Ja, wir sind in einer Art Film, von Anfang an, in einer Szenerie, das Klopfen ist die feine Geste des fein in Anthrazit gekleideten 68-Jährigen mit dem dauerwilden, halblangen, schwarzen und silberfadendurchwirkten Haar.

“You don’t know if it’s him, if it’s Louis XIV struggling with death. Brigitte Duvivier is the wife of Jean-Pierre Léaud..

“I am happy to enter my old age by embodying as pregious a character as Louis XIV,” he said. “Voila!” he added. Léaud was expected to attend the press conference. He smiled gently and shook my hand with a tight grip. His skin was dry and unseemly; it looked like he hadn’t moved in centuries. I went up to his room, a new translator by my side, and knocked on the door. “Just for a minute.”Silence. (Doinel grew up in five subsequent films, all directed by Truffaut. Movie stars tend to shy away from their own mortality, relying on makeup and other wizardry to hide the onslaught of time.

That was especially crucial for the closeups. Born in Paris, Léaud made his major debut as an actor at the age of 14 as Truffaut was immediately captivated by the fourteen-year-old adolescent,Jean-Pierre Léaud, then in the eighth grade at a private school in Léaud starred in four more Truffaut films depicting the life of Doinel, spanning a period of 20 years—after the short-film Léaud is one of the most visible and well-known actors to be associated with the Léaud acted in films by other influential directors, such as He is married to the French actress Brigitte Duvivier.Truffaut's influence from adolescence into adulthoodTruffaut's influence from adolescence into adulthood Standing a few feet away, his wife, the actress Brigitte Duvivier, whispered. “As with every star, he was called on to play himself in movies as cameos,” Robion said. Ich weiß nicht“, sagt Léaud, oder seufzt er es für einen Augenblick, „ich weiß überhaupt nicht, was aus mir geworden wäre, wenn ich François nicht getroffen hätte.“ Mit dem Foto hat es eine besondere Bewandtnis. “Here, you’re treading into sensitive territory,” he said, paused, then flashed me a broad smile. “You must sit closely to him on his bed, and not raise your voice.” Then the door opened and we took a few hesitant steps inside.It was like we had entered the movie set. I told him about Albert Serra and scheduled a time for them to meet.”Serra said the pair immediately hit it off. “The originality of Léaud belongs to a rare category of actors,” the 88-year-old Douchet wrote me by email, “those who do not enter into their characters but require that each character come into them, become them.” In 2012, Lounas interviewed Léaud for Sofilm, the French film journal he runs on the side, which some credit as a motivating factor in Léaud’s decision to go back to work after several years out of the game. I asked Léaud how often he revisits his old performances. “Please,” she said, gesturing toward the side of the bed where Léaud lay. It was the final day of the 2016 Cannes Film Festival, and after a week of frantic coordinating with various schedulers, I’d finally managed to land an interview with Jean-Pierre Léaud. “Sit.”We slid in. “You must sit closely to him on his bed, and not raise your voice.” Then the door opened and we took a few hesitant steps inside.It was like we had entered the movie set. Jean-Pierre Léaud, ComM (French: [ʒɑ̃pjɛʁ le.o]; born 28 May 1944) is a French actor, best … “No other actor could’ve entered into my own moment of death — no one, except me,” he said. “Truffaut is dead and Johnny Godard is in Switzerland, continuing to film,” Léaud said. “For me, it was a bit like a Rembrant self-portrait,” Ricquebourg said. “It’s incredible for me to overlay the little boy from ‘The 400 Blows’ with this old man agonizing over death. Not one! “For the really older characters, it’s hard,” he said. “Thank you.” His eyes returned to the ceiling. “Sit.” They walked right up to the stage of the Walter Reade theater and juggled a half hour of questions from the audience with ease. In the wake of that project, Serra received an invitation from the Centre Pompidou in Paris to come up with an idea for an installation. Autour de Jean-Pierre Léaud. “He told me that he really wanted to work with international, young and talented directors,” Robion said. “I really loved him as a person,” Serra said. No matter which performances he tackled in subsequent years, Léaud remained forever intertwined with the travails of young Antoine, his long features and sad eyes always speaking to deeper truths. “It was a kind of reincarnation. He had recently completed an experimental project on the life and work of German director Rainer Werner Fassbinder, shooting over 100 hours, and the Pompidou’s curators suggested he try something similar with French culture.

“I hear this voice in English. It was so mentally exhausting.” After the production wrapped, he said, he spent three weeks in bed — although my own encounter with him at Cannes suggests the recovery process lasted much longer.
“Léaud is not feeling well,” the film’s publicist said. “As with every star, he was called on to play himself in movies as cameos,” Robion said. Nein, einer wie Léaud hat auch nach den filmisch so genialen 1960er-Jahren das Kino nicht zu siezen begonnen, aber das Verhältnis wurde doch erwachsener, vernünftiger – und nahm einen Neuanfang endlich mit Kaurismäki und „I Hired a Contract Killer“ (1990) nach einer Zeit der Verstörung und der Krise. He smiled gently and shook my hand with a tight grip. This was very important. “That’s what they tell me.” Then it happened at all once: Léaud, looking remarkably chipper, sauntered into the room wearing a suit and tie with Serra by his side.

“Léaud is not feeling well,” the film’s publicist said.

He asked me about my outlet and as I explained our focus — independent films — his smile broadened. What Jean-Pierre did at this moment was really strong, because he looked at his own death. Époux de Brigitte Duvivier, Jean-Pierre Léaud s’est vu décerner en 2000 un César d’honneur pour l’ensemble de son œuvre cinématographique.

Thank you, sir.”I pushed back. “Léaud always needed not to be his own myth, but roles where he could reinvent himself and reinvent his characters.