- Born
- Birth namePeter Frederick Weller
- Nickname
- Pete
- Height1.84 m
- 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 Les Joyeux Débuts de Butch Cassidy et le Kid (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 L'usure du temps (1982). Other film credits include Firstborn (1984) with Teri Garr, the HBO made-for-TV Confessions criminelles (1986), co-starring Lesley Ann Warren, and Terreur à domicile (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.- IMDb mini biography by: Pedro Borges
- SpouseSheri Stowe Weller(June 24, 2006 - present) (1 child)
- Children
- ParentsDorothy Jean Weller (Davidson)Frederick Bradford Weller
- RelativesFrederick Weller(Cousin)
- He teaches a literature and fine arts class at Syracuse University and is one of the university's most popular professors. He can be seen, in his capacity as an expert, on a History Channel documentary on the Roman era.
- Received his Bachelor of Arts degree in Theatre from North Texas State University (now the University of North Texas) (1969).
- Had turned down a role in King Kong II (1986) to play the lead role in RoboCop (1987).
- Dr. Peter Weller received his Ph.D. in Italian Renaissance Art History and Roman History from the University of California, Los Angeles (UCLA) (2014). He had previously received his Master of Arts degree in the same subjects.
- In a jazz band called The Mildred Snitzer Orchestra with actor Jeff Goldblum, they performed at local clubs in Los Angeles, California. They were also in a band together in the cult movie Les Aventures de Buckaroo Banzaï à travers la 8e dimension (1984).
- [on the enduring popularity of RoboCop (1987)] It was my contribution to cinema.
- [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 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 Le Festin nu (1991) with him, so I was happy to do it, and was happy to be gone.
- [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 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.
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