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In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of mov
In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of mov
In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of mov
In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of mov
In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of mov
In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of mov
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Bruce Beresford:
In my view, the operas of Carlisle Floyd will find a place in the permanent repertoire.Bruce Beresford:
In opera, everyone's watching from a fixed viewpoint, and that really challenges you. Lighting, theBruce Beresford:
In silent movies, they tended to put the camera down, and everybody walked in front of it and actedBruce Beresford:
It is essential to do everything possible to attract young people to opera so they can see that itBruce Beresford:
It's not enough to hit the notes. There is no point in the singers just standing there and soundingBruce Beresford:
On stage, the audience watches from a fixed viewpoint and the director cannot retake something he dBruce Beresford:
Perhaps the most difficult thing is shooting scenes set 6,000 feet up in the mountains of Mexico.Bruce Beresford:
Quite a few operas are still being commissioned around the world, although nothing apart from audieBruce Beresford:
Tender Mercies is a very low-budget film, but it was a huge budget compared to anything I had doneBruce Beresford:
The music of the most popular operas is so highly esteemed, it can stand endless revivals.