Peter Weir |
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Peter Weir Biography |
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Peter Lindsay Weir AM (born 21 August 1944) is an Australian film director. After exerting a strong influence on the Australian New Wave with his films Picnic at Hanging Rock, The Last Wave and Gallipoli, Weir directed a diverse group of U.S. and international films including the Academy Award nominees Witness, Dead Poets Society, The Truman Show and Master and Commander.
Although Peter Weir`s films are extremely varied in subject and locale, all are linked by Weir`s enduring thematic interest, that of exploring the reactions and behaviour of characters who find themselves in isolating or alienating situations. Often his films will involve a juxtaposition between macrocosm and microcosm, with the characters often making the difficult choice of choosing to live within the macrocosm. Examples include the phoney television studio town in The Truman Show and the prep school in Dead Poets Society and its characters` choices to break free from its confines. Despite his international success and celebrity, Weir has maintained close connections with his home city and on several occasions he has returned to Green Valley, the suburb where his early CFU documentary was set. There he has been closely involved in programs designed to teach filmmaking skills to disadvantaged young people. In April 2005 Weir returned to Sydney and reunited with the stars of Gallipoli to celebrate the film`s release on DVD. Themes such as forbidden love, clash between two cultures, violence versus pacifism and conformity versus non-conformity, are portrayed with the use of many techniques. Biography Credit: en.wikipedia.org/wiki/Peter_Weir |
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Quotes 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. 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. 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. The original version of the screenplay was much darker, and portrayed the central character as more of an Everyman. It was also set in Manhattan. 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. Music stops you from thinking. [on Mel Gibson] Mel is the new Australian. He is going to be a very good star. He is quite different from the Australian everyone knows -- the kind Rod Taylor represents. 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. 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. 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. 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. 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. 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. [on Mel Gibson] Mel is the new Australian. He is going to be a very good star. He is quite different from the Australian everyone knows -- the kind Rod Taylor represents.
[on Harrison Ford] Harrison possesses magnetic qualities. He is capable of filling a room with his personality. If he`d been a plumber and came to fix your tap, he`s a person you`d notice. We provoke each other. It`s no cozy fireside chat. (Referring to the restroom murder scene in Witness (1985): It was the most violent scene I`ve ever filmed. I still wonder if it was too violent, but I did want to have an outrage over the violence that occured in front of those innocent eyes [of the Amish boy character].Trivia After Martin Scorsese won the Best Director Oscar for The Departed (2006), Weir and Sidney Lumet became the filmmakers with the most Best Director nominations without a win in that category (4). Interviewed in "Directors Close Up: Interviews with Directors Nominated for Best Film by the Directors Guild of America", ed. by Jeremy Kagan, Scarecrow Press, 2006. Directed 5 different actors in Oscar-nominated performances: Linda Hunt, Harrison Ford, Robin Williams, Rosie Perez and Ed Harris. Hunt won an Oscar for The Year of Living Dangerously (1982). Father of Ingrid Weir. He was a part of the movement dubbed the "Australian New Wave" by the press. They were a group of filmmakers and performers who emerged from Down Under at about the same time in the early 1980`s and found work in other parts of the world. Other members included actors Mel Gibson and Judy Davis and directors George Miller and Gillian Armstrong. Famous for making well-known comedy and genre actors into credible dramatic actors such as Harrison Ford, Robin Williams and Jim Carrey. His films often feature a key scene involving a main character fiddling with their radio. His films very often deal with people, who find themselves in surroundings, where they do not fit in (e.g. a Philadelphia Cop among the Amish or a progressive teacher on a strictly conservative school). His characters often interact with technology, especially television, in ways that harm them or surprise the viewer, e.g. the church big screen TV in The Mosquito Coast (1986); the living room TV and TV control center in The Truman Show (1998); radio playing in the barn in Witness (1985), and so on. Spouse: Wendy Stites (1966 - present) 2 children
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