Jacques Weber


  1. Gérard Depardieu, Les valseuses (US: Going Places), France, 1973.  Casting was spread  over six months…mainly because auteur Bertrand Blier’s producer hated  Depardieu. ”You seen his  chin? And that nose?!  Women won’t fancy him!”  Blier stuck to his guns; it was his book he was filming, after all.  He wanted Depardieu (“I’ve read your book and I’m Jean-Claude!”) and Patrick Dewaere from the new Paris café-theatre trend.. “One look was sufficient,” said Blier. ”They were the  best.” And Dewaere’s lover, Miou-Miou, became their Marie-Ange. Producer Paul Claudon had voted  for Leotard or the two Jacques  – Weber and Spessier. Daniel Auteuil also tested. “He says so,” said Blier. “I don’t remember.” His “scandalous” trio exploded into immediate stars, Depardieu still is, 50 years and 247 films later; Blier wrote four more of them.  “It’s a pleasure… because he is such mighty actor. The greatest! He is capable of playing – formidablement – any role.“

  2. Gérard Depardieu, Jean De Florette, France-Italy-Switzerland, 1985. While producteur-realisateur (and monstre sacrée) Claude Berri was testing the stage-screen star for Marcel Pagnol’s titular hunchback, cameraman Bruno Nuttyen suggested Depardieu – who rapidly agreed and brought with him co-production money and his wife, Elisabeth, as his screen wife, Aimée. “Yes, Berri was a monster,” said Depardieu. “Like Marguerite Duras or Maurice Pialat were monsters in their genre.”

  3. Gérard Depardieu, Germinal, France, 1992. Trying to cast Emile Zola’s brave type miner, Touissaint Maheu, was not easy. The realisateur (Claude Berri  again) first  discussed it with Depardieu on a flight to New York… though, still thinking of the mainly stage star Weber. Then, Berri thought again – and saved his film.  His fourth with Depardieu.

 Birth year: Death year: Other name: Casting Calls:  3