still being commissioned around the world, although nothing apart from audience popularity can ensure more than a few performances.
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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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The music of the most popular operas is so highly esteemed, it can stand endless revivals.
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The number of opera houses around the world and the high attendance rates show that opera an art form that is more popular than ever.
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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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When I was 24 I went to Nigeria and it was such a culture shock, growing up in Australia and suddenly being the only white man in this unit full of black men.
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