Peter Weir Quotes

I don't like to shoot on sets at all. As much as possible, I try to shoot on location.

In India, film sets are like a family atmosphere.

'25th Hour,' like a lot of my films, takes place in New York City. I've been very fortunate to make films in the city that I live. I mean, it's great going home at night instead of being on location.

Quite a few movies are starting to film in Florida.

I did this movie with Spike Lee called 'Sucker Free City,' and that would have to be my favorite role by far. It was just so much fun to work with Spike and shoot in San Francisco.

I really fight hard to make things film where they're supposed to be filmed. If something is supposed to be in New York, then it has to be in New York.

Most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.

I usually hang out on the set. I get to know everybody. I have a nice time with the other actors.

I like shooting movies in Thailand very much because the government is so cooperative there. The police help you to close the roads for shooting.

Ultimately, making movies is a really, really small world. Being on sets and going to the same locations, like shooting in Shreveport, you're always working with somebody from another set that you worked with.

I do like the whole idea of going to a location to shoot a movie, and there is a start date and a finish date, and a lot of special things happen within those weeks.

New Mexico is the second Hollywood. No, it is, it is. They built all sorts of film studios.

Moviemakers are rewarded with tax write-offs if, when seeking a location that looks like America, they seek it in America.

I like shooting on location in New York City.

I have always wanted to do a show where I could stay home. When you make movies, you might as well take a dart and throw it at a map.

I like shooting locations just because too much control on the stage can be a bad thing.

Unless it's a song and something fancy, I would rather shoot on location.

Everyone had coverage. You might have like three lines, but there were 10 people, so they would cover each person. Three lines could take 12 or 15 hours, but it was fun because everybody was together. As hard as it was to shoot those scenes, I always enjoyed when we were all together.

You can't make a movie about the artist without shooting outdoors.

You're not really just a filmmaker that makes a movie good most of the time. It's everybody involved; it's a collective effort.

First and foremost, my hats off to our directors and camera department. That is something I will miss after Longmire. I can't imagine working on another show that looks like this. We'll get the whole crew out on location and have a hundred people standing around, waiting for about 40 minutes, so that sun is just a little bit further in the sky and the light is hitting the cloud, in the perfect way.

Most indie shoots, or any kind of film shooting, even TV, it's out of Los Angeles, unfortunately. I wish that would change, that people could work where their families are, across the board - crew, cast. I wish we could all stay here.

Any time you do an Adam Sandler film, it's kind of like a boys' club, because you're hanging out and there are guitars around, and basketballs and footballs and electric bikes and scooters and different people dropping by.

If you're going to do a movie about the Village, it's pretty nice to shoot in the village and not be in Toronto.

Of course I would change anything if John Cassavetes said so - it's his script. But he was very easy about that.