Peter Lindsay Weir, AM (/wɪər/ WEER; born 21 August 1944) is an Australian film director.
Studios are attracted by making money, and they're also trying to simplify things, going with the genre thing. The gambling instincts of a few years ago where you might make some thousands or a few hundred, it's nothing now.
I'm not from a theatrical background where people do like to work it out on some stage space.
I'm not from a theatre background, I'm wary of rehearsals. But what I do like is hanging out together, on location.
There's almost a fear that if you understood too deeply the way you arrived at choices, you could become self-conscious. In any case, many ideas which are full of personal meaning seem rather banal when you put words to them.
So much of the work is intuitive. The resistance you detect is just that, a kind of evasion, a sense that too much analysis will inhibit creativity.
I don't know if there will ever be an ideal way of selling an original picture. Because everything you're doing, you're inventing.
It's spiritual, a man that has a past and regrets, but you can as a director take a shot, and there's something in the eyes and the face, you just can't fake it, you can't teach it, and I think Ed Harris has that quality.
Russell Crowe as Capt. Jack Aubrey in Master and Commander: The Far Side of the World,. . most unlikely.
I've done a number of things that get categories closed off in a way, so when I read 'The Long Walk' by Slavomir Rawicz and decided to do film, 'I thought, you know, this is going to be wonderful,' two and a half years, three years, whatever it was.
National film industries tend to move in cycles. In Australia right now, we're on a high, a feeling of potential, which as yet shows no sign of flagging. But the word "industry" is misleading. A small national cinema has no industry in the Hollywood sense.
I loved Sherlock Holmes as a kid, but I remember being disappointed when he'd come up with these simple explanations for these complex mysteries.
Sixty-five days principle photography, five-day weeks, which is the only way I'll work. With my cinematographer Russell Boyd, we take as much time as possible before pre-production, looking at stills. The next most important thing: he will come to me and talk about lenses. And I'll see his plan, which is generally great, and I might talk about how the light will be, handheld or not? I talk very freely, and try not to talk specifically, just talk around it, because it can unlock all sorts of things.
Various studios are still shooting on film with digital grain and the DI negatives, it's not ideal. We should really be all film or all digital. But that being said, the old way of graining in the camera, now you can make changes like a painter. It's dangerous because you can ruin the film, you can over-fiddle. We've all seen films and gone 'what the hell is that?'
You get very little from the studios anymore, it's all independent. And I think the studio, with the exception of something like The Social Network, a fine film, very interesting, but as for studio pictures, that's it, what else? There was more only a few years ago. So it changes, and I'm trying as much as I can.
Id love to have another film to go on to. Im in the mood to work. But I have to be patient, you know, to find that particular kind of project. Occasionally Ill write one myself if I can summon up the energy.
In terms of how I work with actors, having worked so heavily on the script I have a very clear idea of the characters; they are reasonably well illustrated in the script. If you cast it right, to a great degree you can hand it over to the actor and I just make suggestions. I'm not the kind of director who needs or wants to get into too much finessing. Ideally, when you hit the set, you have this conversation, like, 'eh, what did you think?' 'I don't know, what did you think?' 'Why don't we just try it again, make a few physical changes. '
What we love that 'The Way Back' is not subsidized, it's alive and kicking. And if I can't make the kind of film that I want to make, then the hell with it, I've had a great run. But I'm more concerned with the younger people coming up that want to make this kind of film.
There's such a deep, conservative feeling in 'The way Back. ' You go, 'gosh, we've gotten narrow. ' So at the moment I think there's a kind of tension, and it's gold rush fever.
You can mix in certain sensitivities as a filmmaker.
Ed Harris seemed to be as a man, it seems, like a Clint Eastwood, this country is one that has produced more than one of this kind of man that's iconic and enormously appealing to the world, as part of American film culture.