There's a bright spot in every dark cloud.
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.
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.
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 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.
He's wrong. That's why his films look so terrible.
At HBO, they seem to be well-informed. They make what I think are really quite mature films.
Directing an opera is similar to directing a play. The singing must not get in the way of the drama.
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.
Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.
For a director, the most challenging scenes are the dialogue scenes.
I didn't get upset because I wasn't nominated, but I was a little surprised.
I'd really been interested in opera when I was about 16, and I really like staging them.
In my view, the operas of Carlisle Floyd will find a place in the permanent repertoire.
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 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.
It's not enough to hit the notes. There is no point in the singers just standing there and sounding wonderful if they're not connecting with the characters they are portraying.
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.
Perhaps the most difficult thing is shooting scenes set 6,000 feet up in the mountains of Mexico.
Quite a few operas are still being commissioned around the world, although nothing apart from audience popularity can ensure more than a few performances.
