Peter Weir Quotes
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Movies tie things up in an arbitrary length of time, but I have always liked things that aren't fully realised.
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I'd love to have another film to go on to. I'm in the mood to work. But I have to be patient, you know, to find that particular kind of project. Occasionally I'll write one myself if I can summon up the energy.
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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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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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Silent films were, I think, more different than we know to sound films. We think of it as simply that we added dialogue and in actual fact I think it was an entirely different art form.
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Music stops you from thinking.
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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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With more time I like to see the actors find something of their own places, so I can get their own ideas before I put mine in. Given they have a better idea more often enough.
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I carve stone. I've got hammers and chisels and I carve from sandstone. I just did a big mural of birds and trees.
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Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
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It was immediately apparent that it was full of tricky ingredients to balance. In fact, I found it very intriguing. What held me back from saying yes to the producer was that I wasn't sure who could play Truman.
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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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I'm not from a theatrical background where people do like to work it out on some stage space.
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You can mix in certain sensitivities as a filmmaker.
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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.
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There was a point of frustration, where I thought I should just take a film, even though I didn't want to. I was impatient with being at home. But I hung on to the approach I've always had, which is to wait for a project that I could contribute something unique to.
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When I began making films, they were just movies: 'What's the new movie? What are you doing?' Now they're called 'adult dramas.'
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I've become wary of interviews in which you're forced to go back over the reasons why you made certain decisions. You tend to rationalize what you've done, to intellectually review a process that is often intuitive.
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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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Well, there's that girl on the Internet - although this isn't an example of someone who doesn't know they're on - but there's a girl on the Internet who posts one photograph every two minutes from her bedroom.