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?'
Peter WeirI always thought the editor should cut the film and so I'll come in and look at the movie. Just because that's the only way I can really see the ideas of the editor, it's really working together. Yes it's a hierarchy, yes I'm the boss, but I like to see and to think about the idea, and it's about us asking, 'do we have to say that?' and, 'how do we make it there?' So it's advising the editor, it's very give and take, it's very free, but in the end, it's wonderful once you get through the first couple of cuts.
Peter WeirThere'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.
Peter WeirI'm not from a theatrical background where people do like to work it out on some stage space.
Peter WeirStudios 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.
Peter WeirWith war and famine and flood and special effects films, when you do somebody under duress, you have to be really be inventive and the risk of keeping it very simple is you might loose some of the audience because it's not overt, it's hidden, not coming at you. Then you might cut through to some of this numbness and reach something profound and tragic.
Peter Weir