Peter Weir

You can mix in certain sensitivities as a filmmaker.

Silent 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.

With more time I like to see the actors find something of their own places, so I can get their own ideas before I put mine in. Given they have a better idea more often enough.

I'm not from a theatrical background where people do like to work it out on some stage space.

The best conversation with Stanley Kubrick is a silent one: you sit in a theatre and watch his films and you learn so much.

I enjoyed Jonathan Franzen's 'Freedom.' Would I make that into a film? I think it's better suited to television. That would very much be a dialogue and performance piece, and it would take some very skilful direction - but not my kind of directing. But I thought it was a real literary work.

I carve stone. I've got hammers and chisels and I carve from sandstone. I just did a big mural of birds and trees.

There was a point of frustration, where I thought I should just take a film, even though I didn't want to. I was impatient with being at home. But I hung on to the approach I've always had, which is to wait for a project that I could contribute something unique to.

Movies tie things up in an arbitrary length of time, but I have always liked things that aren't fully realised.

I loved Sherlock Holmes as a kid, but I remember being disappointed when he'd come up with these simple explanations for these complex mysteries.

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.

Music stops you from thinking.

I've become wary of interviews in which you're forced to go back over the reasons why you made certain decisions. You tend to rationalize what you've done, to intellectually review a process that is often intuitive.

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.

Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.

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.

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.

When I began making films, they were just movies: 'What's the new movie? What are you doing?' Now they're called 'adult dramas.'

There'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.