Bruce Beresford

Bruce Beresford (/ˈbɛrɪsfərd/; born 16 August 1940) 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 (1980), Tender Mercies (1983), Crimes of the Heart (1986) and Driving Miss Daisy (1989).[1][2]

For the American television producer, see Bruce Beresford-Redman.

Bruce Beresford
Born (1940-08-16) 16 August 1940
Sydney, New South Wales, Australia
Alma materUniversity of Sydney, B.A. 1964
OccupationFilm director
Years active1972–present
Spouse(s)Virginia Duigan

Biography

Early life

Beresford was born in Paddington, Sydney, the son of Lona (née Warr) and Leslie Beresford, who sold electrical goods.[3] He grew up in the then outer-western suburb of Toongabbie, and went to The King's School. He made several short films in his teens including The Hunter (1959).[4]

Sydney University

He completed a Bachelor of Arts majoring in English at the University of Sydney, where he graduated in 1964. While at university he made the short film The Devil to Pay (1962) starring John Bell and Ron Blair, It Droppeth as the Gentle Rain (1963) co-directed by Albie Thoms and starring Germaine Greer, Clement Meadmore (1963) with Bell and King-size Woman (1965).[5]

Nigeria and England

Beresford then moved to England in search of film work. He could not break into the British film scene, so he answered an advertisement for an editing job in Nigeria, where he worked for two years, in Enugu.[4]

He then returned to England and worked for the British Film Institute as a producer of short films by first-time directors, including Magritte: The False Mirror (1970) and Paradigm (1970).

Beresford directed the documentary Lichtenstein in London (1968) about Roy Lichtenstein, and Extravaganza (1968), Barbara Hepworth at the Tate (1970), The Cinema of Raymond Fark (1970), and Arts of Village India (1972).

Early feature films

Beresford returned to Australia to make his first feature film, The Adventures of Barry McKenzie (1972), which he also wrote with Barry Humphries. The film, produced by Phillip Adams, was a box office success in England and Australia, but Beresford later said making the film was a "mistake" because reviews were so bad that he had trouble finding other work.[6]

Beresford directed a documentary for TV, The Wreck of the Batavia (1973) and did some other TV films, Poor Fella Me (1973), and Monster or Miracle? Sydney Opera House (1973). These were financed by Reg Grundy who also financed Beresford's second feature as director, Barry McKenzie Holds His Own (1974), a sequel to Barry McKenzie.

Beresford went to England to direct and co-write a comedy, Side by Side (1975) starring Humphries and Terry-Thomas; it was little seen.

Beresford says his career was at a low ebb when Phillip Adams "saved my life" by offering him the job of directing an acclaimed version of David Williamson's play Don's Party (1976).[6]

Beresford directed an adaptation of The Getting of Wisdom (1977), also produced by Adams.

SAFC

Beresford signed a contract with the South Australian Film Corporation for whom he wrote and directed a thriller, Money Movers (1979), which was a box office disappointment. He did some uncredited directing on the SAFC's Blue Fin (1978), then co-wrote and directed Breaker Morant (1980).[7] The latter film was a notable success at the box office and earned Beresford an Oscar nomination. It was widely seen in Hollywood and Beresford began to receive US offers.

Beresford directed The Club (1980), from another Williamson play, and Puberty Blues (1981).

Early US films

Beresford received an offer from EMI Films to direct Horton Foote's Tender Mercies (1983). Star Robert Duvall won a Best Actor Oscar for his performance and Beresford earned a Best Director nomination.

He followed it with King David (1985) starring Richard Gere which was a notable box office failure.[6]

Beresford returned to Australia to write and direct The Fringe Dwellers (1986). In the US he directed Crimes of the Heart (1986) from the play by Beth Henley, did a segment of the film Aria (1987), and did the comedy thriller Her Alibi (1989) with Tom Selleck.

Driving Miss Daisy

Beresford directed Driving Miss Daisy (1989) with Morgan Freeman and Jessica Tandy, from a play by Alfred Uhry. It won the Academy Award for Best Picture, although Beresford was not nominated as director. The film was a commercial and critical success.

Asked if he minded not even being nominated for the Best Director Oscar for Driving Miss Daisy, Beresford said: "No, not at all. I didn't think it was that well directed. It was very well written. When the writing's that good, you've really just got to set the camera up and photograph it."[8]

He directed Mister Johnson (1990) in Nigeria, with Edward Woodward; Black Robe (1991), an Australian-Canadian film based on the novel by Brian Moore; Rich in Love (1992), co-written by Uhry; A Good Man in Africa (1994) with Sean Connery from a novel by William Boyd, which in 2015 Beresford called his worst film;[9] Silent Fall (1994), which was nominated for the Golden Bear at the 45th Berlin International Film Festival;[10] and Last Dance (1996) with Sharon Stone.

He wrote but did not direct Curse of the Starving Class (1994).[11]

Beresford returned to Australia to direct Paradise Road (1997), which was a commercial disappointment. He directed a documentary, Sydney: A Story of a City (1999), then had a hit with the thriller Double Jeopardy (1999).

Later films

Beresford made Bride of the Wind (2001); Evelyn (2002) with Pierce Brosnan; and And Starring Pancho Villa as Himself (2003) with Antonio Banderas.

He spent several years looking for financing for various projects before making The Contract (2006) with Freeman. He followed it with a TV film Orpheus (2006) and returned to Australia to make Mao's Last Dancer (2009).

Beresford's later credits include Peace, Love & Misunderstanding (2011) with Jane Fonda, the documentary H.H. Dalai Lama: Essence of Mahayana Buddhism (2011), the mini series Bonnie & Clyde (2013), Mr. Church (2016) with Eddie Murphy, an episode of the remake of Roots (2017), the TV movie Flint (2017) and the Australian film Ladies in Black (2018).[12]

Opera

In addition to films, Bruce Beresford has also directed several operas and theatre productions. In 2016, he directed Benjamin Britten's opera Albert Herring for the Queensland Conservatorium of Music, in a production conducted by Nicholas Cleobury.

He often works with film editor Mark Warner. (See: List of film director and editor collaborations)

In 2012, he directed a production of Erich Wolfgang Korngold's opera Die tote Stadt for Opera Australia.

In 2018, he directed the Australian premiere of Rossini's Otello for Melbourne Opera

Memoir

In August 2007, he published a memoir, Josh Hartnett Definitely Wants To Do This... True Stories From A Life in the Screen Trade.[13]

Personal life

Beresford is married to the novelist Virginia Duigan, sister of John Duigan.[14] He now works both in Australia and the United States.

Contemporaries and friends

Beresford attended the University of Sydney with critic and documentary maker Clive James, art critic and aficionado Robert Hughes, activist and author Germaine Greer, journalist Bob Ellis, poet Les Murray, and writer Mungo McCallum. His contemporary and friend, actor and theatre director John Bell, shared a house and also did some film acting. Beresford remains close friends with Australian comedian, satirist and character actor Barry Humphries, best known for his on-stage/television alter ego Dame Edna Everage, and his family.

Filmography
gollark: One interesting (story-wise) path AI could go down is that we continue with what seems to be the current strategy - blindly evolving stuff without a huge amount of intentional design - and eventually reach human-or-better performance on a lot of tasks (including somewhat general-intelligency ones), while working utterly incomprehensibly to humans.I was going to say this after the very short discussion about ad revenue maximizers but left this half written and forgot.
gollark: And probably isn't smart enough to think very long-term, and isn't in charge of demonetization and stuff.
gollark: Which would be very bad.
gollark: An ad revenue maximizer.
gollark: I'm excited for Y2038, which will inevitably break another large batch of systems.

References
  1. "Bruce Beresford: At last, making the film that obsessed me for 30 years". theguardian.com. Retrieved 1 April 2019.
  2. "Bruce Beresford, 75, on The Getting of Wisdom". theaustralian.com.au. Retrieved 1 April 2019.
  3. "Bruce Beresford Biography (1940-)". Filmreference.com. 16 August 1940. Retrieved 8 August 2015.
  4. Stated in a 2007 interview on Radio National in Australia (on Late Night Live)
  5. "Meet a living legend: Bruce Beresford". sydney.edu.au. Retrieved 1 April 2019.
  6. "Interview with Bruce Beresford", Signet, 15 May 1999 Archived 20 December 2012 at Archive.today accessed 17 November 2012
  7. David Stratton, The Last New Wave: The Australian Film Revival, Angus & Robertson, 1980 p271-272
  8. Steve Dow, Journalist (10 October 2006). "Action Men: Australian directors on film". Retrieved 17 October 2016.
  9. "Driving Miss Daisy Director Bruce Beresford on Aussie Cinema, Powerless Characters, and His Worst Film Experience" 23 Sept 2015
  10. "Berlinale: 1995 Programme". berlinale.de. Retrieved 31 December 2011.
  11. Levy, Emanuel (14 September 1994). "Curse of the Starving Class". Variety. Retrieved 25 June 2020.
  12. "Bruce Beresford on the Decades-Long Road of Getting 'Ladies in Black' Off the Ground". hollywoodreporter.com. Retrieved 1 April 2019.
  13. Beresford, Bruce (8 January 2007). Josh Hartnett Definitely Wants To Do This... True Stories From A Life in the Screen Trade. HarperCollins Publishers Australia. ISBN 9780732284398. Archived from the original on 31 August 2007.
  14. Groves, Don (4 June 2017). "Why Bruce Beresford had his US visa waiver cancelled". if.com.au. Retrieved 3 April 2019.
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