A Quote by Elvis Mitchell

The kind of filmmaking excitement that director Peter Weir brings to movies is bone deep. — © Elvis Mitchell
The kind of filmmaking excitement that director Peter Weir brings to movies is bone deep.
The experience on that movie (Dead Poets Society) was, for lack of a better term, life-altering. Peter Weir has a unique talent for making movies that are intelligent but also mainstream. I've never been terribly successful at doing that.
Peter Weir is remarkable. He can do anything.
For filmmakers who've made multiple movies, they have experience, but they only have experience of themselves as a filmmaker. Whereas I'm bouncing around from different skill sets: the organizational ability of Ridley Scott to the precision of a Ron Howard to the artistic sensibilities of a Peter Weir... to the scope of a Tom Hooper.
Peter Weir has just shrugged off an ankle injury
I usually work with the director and it's just a collaboration between me and the one person. I think you make good movies that way. If the director and the composer can have this common goal and this excitement about making something great, then you're going to do something good.
When I was a kid, it was a little bit exciting working with Peter Weir and Robin Williams, but that faded pretty quickly for me.
I feel safe in saying this, and that is that Peter Weir is without a doubt one of the greatest filmmakers of all time. I'd open a door in a movie for him if he asked me to.
I loved working with Peter Weir. I think he's one of the greats and will be remembered as one of the greats.
I feel that being an actor is a front-row seat into seeing how everybody else makes their movies. Basically, being in the trenches for ten years is like a college-level course in filmmaking if not more. It feels like every director I work with and every set that I visit as an actor, I see someone else's definition of filmmaking.
I'd love to work with the people who really got the film industry going again through the '70s: Peter Weir, Bruce Beresford, Gillian Armstrong, Fred Schepisi.
I like what a third man brings. A kind of oblique vision, seeing something in the material that you didn't know was there. As a comedian, I'm always listening to the audience. And in movies, sometimes the only audience you have is the producer and the director. I like having someone else's opinion, especially if you're on the same wavelength.
Id love to work with the people who really got the film industry going again through the 70s: Peter Weir, Bruce Beresford, Gillian Armstrong, Fred Schepisi.
I know Peter Jackson a tiny-tiny bit from interviewing him about the 'Lord of the Rings' movies over the years. When I was visiting the set of 'The Return of the King,' he let me be an extra so I could see filmmaking from a different perspective. I was a Rohan soldier.
When I met Peter Weir, we did a movie called 'Master and Commander' together, and that's when I really started to understand the power of acting, the power of directing, finding the emotion in performance.
Filmmaking has always involved pairs: a director coupled with a producer, a director alongside an editor... The notion of couples is not foreign to cinema.
Because you're delegated to a cook book recipe and you slavishly and pedantically rely on it while you're shooting and you're not relying on your creative instincts and you're not relying on something which brings life into movies and excitement into it.
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