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.
Peter WeirAnybody I'd spoken to who'd been in Siberia said 'would you please put mosquitos in your film,' that's what everybody knows about, they're big and they're nasty.
Peter WeirI carve stone. I've got hammers and chisels and I carve from sandstone. I just did a big mural of birds and trees.
Peter WeirId 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.
Peter WeirSilent 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.
Peter WeirI 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.
Peter Weir