"Perhaps the most difficult thing is shooting scenes set 6,000 feet up in the mountains of Mexico"
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Directors rarely complain about actors; they complain about gravity, altitude, and the sheer logistical spite of the real world. Bruce Beresford’s line reads like a modest production note, but it’s doing something sharper: reframing “difficulty” away from aesthetic decisions and toward the physical, budgetary, human limits that shape what ends up on screen. Six thousand feet in the mountains of Mexico isn’t just a scenic backdrop; it’s a stress test for a crew’s stamina, gear, schedule, and morale. The subtext is a quiet insistence that cinema is less auteurist myth than industrial expedition.
The phrasing matters. “Perhaps” softens the statement, the way experienced directors often speak in understatement, as if to avoid sounding precious or heroic. Yet the specificity of “6,000 feet” is a flex of credibility: a data point that signals, to anyone who’s set foot on a location shoot, headaches from altitude, thin air that complicates exertion and sound work, unpredictable weather, and long travel times that turn a “day” into a relay race.
Contextually, Beresford sits in a generation of filmmakers who came up before green-screen dominance, when authenticity was purchased with inconvenience. There’s also an implicit contrast with the audience’s experience: viewers will read those mountains as effortless spectacle, “production value.” Beresford peels back the illusion and reminds you that realism often arrives through discomfort, not inspiration. The line is less complaint than craft ethos: the image is earned.
The phrasing matters. “Perhaps” softens the statement, the way experienced directors often speak in understatement, as if to avoid sounding precious or heroic. Yet the specificity of “6,000 feet” is a flex of credibility: a data point that signals, to anyone who’s set foot on a location shoot, headaches from altitude, thin air that complicates exertion and sound work, unpredictable weather, and long travel times that turn a “day” into a relay race.
Contextually, Beresford sits in a generation of filmmakers who came up before green-screen dominance, when authenticity was purchased with inconvenience. There’s also an implicit contrast with the audience’s experience: viewers will read those mountains as effortless spectacle, “production value.” Beresford peels back the illusion and reminds you that realism often arrives through discomfort, not inspiration. The line is less complaint than craft ethos: the image is earned.
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