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The Way Back, director/co-writer Peter Weir

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7 Responses to “The Way Back, director/co-writer Peter Weir”

  1. Michael. says:

    It sounds like it was such an interesting shoot, and a unique one in this day and age. We need films like these to go well and we need guys like Peter Weir making them. Good interview DP.

  2. Keil Shults says:

    Don’t have time to listen to this right now (unfortunately), but I’m just curious if Poland has seen the film, and, if so, what is his overall opinion of the film itself, as well as its Oscar potential.

  3. douglas says:

    Nothing has changed. This is a man who is interested in the craft of filmmaking which he is superb at. He took Han Solo out of his comfort zone in The Witness and did the same with a rubber necking comedian in The Truman Show. And Mork out of his and took him to Dead Poets. Box office ranking aside, the opening scene of the Galapagos Island in Master and Commander is one of the most impressionable in my recent memory – clearly I’m not what the industry is after, but I do pay for my tickets. So there’s your dollar Peter.

  4. Davidva says:

    What a master. He is truly an inspirational director. “I must get the story right”. There is a dearth of this passion in moviemaking now. A man in full command of his art.

  5. Mony says:

    Such a good interview. Peter Weir is great. Hopefully he makes more movies in the future.

  6. Hep says:

    “Colin Farrell is not known for his discipline”?????
    Ask any director or any co-star. He is nothing but disciplined on the set. Or were you making a snide remark about his personal life of….oh… least five years ago?

  7. Bruce says:

    Thanks guys. An amazing insight into Peter’s personal and professional approach – humility, integrity, discipline and skill. I’m looking forward to the seeing The Way Back when it comes to Oz. I read the book many many years ago and it is a magnificent story. Thanks Peter for bring it to the screen.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon