Quite A Few Operas Are Still Being Commissioned Around The World, Although Nothing Apart From Audience Popularity Can Ensure More Than A Few Performances.
Perhaps The Most Difficult Thing Is Shooting Scenes Set 6,000 Feet Up In The Mountains Of Mexico.
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.
At Hbo, They Seem To Be Well-informed. They Make What I Think Are Really Quite Mature Films.
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.
When We Were Trying To Get The Money Together For The Film, One Reason That Was Consistently Given For Not Investing In It Was That 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.
With Cold Sassy Tree Having Its First Production, I Saw No Necessity To Do Anything Other Than Produce It With The Correct Setting.
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.
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.
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.
