Dr. Peter Weller
speaker
668 appearances
2 recordings
2 series
first heard Apr 2025
last heard Apr 2025
Dr. Peter Weller’s voice in public audio — every appearance, attributed to the second.
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Appearances
Online. And you got to stand outside. And by the way, get a little book on it. You can't believe it. Because it's gorgeous.
You got to know what you're looking at. It's a story.
I hope so. I hope so. I hope so. Sometimes I can't get in. I do this golf tour with some real knuckle draggers. And they're fun, though, man. They are fun. Because we do golf, food. The whole gambit, yeah. Yeah, they're there for the art. I'm there for the golf because they say, okay, Weller, take us to the thing. And they're on the good foot. They're going, going, going, going, going.
I went to see three Caravaggios I'd never seen in Sicily. I actually went there to play golf. They wanted to see the three Caravaggios. And I think, oh, my God, I'm thanksgiving with these guys because the St. Lucie in Syracuse is a Caravaggio. Never saw it. Man, oof, killer, killer.
No. The embarrassment of Storaro.
You could say that the embarrassment of Storaro brings me into Renaissance. Because I did call Allie and go, Hey, Allie, you know, Vittoria Storaro just told me about Giotto. And, you know, we just want to see Giotto. And, you know, I'll give you a different term. She says, I did. I did. I did. You stopped at the Renaissance. You said it was too complicated. It was too filled with weirdos.
It's too much weird science. It's science. It's told me. It's all the things. It's everything. It's political. It's wars. It's taxes. You stopped. I told you. But you blew it off. You were stuck in the contemporary people. So I said, okay, so if you want to say that's what took me into it, Yeah, that's what took me into it, Giotto. I start with the beginning.
By the way, the book, Leon Battista Alberti. Now, dig this. On that note, let me hype this book.
Okay, I get into the Renaissance. Mm-hmm. And you get into the Renaissance and you go to academia. You talk about history for weirdos, man. You know, academia is weirdos.
That's so true.
Because you can hear... Like, there's a great scene I directed in... A wonderful scene in Hawaii Five-0, right? Okay. And the nerd guy's interviewing an assistant nerd guy. And he's saying, look, let me get this correct. You got a problem with the moonshot. And the nerd guy... My guy says, what's your problem? And he says, well, it's really difficult. He says, why don't you explain it to me?
Because I'm weird. So you can explain, you know, a weird thing to a weirdo. Let me guess. He says, you don't think that Neil Armstrong ever really set foot on the moon, right? And the guy responds, no, that's not my problem. Oh, what is your problem? There is no moon. What? And that's a scene I directed, man. And it's one of the most beautiful scenes ever. I love that.
Because these guys totally underplay it. They just, they don't go, hey. They just kind of talk like, you know, there is no moon. Oh, really? And that's the history for weirdos.
So, anyway, you guys got to go on your... I don't know where I was going with that, but that's okay. I love it.
Ah, on the moon. No. I'm doing this art. I'm doing this art. There's a great guy named Walter Liedtke who has passed away. He was in a train wreck going to Scarsdale in New York, but he's one of the heads of European paintings with Keith Christensen and Andrew Bayer at the Met. So some friends, Maria Canelli of the Fashion Institute, And later on, the American Folk Museum.
I met these friends in Italy. One of the things, I'm doing a movie for Dino De Laurentiis in 1987, 88. And I don't know anything. This is before I even know about Johto. And Maria, I pay her. at the American Academy and meet her to take me to Florence to walk me around these Jesus paintings, man. And by the time we're done, she's smart, but I'm, I have no interest in a man.
I have no interest in Jesus, Moses throwing manna from the sky. Who cares? So that's when Giotto comes up four years later. I've got to go back. So I call up Maria Canelli. I say, hey, sorry, but would you turn me on? I'm kind of back into it. And then she takes me to the Met, and I meet Walter Lieke and so forth. And I go, look, we're going to do a deep dive on this.
And they said, go to Syracuse. Take a 10-week course. They have a beautiful 10-week course. They have more investment programs abroad than anybody else. I said, okay. So I take it with a great guy who's a mentor to me, Gary Radke. And you go around Italy, and I'm with 12 19-year-olds. I'm 53, man, and we're 12, 19-year-olds. And they're fun. One boy and the rest girls. And they're fun, man.
I'm sure. Because about a third of them are there just spending old man's Amex, and about a third of them are there looking at their art. But they're just fun. They're not going to be as ruthless as the people I am going to study with. four 23-year-old girls, because what happens out of that is Radke invites me to do this very special program at Syracuse in Florence.
We basically do the whole thing in Florence.
Showing 101–120 of 668 · page 6 of 34
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