Tag Archives: peter weir

Stenders On Weir

Stenders On Weir

This month's episode was a little tricky to record. With Kriv in Brisbane for pre-production on his movie Australia Day and Sophie on holiday in North America, scheduling proved difficult, and we were unable to find a time they were both available. So Lee - who had nothing of note going on in August - recorded separately with both of them, and the result was edited into the seamless episode you can now hear.

But we embraced the tumult, and threw our traditional reviews segment out the window. Ignoring the month's releases, Lee talks about all the best films he saw at the Melbourne International Film Festival, and Sophie talks about an incredible film she saw in a plane over the Atlantic.

After the review, we dive into the works of Peter Weir, and dig deep into what connects films like Picnic At Hanging Rock and Gallipoli to Dead Poets Society and The Truman Show. Is it possible he's exploring a single theme throughout these wildly different films? You'll have to listen to find out!

Outro music: “The Far Side of the World” from Master and Commander: The Far Side of the World (2003), composed by Iva Davies, Christopher Gordon and Richard Tognetti

The latest episode of Hell Is For Hyphenates, featuring Kriv Stenders talking the films of Peter Weir, can be subscribed to via iTunes, heard at Stitcher Smart Radio, or downloaded/streamed directly from our website.

Hell Is For Hyphenates – August 2016

Director Kriv Stenders (Red DogKill Me Three Times) joins the Hyphenates for our August 2016 episode. Lee runs through some of the highlights from the Melbourne International Film Festival, including Pedro Almodovar’s Julieta, Ben Wheatley’s High-Rise, Sergei Loznitsa’s The Event, Kelly Reichardt’s Certain Women, Rohan Spong’s Winter At Westbeth, Asghar Farhadi’s The Salesman, Nicholas Winding Refn’s The Neon Demon and Oliver Assayas’s Personal Shopper, and Sophie talks about Patricia Rozema’s Into the Forest. Then Kriv takes us through the works and career of Australian New Wave pioneer and acclaimed filmmaker Peter Weir.

The Peter Weir Cheat Sheet

Peter Weir Directs

Want to become an instant expert in our filmmaker of the month without committing yourself to an entire filmography? Then you need the Hell Is For Hyphenates Cheat Sheet: we program you a double that will not only make for a great evening's viewing, but bring you suitably up-to-speed before our next episode lands…

Peter Weir Films


It's back-to-school this week so let's prep with two sad, strange and magical school stories from Peter Weir, a director who loves sad, strange communities and the weirdness that occurs therein. These are films that mark people's memories: if you saw either when you were a teenager, they will have lingered in how you think about the passions and persecutions of your schooldays. If you haven't, no worries, they'll haunt you now. Picnic at Hanging Rock, Weir's third full-length feature, is every bit as mysterious and daring as it was forty years ago: its central enigma (not based on a true story, despite rumours) remains unsolved (and unspoilered here). Filmmakers like Carol Morley (The Falling) and Lucile Hadzihalilovic (Innocence) have recently revisited its dreamy strangeness of Edgar Allen Poe-quoting girl crushes and fairy-tale references. Dead Poets Society reflects, likewise, that adolescence is no picnic - but for a brief moment, it can be painfully glorious, with Robin Williams channeling Walt Whitman at the front of the classroom. It jump-started the careers of Ethan Hawke, Robert Sean Leonard and Josh Charles as the hormonal hornets' nests given a jolt of inspiration by Williams' English teacher John Keating (named after Australia's then-Treasurer?), who tells them poetry was invented to woo women. These films will definitely seduce you.

Substitutions: If you can't get or have already seen Picnic at Hanging Rock, go for Gallipoli, which can't be held responsible for Mel Gibson. If you didn't watch it as part of the 100th anniversary of the battle of Gallipoli last year, watch it now. Brutal, moving, truthful, the film put this ANZAC story on the international map. If you can't get or have already seen Dead Poets Society, you must watch The Truman Show, which was pipped by Dead Poets to the Cheat Sheet post by the still-palpable loss of Robin Williams. Like an extended version and inversion of God calling to ask for girls at Helton, The Truman Show is a quintessentially Weir-ian film that starts out quiet and normal and ends up epically uncanny: a tale of an ordinary life that encounters the impossible. And that's just the idea that Laura Linney would really be married to Jim Carrey (as if)…

The Hidden Gem: Want something a little off the beaten path? Then you'll need to check out the 1979 telemovie The Plumber. One of the earliest examples of Weir finding the thrilling in the simple, the film follows the a woman as she is subjected to a series of mind games by a man claiming to be a plumber. If you think you know how the film will play out based on that premise, then you really need to seek out this film, which subverts its Hitchcockian premise at every turn.

The next episode of Hell Is For Hyphenates, featuring Kriv Stenders talking Peter Weir, will be released on the morning of August 31 (AEST).

Our Next Hyphenate Kriv Stenders

Kriv Stenders
Australian filmmaker and August 2016 Hyphenate Kriv Stenders

We are delighted to announce that this month our guest will be Australian director Kriv Stenders!

Whether you know him from 2011's smash hit Red Dog, or last year's critically lauded mini-series The Principal, or his 2005 debut The Illustrated Family Doctor, or 2014's Simon Pegg-as-hitman action-comedy Kill Me Three Times, or 2007's criminally underrated Boxing Day, you've certainly seen at least one thing he's made.

Given Kriv can comfortably switch between serious drama, family adventure and action comedy, which filmmaker is it that inspires him?

This month, Kriv will be joining us to talk about one of Australia's most beloved filmmakers: Peter Weir!

Directed by Peter WeirPeter Weir rose to prominence during the Australian New Wave movement with 1974's The Cars That Ate Paris and 1975's Picnic At Hanging Rock. He continued making films in Australia including 1977's The Last Wave, 1981's Gallipoli and 1982's The Year of Living Dangerously.

When he went to the USA, he continued his streak with 1985's Witness, 1989's Dead Poets Society, 1998's The Truman Show, and many others. Nearly every film he has made has slipped effortlessly into pop culture consciousness. But what is it about his films that Kriv enjoys so much?

Join us on August 30 when we find out!

Our next filmmaker of the month, Peter Weir