3 items from 2011
Flickering Myth presents a detailed look at the work of internationally renowned Australian filmmaker Peter Weir...
Weir Did He Go? Flickering Myth Welcomes Back Peter Weir
Trevor Hogg introduces the Peter Weir Blogathon.
A Weir View: A Peter Weir Profile
Trevor Hogg profiles the career of director Peter Weir in a two-part article from 2009.
Trevor Hogg discusses the making of The Way Back.
Picture Perfect: A conversation with cinematographer Russell Boyd
The Cars That Ate Paris, 1974.
Andreas from Pussy Goes Grrr here, providing one more love scene to close out Valentine's Day.
The opening credits sequence of Peter Weir's Picnic at Hanging Rock takes place, fittingly enough, exactly 111 years ago. To the tune of Gheorghe Zamfir's doleful panpipe, the pupils of Appleyard College in late-Victorian Australia rush around, preparing for their Valentine's Day excursion—washing their faces, tying on corsets, brushing their hair, and in one special case, declaring their undying love through poetry.
The poet is Sara (Margaret Nelson), an introverted orphan who feels a deep but ill-fated love for her achingly beautiful classmate Miranda (Anne-Louise Lambert), a girl later compared by a teacher to "a Botticelli angel." Sara's affections may be obsessive and naïve, most likely stemming from both her loneliness and the lure of Miranda's divine, ethereal beauty, but they manifest themselves in a long, painfully sincere poem she calls "An Ode to St. »
Trevor Hogg continues his Peter Weir retrospective with a look at his internationally acclaimed second film...
Picnic at Hanging Rock, 1975.
Directed by Peter Weir.
At the turn of the twentieth century a group of Australian schoolgirls vanish upon entering a mysterious rock formation while picnicking on Valentine’s Day.
In filming the strange period tale based on the novel by author Joan Lindsay, filmmaker Peter Weir had to address a fundamental narrative problem. “With much of Picnic at Hanging Rock it was clearly dangerous ground I was treading on, given the audience’s preconditioning, with a mystery that had no solution. I had to supply an ambience so powerful that it would turn the audience’s attention from following the steps of the police investigation into another kind of film.” To accomplish this for his 1975 movie, »
3 items from 2011
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