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The music of the most popular operas is so highly esteemed, it can stand endless revivals.
Bruce Beresford
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1 Comments
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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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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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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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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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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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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 my view, the operas of Carlisle Floyd will find a place in the permanent repertoire.
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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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I'd really been interested in opera when I was about 16, and I really like staging them.
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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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