"With Cold Sassy Tree having its first production, I saw no necessity to do anything other than produce it with the correct setting"
About this Quote
Beresford’s line has the blunt clarity of a director who’s spent a career translating words into rooms, streets, and weather. “I saw no necessity” is doing quiet work here: it’s not just a practical comment about production design, it’s a gentle rebuke to the industry reflex to “update,” “reimagine,” or sand down regional specificity for broader marketability. He frames fidelity as the simplest, most rational choice, as if anything else would be an affectation.
The phrase “correct setting” is deceptively loaded. In a story like Cold Sassy Tree, setting isn’t backdrop; it’s the moral atmosphere. A small Southern town isn’t interchangeable with any quaint anywhere. Class codes, church rhythms, heat, gossip, and the local grammar of intimacy are the machinery that makes the plot believable and the characters legible. Beresford’s intent sounds conservative, but it’s really an argument for precision: get the setting right and you don’t have to over-direct the emotions. The audience will feel the pressure of the place without being told what to feel.
There’s also a contextual tell in “first production.” When you’re first to adapt a beloved novel, you’re negotiating with readers’ private, fiercely held mental images. Beresford signals respect for that imaginative ownership, while claiming authority: the job isn’t to decorate the story with directorial cleverness, but to stage it in the world that produced it. That restraint is its own aesthetic stance, and a surprisingly modern one.
The phrase “correct setting” is deceptively loaded. In a story like Cold Sassy Tree, setting isn’t backdrop; it’s the moral atmosphere. A small Southern town isn’t interchangeable with any quaint anywhere. Class codes, church rhythms, heat, gossip, and the local grammar of intimacy are the machinery that makes the plot believable and the characters legible. Beresford’s intent sounds conservative, but it’s really an argument for precision: get the setting right and you don’t have to over-direct the emotions. The audience will feel the pressure of the place without being told what to feel.
There’s also a contextual tell in “first production.” When you’re first to adapt a beloved novel, you’re negotiating with readers’ private, fiercely held mental images. Beresford signals respect for that imaginative ownership, while claiming authority: the job isn’t to decorate the story with directorial cleverness, but to stage it in the world that produced it. That restraint is its own aesthetic stance, and a surprisingly modern one.
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