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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.

Peter Weir

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Peter Weir
Age: 80
Born: 1944
Born: August 21
Film Director
Screenwriter
Sydney
NSW
Peter Lindsay Weir
Running
Film
Subsidized
Back
Kicking
Great
Younger
Kind
Concerned
Make
Coming
Love
Hell
People
Alive

More quotes by Peter Weir

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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.
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I love stories and I don't like to repeat myself. And I look for new stuff, and as they say it gets harder.
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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.
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Russell Crowe as Capt. Jack Aubrey in Master and Commander: The Far Side of the World, .. most unlikely.
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The best conversation with Stanley Kubrick is a silent one: you sit in a theatre and watch his films and you learn so much.
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I enjoyed Jonathan Franzen's 'Freedom.' Would I make that into a film? I think it's better suited to television. That would very much be a dialogue and performance piece, and it would take some very skilful direction - but not my kind of directing. But I thought it was a real literary work.
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Well, all these stars have their houses swept quite regularly by people who work in the surveillance security business. They come in and they look for bugs and things.
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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.
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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.
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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.
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Casting the right actor for the right part is some unspoken thing between the two of you to communicate.
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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.
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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.
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It doesn't take any imagination at all to feel awed
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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.
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I think Ed Harris is a conscious screen actor, so I think it was strong, it was like he put everything together somehow in 'The Way Back'. He likes, I don't want to say the method approach, because that's not really necessarily his way of working, but it was easy to do because of the location. He'd go off by himself, and they would make things.
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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.
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I became obsessed with the true stuff, and that led to shaping 'The Way Back' screenplay somewhat toward a minimalist style, to avoid free-hanging moments, and to hold the music back, so it would never lead you to an emotion, and to try to make the emotions as real as I could.
Peter Weir