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Peter Weller
Birthday:
24 June 1947
Birth Name:
Peter Frederick Weller
Height:
180 cm
Biography
My career was always full of risks one way or another, and that's the way I like it.
My career was always full of risks one way or another, and that's the way I like it.
I don't care for horror and fantasy films. I never go to see them in the theater. I know I've played in many of them, but I didn't do them because of their genre -- I did them just because I loved their scripts. I can't say why I like them so much on paper and dislike this kind of film so much on the screen. When I go to the movies, I like romance, comedy an...
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I don't care for horror and fantasy films. I never go to see them in the theater. I know I've played in many of them, but I didn't do them because of their genre -- I did them just because I loved their scripts. I can't say why I like them so much on paper and dislike this kind of film so much on the screen. When I go to the movies, I like romance, comedy and thrillers. I hate gore.
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[on an actor's responsibility to his audience] To inform. That's it, to inform and entertain. But then only to inform. That means to expand an audience's sense of humanity. That's all.
[on an actor's responsibility to his audience] To inform. That's it, to inform and entertain. But then only to inform. That means to expand an audience's sense of humanity. That's all.
The best reason to go to the movies is to be with other people. Eating the popcorn, being with other people you don't know. You see, when people are rubbin' up against other people like that, under the environs of being entertained or communicated with, humanity's better off. People expand themselves, they get out of themselves. Love. Television doesn't do t...
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The best reason to go to the movies is to be with other people. Eating the popcorn, being with other people you don't know. You see, when people are rubbin' up against other people like that, under the environs of being entertained or communicated with, humanity's better off. People expand themselves, they get out of themselves. Love. Television doesn't do that. Television is an isolating experience, sadly enough. I'm sorry to say it. But as good as it ever gets, it's still isolating. You sit in your home and visit with no one. You drink your beer, eat your popcorn and be alone, that's what you do. With movies, you gotta get out, man. You gotta get out and be with people. And that's the best thing and that's the responsibility. Once people are out and in a movie theater, then you can inform them about themselves.
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[on making the original RoboCop (1987)] When I was making it, I knew it was going to be a great thing, but you never know whether they are going to be successful or not. I knew we were making a fantastic social allegory, and, I don't want to sound pretentious, a spiritual one as well.
[on making the original RoboCop (1987)] When I was making it, I knew it was going to be a great thing, but you never know whether they are going to be successful or not. I knew we were making a fantastic social allegory, and, I don't want to sound pretentious, a spiritual one as well.
[Furthermore on RoboCop (1987)] Aside from the action-adventure, the corruption, corporate machinery gone berserk and so on, the heart of all this is a morality tale. It's like "Beauty and the Beast", or the Tin Man of "The Wizard of Oz". It's a great little jewel of a human story.
[Furthermore on RoboCop (1987)] Aside from the action-adventure, the corruption, corporate machinery gone berserk and so on, the heart of all this is a morality tale. It's like "Beauty and the Beast", or the Tin Man of "The Wizard of Oz". It's a great little jewel of a human story.
[on turning down RoboCop 3 (1993)] I have to say it didn't quite have the third great act that RoboCop (1987) had and, by the time I was into the second one, I knew I was tired of it, plus David Cronenberg had asked me to do Naked Lunch (1991) with him, so I was happy to do it, and was happy to be gone.
[on turning down RoboCop 3 (1993)] I have to say it didn't quite have the third great act that RoboCop (1987) had and, by the time I was into the second one, I knew I was tired of it, plus David Cronenberg had asked me to do Naked Lunch (1991) with him, so I was happy to do it, and was happy to be gone.
[on RoboCop 2 (1990)] There was a couple of things that made the character more human that weren't used. I can't remember exactly what the scenes were, I just remember wondering why they weren't in.
[on RoboCop 2 (1990)] There was a couple of things that made the character more human that weren't used. I can't remember exactly what the scenes were, I just remember wondering why they weren't in.
[on the enduring popularity of RoboCop (1987)] It was my contribution to cinema.
[on the enduring popularity of RoboCop (1987)] It was my contribution to cinema.
Peter Weller
Peter Frederick Weller was born in Stevens Point, Wisconsin, to Dorothy Jean (Davidson) and Frederick Bradford Weller, a federal judge and career helicopter pilot for the United States Army. He traveled extensively as his father literally flew around the world. Before he was out of his teens, he had attended high schools in Heidelberg, Germany and San Antonio, Texas, then enrolled the University of North Texas -- attracted by the chance of playing trumpet in one of the college's celebrated jazz bands. Music is in his family. Three generations on his mother's side were piano players and jazz is still his overriding interest. Ask him who his favorite performer in any art form is and he will say Miles Davis. It was with a B.A. in Theatre and a scholarship to the American Academy of Dramatic Arts that he left Texas for New York. Two weeks after graduating, he made his first appearance on Broadway as David in Joseph Papp's New York Shakespeare Festival production of David Rabe's "Sticks and Bones", a role he repeated on the London stage.While a student of legendary actress and drama coach, Uta Hagen, Weller appeared on and off Broadway in works like William Inge's "Summer Brave", Thomas Babe's "Rebel Women" and "Full Circle", one of the last plays directed by Otto Preminger. He began garnering critical acclaim with his portrayal of Billie Wilson in "Streamers", directed by Mike Nichols for Joseph Papp at Lincoln Center. He continued that success with his performances as Cliff in "The Woolgatherer" and as Nick in the first American production of David Mamet's "The Woods". During this period, he became a member of the highly respected Actor's Studio, under the aegis of Elia Kazan and Lee Strasberg.Weller's film debut was in Richard Lester's Butch and Sundance: The Early Days (1979). He then co-starred with Alan King and Ali MacGraw in Sidney Lumet's Just Tell Me What You Want (1980) and, with Albert Finney and Diane Keaton, in Alan Parker's Shoot the Moon (1982). Other film credits include Firstborn (1984) with Teri Garr, the HBO made-for-TV Apology (1986), co-starring Lesley Ann Warren, and Of Unknown Origin (1983), the film which won Weller the Best Actor award at the Paris International Film Festival for his performance as an upwardly mobile bachelor with a serious rat problem. That same film also marked his first association with Leviathan (1989) director George P. Cosmatos.
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