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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.
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.
In my view, the operas of Carlisle Floyd will find a place in the permanent repertoire.
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.
I'd really been interested in opera when I was about 16, and I really like staging them.
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.
I didn't get upset because I wasn't nominated, but I was a little surprised.
He's wrong. That's why his films look so terrible.
For a director, the most challenging scenes are the dialogue scenes.
Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.
Everyone has seen photographs of Mexicans wearing those big sombreros. When you come to Mexico, the astonishing thing is, nobody wears these hats at all.
Directing an opera is similar to directing a play. The singing must not get in the way of the drama.
At HBO, they seem to be well-informed. They make what I think are really quite mature films.
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