Jean-Pierre Léaud
Actor

Jean-Pierre Léaud Net Worth

Jean-Pierre Léaud is a renowned actor, assistant director, and director from Paris, France. He is the son of actress Jacqueline Pierreux and scriptwriter/assistant director Pierre Léaud, and began acting at the young age of thirteen. He is best known for his role as Antoine Doinel in François Truffaut's "The 400 Blows", and has since gone on to appear in films by Jean-Luc Godard, Pier Paolo Pasolini, Glauber Rocha, Bernardo Bertolucci, and many more. He has been awarded for his acting, and is known for his improvisation, staccato diction, and mannerisms. Léaud has also worked as a director, and has made a comeback in the nineties with the help of "new New Wave" directors. He is an icon of the French New Wave, and his face in the last shot of "The 400 Blows" will remain iconic.
Jean-Pierre Léaud is a member of Actor

Age, Biography and Wiki

Who is it? Actor, Assistant Director, Director
Birth Day May 28, 1944
Birth Place  Paris, France, France
Age 79 YEARS OLD
Birth Sign Gemini
Occupation Actor
Years active 1958–present
Awards Silver Bear for Best Actor (Berlin International Film Festival) 1966 Masculin Féminin Best Actor (Thessaloniki Film Festival) 1996 Pour rire! Honorary César (César Awards) 2000 FIPRESCI Prize 2001 The Pornographer

💰 Net worth: $20 Million (2024)

Jean-Pierre Léaud, a renowned figure in the French film industry, is estimated to have a net worth of $20 Million by 2024. Having excelled as an actor, assistant director, and director, Léaud's versatile talents have garnered him immense success and recognition. With a career spanning over six decades, Léaud has worked alongside celebrated directors such as François Truffaut and Jean-Luc Godard, leaving an indelible mark on the world of cinema. His contributions to numerous iconic films have not only solidified his place as a revered artist but have also helped contribute to his impressive net worth.

Biography/Timeline

1958

Truffaut was immediately captivated by the fourteen-year-old adolescent, who had already appeared with Jean Marais in Georges Lampin's La Tour, prends garde ! (1958). He recognized traits they both shared, "for Example a certain suffering with regard to the family...With, however, this fundamental difference: though we were both rebels, we hadn't expressed our rebellion in the same way. I preferred to cover up and lie. Jean-Pierre, on the contrary, seeks to hurt, shock and wants it to be known...Why? Because he's unruly, while I was sly. Because his excitability requires that things happen to him, and when they don't occur quickly enough, he provokes them". In his final interview, Truffaut mentioned he was happy with how Léaud improvised within the flexibly written script.

1959

Throughout the production of The 400 Blows (Les Quatre Cents Coups, 1959), wrote Jay Carr "Truffaut would take Léaud to see rushes of Godard's Breathless each evening. They'd sit up late talking film with Godard, Rivette, Rohmer, Eustache, Orson Welles.” Upon the filmmaker’s death, the actor reminisced Truffaut was the first person he admired and that he “spoke to children like they were adults. He realized that children understood things better than adults did. He was purely intuitive. We operated in a sort of complicity.”

1966

In March 1966, Léaud won the Silver Bear for Best Actor at the 16th Berlin International Film Festival for his role in Jean-Luc Godard's Masculin, féminin. He was nominated for a César Award for Best Supporting Actor in 1988 for Les Keufs and was awarded an Honorary César for lifetime achievement in 2000.

1970

Léaud is one of the most visible and well-known actors to be associated with the French New Wave film movement and, aside from his work with Truffaut, collaborated with Jean-Luc Godard (nine films), Jean Eustache, Jacques Rivette and Agnes Varda. The early 1970s was perhaps the peak of his professional career when he had three critically acclaimed films released: Bertolucci's Last Tango in Paris (1972), Truffaut's La Nuit américaine, and Eustache's The Mother and the Whore (both 1973). In the Bertolucci film, Léaud appeared in the same film as a hero of his, Marlon Brando , although the two men never met, since all of Léaud's scenes were shot on Saturdays and Brando refused to work on Saturdays.

2014

Léaud starred in four more Truffaut films depicting the life of Doinel, spanning a period of 20 years—after the short-film Antoine et Colette in 1962—beside Actress Claude Jade as his girlfriend, and then wife, Christine. Those films are Stolen Kisses (1968), Bed and Board (1970) and Love on the Run (1979). Truffaut stated that Léaud was the source of inspiration for the Antoine Doinel character and "I created some scenes just because I knew he would be funny in them—at least I laughed during the writing as I thought of him." He also collaborated with Truffaut on non-Antoine Doinel films like Two English Girls (Les Deux Anglaises et le Continent]], 1971) and Day for Night (La Nuit américaine, 1973) and became the actor most commonly affiliated with him. Although Antoine Doinel is his most familiar character, he often found his performances in other films to be compared to his Doinel character whether there were legitimate similarities or not.

2019

During and following the filming of The 400 Blows, Truffaut’s concern for Léaud extended beyond the film set. He took charge of the difficult adolescent’s upbringing after Léaud was expelled from school and kicked out of the home of the retired couple taking care of him. Truffaut subsequently rented a studio apartment for Léaud. Truffaut also hired him for assistant work on The Soft Skin (La peau douce, 1964) and Mata Hari, Agent H21 (1964).

Some Jean-Pierre Léaud images

About the author

Lisa Scholfield

As a Senior Writer at Famous Net Worth, I spearhead an exceptional team dedicated to uncovering and sharing the stories of pioneering individuals. My passion for unearthing untold narratives drives me to delve deep into the essence of each subject, bringing forth a unique blend of factual accuracy and narrative allure. In orchestrating the editorial workflow, I am deeply involved in every step—from initial research to the final touches of publishing, ensuring each biography not only informs but also engages and inspires our readership.