Peter Weir
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"Peter Lindsay Weir", Order of Australia/AM is an Australian film director. He played a leading role in the Australian New Wave cinema (1970-1990) with his films such as the mystery drama Picnic at Hanging Rock (1975), the mystery drama-thriller The Last Wave (1977) and the historical drama Gallipoli (1981 film)/Gallipoli (1981). The climax of Weir's early career was the $6 million multi-national production The Year of Living Dangerously (film)/The Year of Living Dangerously (1983), starring Mel Gibson, playing opposite top Hollywood female lead Sigourney Weaver. Weir then directed a diverse group of Cinema of the United States/American and international films—many of them major box office hits—including the Academy Award nominated films such as the thriller Witness (1985 film)/Witness (1985), the drama Dead Poets Society (1989), the romantic comedy Green Card (film)/Green Card (1990), the social science fiction comedy-drama The Truman Show (1998) and the epic historical drama film Master and Commander: The Far Side of the World/Master and Commander (2003), which starred fellow Australian Russell Crowe.

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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.

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.

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.

Then the producer said, "Do you know Jim Carrey?" And I thought, "My God, what an interesting idea!"

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.

She is so cold and so hard and so neurotic because of what she's done. She's immensely wealthy - making profits of a Meryl-Made line of clothing and so forth. But she is so deeply compromised because of all of this.

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.

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.

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.