"Bruce Beresford" is an Australian film director who has made more than 30 feature films over a 50-year career. Notable films he has directed include Breaker Morant (film)/Breaker Morant (1980), Tender Mercies (1983), Crimes of the Heart (film)/Crimes of the Heart (1986) and Driving Miss Daisy (1989).

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I have some director friends who have said that they don't really like working with actors - directors who have said 'I wish they would just get on with it. I don't want to talk to them,' which always struck me as strange because I certainly like talking to actors and I have spent a long time casting them.

My feeling is that while we are constructing a show you need not be a boxing fan to enjoy, it will reintroduce millions of people to boxing.

I think casting is important because if you get the right actors cast then you appear to be a much better director than you are because then it goes very smoothly. But if you make a mistake in the casting and you want a performance that is somewhat different to what they want to do, it's going to be very difficult.

I have written a lot of films that didn't get made for one reason or another and I have one called The Women in Black that I hope will get made next year. And there were others that got made that I wrote under different names, I always think that better directors write the scripts because if you can't write, and you don't have anything to say, then what's the point of making films?

We had a lot of trouble with that third role because I said to the studio that it was important to get someone who was, on the one hand, a wonderful actor, and, on the other hand was not well known, because if you had simply hired an actor like one of the Baldwin brothers or someone like that the audience would have known that they were too big a star to be killed off and not come back.

He's wrong. That's why his films look so terrible.

Well, I storyboard the films from every shot and from every angle. I specify to the cameraman where the camera should be and what lens he should use and then I work out all the moves for the actors. Of course this can change, but I would have to say that 95% of the time the film is done exactly the way I have storyboarded it.

There are some good writer/directors in the U.S. as well. In general the writing and directing tend to be separated but I bet that most of the directors have a big effect on the scripts. These days the studios tend to bring in hordes of writers.