Bruce Beresford Quotes

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.

My analysis of the situation was that Roman Polanski wasn't trying to break us down or get a performance out of us by destroying us. He was absolutely, very simply, trying to recreate this clear picture in his head. And the pictures he creates are absolutely perfect, and they are exactly what he saw in his head.

I want to try to make big films that hopefully connect with people.

When I'm directing, I really try not to be tied to anything. I don't even have the sides in my hands. I have other things - ideas that I want to make sure I don't forget or that I want to accomplish. The endeavor isn't about propping up the screenplay; but about the communal effort of exploration from a lot of different departments - the actors, the DP, the costume designer - all these people and myself.

I mean, yeah, Anne Fletcher was a choreographer, but she was born to be a director. You need to have the ability to figure out people's rhythms. It all starts from the script.

I think directing is a huge responsibility and it's not something where you can just be like, "Yeah, sure, I'll give it a go!" I think it's something you really need to focus on, and put a lot of effort and attention into.

I always think to shoot action scenes is not really about the stunts. It's more about an expression and about imagination.

If the film isn't in some way going to study behavior then I'm not interested, but the reason why I'm not interested in directing in film is that it would take me, to be as good an artist as I feel I am an actor, it would take me another 35 just to conquer.

As the acting class was going on, I just realized I just knew more about cinema than the other people in the class. I cared about cinema and they cared about themselves. But two, was actually at a certain point I just realized that I love movies too much to simply appear in them. I wanted the movies to be my movies.

I'm very interested in trying to make comedy shows that are a bit bigger, more theatrical, more of a "show." Some people might say I'm trying too hard, but that's a compliment to me. I like to inject a bit of production value and flair to comedy, or at least to my little corner of comedy.

I love stories. When I tell a story, I try to think of people sitting around a crackling campfire.

People say to me, "You make fantastic films" and I say, "No, I make documentaries.

In all my work, I try to tell great stories that people want to go to the movie theater to watch, or want to turn on, and are compelled to watch it, over and over and over again, and will make a mark when they grow up.

Directing is a constant test of your communicative powers. You're constantly trying to explain people your vision of what you want and steer these tiny little details into a cohesive thing.

I want people to just be paying attention even if they're not necessarily laughing at something, or if it takes them a while to get something, I don't mind that. If half the crowd gets the joke and the other half is sitting there scratching their heads, that's just as good for me if I like the joke, because I feel like it just brings people in more.

I've worked in the movie business for many, many years, where you have lots of days and lots of money. It's really mainly about time. We always try to conceive all of our action from a place of, "What can we shoot that looks fantastic?," rather than trying to do the kinds of thing that you would be able to accomplish in a movie.

You make a movie to entertain audiences. That's why you make a movie. The product sales is because people love the characters, and to me, that is a testament to how our movie has become so ingrained in family's homes all around the world and that's why I make movies.

Most of the films I myself like don't do very well. Every director, he has a choice, whether to go for subtlety and try to articulate every minute detail, or to go for the broad strokes and hope that the people will fill in between the lines. I tend to go for the broader strokes.

Leading a band and producing yourself and picking cool tunes and putting a show together takes a lot of thought, and a certain amount of courage. In my early twenties, if I wasn't getting good enough at it, then people would not come and see me. Anybody who has lasted this long - I hope we get better with age.

I make films, and I hope that people come to see them. If they don't, I pay a big price. But I can't make decisions where I would change my own standards or my own taste in order to court the public in some way.

I want to be surprised and entertained by a movie, so that's what we're trying to do for the audience. Obviously, we also have to sell the film.

The vast majority of our film producers are independent producers who live hand to mouth trying to get projects made that they love. They are not owners, they're not money people, and in fact, those who just have the money don't always get a producer credit.

[Martin Scorsese ] basically works just like any other director. You work the scene, you try to find what's best in it and make it work. That's what it was like.

Some people are caricatures of themselves, and some people keep people coming back and keep themselves growing. Otherwise, the fans would get bored.

I actually always try to have a moment in my show where I can just lay down on stage and talk to people for a little while.