A Quote by Bruce Beresford
When we were trying to get the money for Driving Miss Daisy, everyone kept saying no one could direct it well enough to entertain an audience for 100 minutes essentially watching three people chatting in the kitchen.
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When we were trying to get the money together for the film, one reason that was consistently given for not investing in it was that everyone kept saying no one could direct it well enough to entertain an audience for 100 minutes essentially watching three people chatting in the kitchen.
There are only three ages for women in Hollywood-Babe, District Attorney, and Driving Miss Daisy.
I was pretty realistic to people about what we could get done, and the situation we were in, and trying to tamp down expectations. If you listen to my stump speeches, if you listen to what I said at Grant Park, I kept on saying, "Look, this is not just about me, this is not going to happen in one year, or one term, or even one presidency." And we tried to layer into everything we were saying a sense of hope, but also realism.
Daisy smiled and said, "Jay Berry, you won't die. You may think you will, but you won't. In a day or two, you'll be as good as new, I hope." "You're just saying that because you heard Papa say it," I said. "No, I'm not!" Daisy said. "I'm saying it because I'm a nurse, and nurses are supposed to cheer up their patients." I knew all too well that once Daisy had gotten into one of her Red Cross nursing spells, it was ridiculous to even think of trying to argue her out of it. So I just groaned, closed my eyes, and sat there while
Suddenly you're the mom, or you go from ... You're not an ingénue, you don't want to play an ingénue, but it's like that line in The First Wives Club [1996]: "There are only three ages for women in Hollywood: babe, district attorney, and Driving Miss Daisy."
I don't think films about elderly people have been made very much. I think of Cocoon and Driving Miss Daisy. But they always seem to be fairly successful, so it's a bit baffling as to why everybody has to be treated as if they were five-years-old.
At the end of your career, you go, 'I'm gonna be able to retire undefeated and be one of the very, very few people in history to do it.' People were saying I should try and get to 50-0, but my number was 46 - that was it. I could have kept trying, but one loss would have spoiled everything.
I want to satisfy the listener, exactly. I want to entertain the audience. I want the people to leave the show with the feeling I used to leave shows with when I was young, and I couldn't get over it for another three or four days after it. I just kept reliving the set in my mind.
A lot of people have a hard time living out of a suitcase, being on the road constantly in different cities. For us it's just kind of what we do. You do get homesick. I miss my wife, I miss my home, I miss my dogs, I miss my kitchen, which is something I like to do outside of this is cook. You miss the simple things. But when you look at the big picture we get to see a crazy amount of cities and the people we get to meet, all over the world it kind of makes up for it. It makes you realize how lucky you are because it could be gone tomorrow you just never know.
You read about these oyster-shucking contests: Somebody did 100 oysters in three minutes, three seconds. I'm lucky if I can open one in three minutes, three seconds.
How my parents are in the kitchen is a good indicator of their parenting style. Mum cooks for sustenance, wants to get in and out, the job done quickly. My Dad wants to prance around in the kitchen, create a curry - and a mess - and entertain everyone.
I see young people being dismissed for supposedly wanting only "stupid" and "easy" material, or that they don't have an attention span longer than three minutes. I disagree with all those statements; I just think they aren't true. I'm saying that our generation wants stuff that is substantial and challenging, as well as thoughtful and endearing. Well, I don't know if I'm doing that, but I'm trying.
Interviewing people, I don't miss that at all. I do miss kibitzing with the audience because after every show I would spend half an hour to 40 minutes talking to people.
I try to make all my work as honest as possible. I want the audience to feel like they're watching two people talking-having a conversation-as opposed to watching actors fake it. I want the audience to get lost in the fact that this is so good it could be real.
Everyone thought I was going to fall down on my shoes and I kept saying, 'Well if I do I'll just get up!'
It would be fun to be eighty-five and have a Broadway debut. That's the goal I'm shooting for. When they revive 'Driving Miss Daisy' for the seven-hundredth time.
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