The greatest love stories ever told.

我愛巴黎Paris Je Ta’ime - eng intro.
a film by
OLIVIER ASSAYAS
FREDERIC AUBURTIN & GERARD DEPARDIEU
GURINDER CHADHA
SYLVAIN CHOMET
JOEL & ETHAN COEN
ISABEL COIXET
WES CRAVEN
ALFONSO CUARON
CHRISTOPHER DOYLE
RICHARD LAGRAVENESE
VINCENZO NATALI
ALEXANDER PAYNE
BRUNO PODALYDES
WALTER SALLES & DANIELA THOMAS
OLIVER SCHMITZ
NOBUHIRO SUWA
TOM TYKWER
GUS VAN SANT

© 2006 VICTOIRES INTERNATIONAL AND PIROL FILM PRODUCTION

HK Releasing Date:  December 7, 2006 (Thursday)
Press Contact:  Mr. Adrian Lo (Tel: 6200-5758)

DIRECTORS AND CAST

Montmartre
Written and directed by Bruno Podalydès
Florence Muller (Young Woman)
Bruno Podalydès (Driver)

Quais de Seine
Written and directed by Gurinder Chadha
Co-writer: Paul Mayeda Berges
Leïla Bekhti (Zarka)
Cyril Descours (François)

Le Marais
Written and directed by Gus Van Sant
Marianne Faithfull (Marianne)
Elias McConnell (Elie)
Gaspard Ulliel (Gaspard)

Tuileries
Written and directed by Joel and Ethan Coen
Steve Buscemi (Tourist)
Julie Bataille (Julie)
Axel Kiener (Axel)

Loin du 16e
Written and directed by Walter Salles & Daniela Thomas
Catalina Sandino Moreno (Ana)

Porte de Choisy
Written and directed by Christopher Doyle
In collaboration with Gabrielle Keng Peralta & Rain Kathy Li
Li Xin (Madame Li)
Barbet Schroeder (Mr Henny)

Bastille
Written and directed by Isabel Coixet
Miranda Richardson (Woman in the Red Trenchcoat)
Sergio Castellitto (The Husband)
Leonor Watling (The Mistress)

Place des Victoires
Written and directed by Nobuhiro Suwa
Juliette Binoche (Suzanne)
Willem Dafoe (The Cowboy)
Hippolyte Girardot (The Father)

Tour Eiffel
Written and directed by Sylvain Chomet
Yolande Moreau (Woman Mime Artist)
Paul Putner (Mime Artist)

Parc Monceau
Written and directed by Alfonso Cuaron
Nick Nolte (Vincent)
Ludivine Sagnier (Claire)

Quartier des Enfants Rouges
Written and directed by Olivier Assayas
Maggie Gyllenhaal (Liz)
Lionel Dray (Ken)

Place des Fêtes
Written and directed by Oliver Schmitz
Aïssa Maïga (Sophie)
Seydou Boro (Hassan)

Pigalle
Written and directed by Richard LaGravenese
Fanny Ardant (Fanny)
Bob Hoskins (Bob)

Quartier de la Madeleine
Written and directed by Vincenzo Natali
Elijah Wood (Boy)
Olga Kurylenko (Vampire)

Père-Lachaise
Written and directed by Wes Craven
Emily Mortimer (Frances)
Rufus Sewell (William)
Alexander Payne (Oscar Wilde)

Faubourg Saint-Denis
Written and directed by Tom Tykwer
Natalie Portman (Francine)
Melchior Beslon (Thomas)

Quartier Latin
Written by Gena Rowlands
Directed by Frédéric Auburtin & Gérard Depardieu
Gena Rowlands (Gena)
Ben Gazzara (Ben)
Gérard Depardieu (Restaurant owner)

14e arrondissement
Written and directed by Alexander Payne (With Co-Writer Nadine Eid)
Margo Martindale (Carol)
 

SHORT SYNOPSIS

In Paris, love is everywhere.
In its bars and cafes. Under the Eiffel Tower. Even in the Metro that runs under its streets. In Paris, je t’aime, prepare to see the city in a way you’ve never before imagined. It is Paris as seen through the eyes of some of the world’s most acclaimed filmmakers, including the Coen Brothers, Gus Van Sant, Isabelle Coixet, Walter Salles, Alexander Payne and Sylvain Chomet.

Each director was invited to tell a story set in one of the city’s neighbourhoods. The result is a kaleidoscope of stories about joy, separation, unexpected strange encounters and most of all, about love. Featuring an incredible international cast, including Natalie Portman, Fanny Ardant, Elijah Wood, Nick Nolte, Juliette Binoche and Steve Buscemi, Paris, je t’aime will show you Paris as you’ve never seen it before, and will reignite your love for the world’s most romantic city.

Claudie Ossard  and Emmanuel Benbihy present a film by Olivier Assayas, Frédéric Auburtin & Gérard Depardieu, Gurinder Chadha, Sylvain Chomet, Joel & Ethan Coen, Isabel Coixet, Wes Craven, Alfonso Cuaron, Christopher Doyle, Richard LaGravenese, Vincenzo Natali, Alexander Payne, Bruno Podalydès, Walter Salles & Daniela Thomas, Oliver Schmitz, Nobuhiro Suwa, Tom Tykwer and Gus Van Sant.

'This film shows an unusual side of Paris, one we wouldn't normally see. I mean, people not from Paris. The Faubourg Saint-Denis is not a touristy area, there are no tourist sites as such, it's just somewhere people live. And that's one of the most exciting settings for a film: somewhere where people live their lives.'
- Natalie Portman
 

ABOUT THE FILM

For Paris, je t'aime a host of international directors was asked to tell the story of a romantic encounter in Paris. Paris has a rich cinematographic history but, rather than looking back, the aim of everyone involved was to show the city as it is today, to get away from the 'picture postcard' idea of Paris and reveal aspects of the capital as never seen on the big screen. Paris, je t’aime portrays a diverse mix of social classes, generations, cultures and atmospheres.

The majority of the directors involved in the project are not natives of Paris and their films consequently capture both the reality of contemporary Paris and something of the enchantment one feels as a foreigner visiting the city. Their curiosity led them to corners of the city that their French-born counterparts might not have thought to explore. Their take on Paris will surprise even those who know the city well, whilst reaffirming its status as the city de l'amour.

'Bastille is home to a mix of working-class, trendy and bourgeois people. As an area it tied in perfectly with my idea of getting away from the 'picture postcard' image of Paris.'
- Isabel Coixet

SYNOPSIS BY ARRONDISSEMENT

'In each arrondissement there's an underworld we rarely see
 and it was this we wanted to show.'
- Walter Salles

Montmartre: Bruno Podalydes
While struggling to find a parking space in the narrow streets of Montmartre, a man asks himself what on earth is wrong with him & why can’t he find true love?  A mysterious woman suddenly faints beside his car. Is this the love encounter he has been waiting for?

Quais de Seine: Gurinder Chadha
François and his two friends shout pick-up lines at girls walking along the banks of the river Seine. When François sees a beautiful Muslim girl trip over, he goes to her aide despite his friends’ laughing. She leaves for the mosque & he rejoins his friends but quickly realizes he can’t let the girl walk out of his life.

Le Marais: Gus Van Sant
On entering a printer’s shop, a young man, Gaspar, is immediately drawn to the printer’s apprentice, Eli. Gaspar’s youthful analysis and proclamation of this strange new sensation falls on Eli’s deaf ears. It is only after Gaspar leaves that Eli realizes something special and unique just happened…

Tuileries: Joel & Ethan Coen
An American tourist reads his guidebook on the platform of the Tuileries subway station. He notices a young French couple kissing passionately on the opposite platform. He realizes too late that he should have taken the guidebook’s advice: Never look anyone in the eyes in the Parisian subway! A hilarious comedy ensues.

Loin du 16ème: Walter Salles & Daniela Thomas
At dawn, a young immigrant mother reluctantly leaves her baby in a local nursery to take the suburban train heading towards the city. After the exhausting journey she arrives in the luxurious 16th arrondissement and her job as nanny to another mother’s child.

Porte de Choisy: Christopher Doyle
A surreal encounter between a traveling salesman and the beautiful boss of a Chinese hair salon. 

Bastille: Isabel Coixet
A man is preparing himself to ask his wife for a divorce in order to live with his passionate young mistress when his wife suddenly bursts into tears, announcing she has cancer and only a few months to live. He decides to drop everything to take care of his wife. His life is turned upside down as he falls in love with her for the second time.

Place des Victoires: Nobuhiro Suwa
A woman’s sleep is troubled by the cries of her dead child. She returns to the square where her child passed away and meets a strange cowboy. He allows her to spend a moment with her son before he disappears once more.

Tour Eiffel: Sylvain Chomet
A lonely mime artist spends his days annoying the tourists mingling around the foot of the Eiffel Tower until he is picked up by the local police for disturbing the peace. The police station turns out to be where he finds his soul mate, a beautiful female mime.

Parc Monceau: Alfonso Cuaron
An older American man is late for his rendezvous with a beautiful and willful young French woman. As they walk along the boulevard their heated conversation reveals an intimate and complicated relationship.

Quartier des Enfants Rouges: Olivier Assayas
A beautiful American actress is shooting a period drama in an old mansion in Paris. She strikes up a relationship with a mysterious local drug dealer, but will she find the satisfaction she is searching for?

Place des Fêtes: Oliver Schmitz
A man lies dying in the middle of the Place des Fêtes. Sophie, a young and inexperienced medic, attends to him only to realize they have already met before.

Pigalle: Richard LaGravenese
A sexy love game in the heart of the Pigalle red light district as an older couple struggles to save their relationship.

Quartier de la Madeleine: Vincenzo Natali
A young man stumbles across a vampire feeding on her latest prey. He is immediately drawn to her captivating charms and will go to any length to make her his.

Père Lachaise: Wes Craven
Newly weds battle out their differences as they wander through the graves of Père Lachaise cemetery. It is only with the enigmatic appearance of Oscar Wilde’s ghost that their story finds resolution.

Faubourg Saint Denis: Tom Tykwer
A beautiful American actress calls her blind boyfriend to tell him their relationship is over. In a journey through the young man’s mind we trace their relationship from the very first meeting. A parable of perception and forgiveness.

Quartier Latin: Frédéric Auburtin & Gérard Depardieu
A dapper old American meets up with his ex-wife to ask for an official divorce. The niceties out of the way, Ben and Gena begin to throw insults. A biting black comedy that reveals wounds still open after years of separation, and a love that will never die.

14ième arrondissement: Alexander Payne
An American tourist comes to an understanding and acceptance of herself when walking through the 14th arrondissement of Paris in the amusing and touching conclusion to Paris, je t'aime.

'When they told me the 20th arrondissement was available, my reaction was 'Oh, there's a big cemetery there – perfect!' It's a really a great place, the perfect setting for a film that aims to provide multiple perspectives on life.'
- Wes Craven

DEVELOPMENT

'We'd never had the chance to shoot a short film before. We're pleased to have been asked to take part in the project, and to tell a story of our own playing with the cliché of Paris as the capital for lovers everywhere.'
- Joel and Ethan Coen

Tristan Carné
Tristan began his career as an assistant to big-name fashion photographers, and later to Yann Artus Bertrand. He then moved into TV and film, working for many years as an assistant director. Since 1995, he has directed many well-received programmes for French television, for a variety of different channels. Tristan first had the idea for Paris, je t’aime one day on a romantic stroll around the city.
 
Emmanuel Benbihy
Emmanuel studied international business in the USA. In 2002 he produced his first feature, Abolfazl Jalil's Abjad, selected for the official competition at the Venice Film Festival. In January 2000 he became involved with Tristan Carné and Tristan's brother Frédéric on the development of the feature film concept for Paris, je t'aime.

In January of 2004 Emmanuel Benbihy met with famed French producer Claudie Ossard and the two agreed to work together to bring the ambitious, unconventional and risky project Paris, je t’aime to the screen. They were joined by Gilles Caussade (Claudie's partner and associate for over a decade) and Chris Bolzli (Ryaba My Chicken by Andreï Konchalovsky, Szamanka by Andrzej Zulawski, Augustin, King of Kung-Fu by Anne Fontaine, and Nicole Garcia's Place Vendôme).

Delegate Producer, Claudie Ossard:
“It all started the day Emmanuel Benbihy came to see me with Tom Tykwer's film, set in the 10th arrondissement, and produced by Tom's production company X-Filme. His approach was very straight-forward: he explained that the project was difficult to put together for a young producer like himself, and that he'd come to see me to ask whether I'd help him produce the film. I said to Emmanuel straight away that the important thing was that the eventual film bring together directors from all over the world. He agreed, and I committed to go ahead with the project. I was curious to see Paris through the eyes of foreign directors.”

With Tom Tykwer’s film already shot (August 2002), the project was presented to directors the world over. The Coen Brothers were the first to commit to the project were soon shooting their story (Janurary 2005). Together, the Tykwer and Coen Brothers films served as 'pilots', testifying to the quality of the proposed feature. Henri Jacob, Burkhard Von Schenk and Pirol Film Production, and Celsius Entertainment all played vital roles in financing the film. The quality of the first two films, and the reputations of their directors, soon had a snowball effect. Claudie Ossard soon found that the one of the big challenges in the creation of the film would be balancing the directors’ interests in the various districts of Paris. Many of the directors became enamoured with the working class areas of the city. An early exception was Walter Salles who shot in Belleville, only to suddenly have an idea for a film set in the 16th arrondissement.
As the world’s greatest directors came to shoot their films, the producers saw that the filmmakers were not only falling in love with the city but uncovering sides to it that even the French had rarely seen.

Delegate Producer, Claudie Ossard:
“We Parisiens know the city too well, and are blinded by force of habit to a lot of the things going on around us. I was convinced that a group of directors drawn from all four corners of the globe would make us look at Paris afresh. And then, considering the project from the point of view of a producer, I knew I could count on the allure of Paris to convince major international directors to take part in the film. In fact, Paris was our trump card when it came to getting the project off the ground!”

Despite the desire to have a worldwide selection of filmmakers involved in the project, the producers were sure not to overlook their own home-grown directors. Bruno Poldalydès, Olivier Assayas and Sylvain Chomet all eagerly signed on for the challenge of creating an original depiction of a city with which they were so familiar. The process brought surprises for the French, with Sylvain Chomet (Belleville Rendez-Vous) shooting with real-life actors and locations for the first time in his career.

For the foreign directors, the process was one of discovery, assisted by the production team.

Delegate Producer, Claudie Ossard:
“We provided each director with lots of information about their chosen area, so they'd know where the monuments – and the best bistros – were to be found. Most of them came to scout for locations while they were writing the script, or just before shooting was due to start. That's what happened with Gus Van Sant, for example. In May 2005, just after he'd been to Cannes with Last Days, he came to wander round the Marais to hone the idea for a story he had in his head.”

All the scripts were written or co-written by the film's directors, with the exception of the Quartier Latin film by Frédéric Auburtin and Gérard Depardieu, which was written by Gena Rowlands. With the directors attached and the scripts complete, the casting process began.
 
Many of the directors involved had specific actors with whom they wanted to shoot their film. Aside from these special requests the casts were comprised of French actors. The directors discussed what they were seeking for a specific role and were provided screen tests on DVD. Upon arrival in Paris, rehearsals with their chosen actors began. The finished film brings together a stellar cast from around the world, including such well-known names as Steve Buscemi, Elijah Wood, Juliette Binoche, Ludivine Sagnier and Fanny Ardant who all agreed to work for less than their usual asking price in order to see the film succeed.

Delegate Producer, Claudie Ossard:
“I'd decided that I wanted only European, and mostly French technicians working on the film. I wanted these directors from all over the world to see how good our technicians are over here, to encourage them to come back again and shoot in Europe.”

The producers approached potential crew members and informed each director of the possibilities. With just a few exceptions (Olivier Assayas, Isabel Coixet and Oliver Schmitz) the directors worked without their regular teams. For many, including the Coen Brothers, it was another new element that generated great anticipation for the production process.

PRODUCTION

'I was in unknown territory, and it was great fun.'
- Bruno Podalydès

With the exception of the segments by Tom Tykwer and Joel and Ethan Coen, the shoots for Paris, je t’aime  took place between July and November 2005. Each segment took an average of two to three days to complete. The shoots were marked by an exceptional degree of collaboration between the actors and directors, and by an awareness of each film being part of a bigger collective project.
The challenge for each director was to tell the story of a romantic encounter in Paris in under five minutes, and on a relatively tight budget. Despite the specific constraints of the project, none of the directors felt creatively limited. Paris, je t'aime gave them a chance to work in the short film format with which many had originally made their name.

Delegate Producer, Claudie Ossard:
“I was there for them all, so it would be hard for me to list all the wonderful times I had. Obviously seeing Gena Rowlands at work would be one, and the pitch of emotion on Isabel Coixet's shoot was memorable. I was fascinated watching Vincenzo Natali shoot his vampire film in the 8th arrondissement, dropping in the odd sly reference to the work of horror maestro Wes Craven, who agreed to act in the film. Another memorable episode for me personally was on the Coen Brothers' film. They'd chosen to work with Bruno Delbonnel, who was the DOP on Amelie. I found myself back with him in the same Métro station that Jeunet had used in his film, and that the Coens had decided to use in theirs – a little joke destiny played on me!”

COMPLETING THE FILM

'Paris has a hard time renewing its image, and needs outside help to do so. On this film we had foreign directors come to talk about the city.'
- Ludivine Sagnier

Once all the films were shot the production rented offices at La République where all the directors came to edit and mix their films. It was at this time that the production team began to work on the transitions between the different segments and find the link between the stories that would give the whole film a feeling of fluidity.

Frédéric Auburtin was tasked with overseeing the film’s editing with Simon Jacquet. In the edit suite Paris, je t’aime resembled a giant Rubik’s Cube. There were so many different solutions to the issues presented by the material, and Frédéric was tasked with finding the solution that worked best for the film.

Editing Supervisor, Frédéric Auburtin
“We looked at the film again from every possible angle to get a feel for the direction we should be going in. It became clear we should start from the films themselves. We tried to tease out the emotional, dramatic and thematic elements from each, and see where the films had things in common. It was a long and difficult task; moving one thing around impacted on everything else. The film you'll see in cinemas is the 81st version we tried. There were many other considerations. For example, we wanted to place each segment to so as to show it off to the best possible advantage, and above all to respect the emotional progression of the film as a whole.”

Frédéric and his team came up with the idea of emphasising the transitions between segments, of underscoring, rather than trying to hide the fact that we're jumping from one universe to another.

The film's musical dynamic was also important. Pierre Adenot composed the original music. Elizabeth Anaïs and Christophe Monthieux wrote the closing song, a waltz with words in French and English. Feist, a musician popular in France and admired by the producers, recorded the song 'La même histoire' in Canada at the end of April. Will Jennings, who wrote the lyrics to 'My Heart Will Go On', penned the English version. The song comes right at the end of the film, over a compilation of shots that were initially intended for the transitions between segments. In these shots the characters from the different films cross for the first, and last, time.

Editing Supervisor, Frédéric Auburtin
“In the end we realised that we'd managed to bring to life a character that had, surprisingly, barely been present in the first draft of the film: Paris. Not the Paris of guide books, but rather one, like the film, composed of different stories, generations, backgrounds and ethnicities. With this idea of ours to construct Paris, je t'aime like a regular feature despite its unusual make-up, we forced ourselves to give it a definite direction. When you see it from start to finish, themes like death and loneliness pop up again and again. But it's a fragile equilibrium. The viewer's experience of the film changes from one moment to the next. That was the challenge. I hope we've proven ourselves up to the task.”

In May 2006 the completed Paris, je t’aime premiered at the Cannes Film Festival where it opened Un Certain Regard to great acclaim.

Delegate Producer, Claudie Ossard:
“After Amelie I swore I'd never shoot another film in Paris. I thought that Amelie was the best thing that could possibly happen to me. But this film offered me the chance to look at Paris from a new perspective. That's the real strength of Paris, je t'aime, and it's down to the vision of the people who directed it, their different characters, styles and tastes. It's a real pleasure to see how well the film functions as a whole, despite individual film-makers having such different styles and approaches to their work. Some used long takes, some lots of fast editing; some story-boarded everything, while others worked more on the spur of the moment. The film really encourages you to look again at Paris, makes you want to get out and wander the streets. And that's because the directors shot in areas that you might not ordinarily visit. And for someone so proud of their home town, I know that the film works because they're all so passionate about the city. I hope this feature will be an ambassador for Paris abroad, and there surely couldn't be a better moment for it to be playing that role. I think that the film opening Un Certain Regard in Cannes was perfect because it really does offer ‘un certain regard’ on Paris.”

DIRECTORS

'It was amazing working with Gus Van Sant. I'm fascinated by his vision of the world. As an actress I find I can only work with people I admire.'
- Marianne Faithfull

Joel & Ethan Coen (USA)
Previous films: The Ladykillers (04), Intolerable Cruelty (03), The Man Who Wasn’t There (01), O Brother, Where Art Thou? (00), The Big Lebowski (98), Fargo (96), The Hudsucker Proxy (94), Barton Fink (91), Miller’s Crossing (90), Raising Arizona (87), Blood Simple (84).

Joel Coen began his career as an assistant editor on horror movies, notably Sam Raimi’s Evil Dead. He and his brother Ethan Coen co-wrote a screenplay for Raimi, then wrote Blood Simple, which became their first feature and starred Joel’s wife Frances McDormand. They followed their successful first feature with Raising Arizona, with Nicolas Cage and Holly Hunter. Miller’s Crossing opened the 1990 New York Film Festival and in 1991 Barton Fink won the Cannes Film Festival Palme d’Or. The Hudsucker Proxy and Fargo came next, the latter scooping two Oscars. Their partnership then produced The Big Lebowski and O Brother, Where Art Thou? In 2001 The Man Who Wasn’t There won the Best Director prize at Cannes. Recently the brothers have returned to comedies, directing Intolerable Cruelty starring George Clooney and Catherine Zeta Jones and The Ladykillers with Tom Hanks which was selected for Cannes.
 
Nobuhiro Suwa (Japan)
Previous films: Un Couple Parfait, (05), After War (02), H-Story (01), M/other (99), 2-Duo (97).

Nobuhiro Suwa belongs to the Japanese Nouvelle Vague. His film, H-Story, pays homage to Alain Resnais’ Hiroshima mon amour through the portrayal of a theatre troupe’s return to Hiroshima. Born in Hiroshima in 1960, Suwa attracted attention at the Cannes Film Festival with his films M/Other and H-Story. He is often described as a Japanese Cassavetes: right from 2-Duo, his first film, he has guided his actors but also encouraged them to create their own compositions, or to improvise. Nobuhiro’s films are very realistic but express a poetic view of the past, depicting people involved in a ceaseless quest for place or identity. His distinctive visual language has led him to be compared to the great names in film history. Nobuhiro spent a year in Paris and shot his fourth feature film Un Couple Parfait starring Valéria Bruni-Tedeschi.

Olivier Assayas (France)
Previous films: Clean (04), Demonlover (02), Les Destinées (00), Late August, Early September (98), Irma Vep (96), Cold Water (94), A New Life (93), Paris Awakens (91), Winter’s child (89), Disorder (86).

One of France’s most gifted young filmmakers; Olivier Assayas studied at l’École des Beaux-Arts in Paris. Knowing from childhood that he wanted to make movies (his father was a screenwriter in the pre-new wave era), Olivier believed that literature, painting, and drawing would be better preparation for making films that going to film school. Throughout the early 1980s he was a critic for the prestigious journal Cahiers du Cinéma, served on the journal’s editorial board, and wrote screenplays for such directors as Laurent Perrin and André Téchiné. His earliest efforts at directing were four shorts completed between 1979 and 1985 and his first feature, Disorder, enjoyed a brief period as a cult classic after its release in France in 1986.

Gus Van Sant (USA)
Previous Films: Last Days (05), Elephant (03), Gerry (02), Finding Forrester (00), Psycho (98), Good Will Hunting (97), To Die For (95), Even Cowgirls Get the Blues (93), My Own Private Idaho (91), Drugstore Cowboy (89), Mala Noche (85).

Gus Van Sant graduates from Rhode Island School of Design in 1970. From an early age, he was passionate about painting and Super-8 Films. Having travelled around Europe for several years, he settled in LA. He began his directing career in 1985 with Mala Noche, which was named best independent film by the Los Angeles Times. In 1989, he shot Drugstore Cowboy, followed by My Own Private Idaho in 1991. Both films were widely acclaimed and won Best Screenplay at the Independent Spirit Awards. Thanks to Good Will Hunting, studio doors were opened to him in 1997. The film was nominated at the Oscars for Best Film, Best Director & Best Original Screenplay. In 2003 he directed Elephant, a film treating the controversial subject of violence in high school, produced by HBO. Elephant won the Golden Palm at the Cannes Film Festival along with the prize for Best Director.

Gurinder Chadha (UK)
Previous Films: Bahji on the Beach (93), What’s Cooking (00), Bend it Like Beckham (02), Bride and Prejudice (04)

Gurinder Chadha was born in Kenya but came to London with her family in 1961, where she still lives. She began her career as a news reporter with BBC Radio, directed several award winning documentaries for the BBC, and began a fruitful alliance with the BFI and Channel Four who produced the 30-minute documentary, I’m English But... (89). In 1990, Chadha set up her own production company; Umbi Films. Her first dramatic film short was the 11-minute Nice Arrangement (91).Her feature directorial debut, Bhaji on the Beach (93) was an Asian feminist comedy. After Bhaji, Chadha directed a two-part drama Rich Deceiver (95), for the BBC, and continued to work on documentaries. She followed up her previous cult hit with What’s Cooking (2000). Bend It Like Beckham (02), is Chadha’s most commercial film to date, becoming a smash hit and one of the highest grossing British-produced films of 2002.

Frédéric Auburtin & Gérard Depardieu (France)
Previous films: The Bridge (99)

A graduate of Literature and Cinematographic Studies, Frederic Auburtin started his career on Robert Guédiguian’s shoot of Red Midday in 83. In 1985, after one year working for the Audiovisual Service of the Navy, he worked on Jean de Florette culminating in 38 weeks of shooting and editing in Paris. Over ten years as an assistant director Frédéric worked with Francis Véber on Les Fugitifs, Maurice Pialat on Sous le Soleil de Satan, Luigi Comencini on La Bohème, Richard Heffron on La Revolution Française and with Bertrand Blier on Merci la Vie. He also worked with Jean-Jacques Annaud on L’Amant, Claude Berri on Germinal and Lucie Aubrac, and Jean-Paul Rappeneau on Le Hussard sur le Toit. In 1998 Gerard Depardieu proposed that he co-direct Un Pont Entre Deux Rives for which he also composed the music. Frederic shot several films for television and then, in 2003, he took over the perilous shoot of San-Antonio out of fidelity for Claude Berri.
 

Sylvain Chomet (France)
Previous films: The Triplets of Belleville (03), The Old Woman and the Pigeons (98).

Sylvain Chomet was born in 1963 in Maison-Laffitte, France. Passionate about drawing, he completed an Arts degree in 1982 and then obtained a diploma from the prestigious comic-strip studio at Angouleme. At this time, he published his first comic strip, The Secret of the Dragonflies, along with an illustrated adaptation of Victor Hugo’s novel: Bug-Jargal.  Moving to London to work as an animator at the Richard Purdum studio, he established a freelance practice making commercials for clients such as Swissair & Renault. He began work on his first animated project, The Old Woman and the Pigeons which won a stream of prizes and an Oscar nomination for Best Animated Short in 1998. In 1997, his book Ugly, Poor and Sick won at the Angouleme Comic Strip Festival. His first feature, The Triplets of Belleville, was presented out of competition in Cannes 2003 taking the world by storm and being nominated for two Oscars, including Best Animated Feature.

Vincenzo Natali (Canada)
Previous films: Nothing (03), Cypher (02), Cube (97).

After having a “religious experience” while viewing Star Wars, young Vincenzo Natali abandoned his ambitions to become a comic book artist and threw himself into film. Between his first short film at age 11 to his feature film Cube at 28, Vincenzo wrote and directed six short films and co-wrote three feature-length screenplays. An accomplished storyboard artist, he also participated in several cartoon series. After Cube’s considerable international success, which earned him comparisons with John Carpenter, Dario Argento and David Cronenberg, Vincenzo reconfirmed his talent and originality with his second sci-fi movie Cypher starring Lucy Liu and Jeremy Northam. His latest feature Nothing is making the festival rounds: two men, rebels at heart, suddenly receive the power to eliminate everything they despise.

Richard LaGravenese (USA)
Previous films: Living Out Loud (98).

Born and raised in New York, Richard LaGravenese began his career writing sketches and monologues. He earned a little cash on the side by working on the script of The Fisher King, directed in 1991 by Terry Gilliam. The film met with great critical acclaim, leading to Oscar and BAFTA nominations. Richard consolidated his reputation as a screenwriter with the scripts of The Bridges of Madison County, directed in 1995 by Clint Eastwood, The Horse Whisperer, directed by Robert Redford in 1991, and Steven Soderbergh’s Erin Brockovich, 2000. In 1998, he directed his first feature, Living Out Loud, with Danny DeVito and Holly Hunter, a story inspired by a Chekov play. The film enjoyed a warm critical response and was released internationally. He has just completed a documentary on 1970s cinema, A Decade under the Influence, and he is currently writing his next feature.

Tom Tykwer (Germany)
Previous films: Heaven (02), The Princess and the Warrior (00), Run Lola Run (99), Winter Sleepers (97), Deadly Maria (93).

Tom Tykwer was 11 years old when he shot his first film in Super-8. At age 14, while working at the local cinema in Wuppertal, Germany, he shut himself in all night to watch and re-watch Blade Runner. A self-taught filmmaker, Tom shot his first feature in 1993, Deadly Maria, earning him wide critical acclaim and winning several prizes. He and director Wolfgang Becker (Goodbye Lenin!) wrote Life is All You Get, which won several awards around the globe. In 1999, Tom broke onto the international scene with Run Lola Run, which won the Independent Spirit Award for Best Foreign Film and was selected for competition in the Venice Film Festival. His last film, Heaven with Cate Blanchett, opened the Berlin Film Festival in 2002. He is currently preparing an adaptation of Patrick Suskind’s internationally bestselling novel, Perfume.

Isabel Coixet (Spain)
Previous films: The Secret Life of Words (05),  ¡Hay Motivo! (04), Kill me Tender (03), My Life Without Me (03), Those Who Love (98), Things I Never Told You (96), Demasiado Viejo Para Morir Joven (88).

Born in Barcelona, Isabel Coixet often visited the movie theater where her grandmother sold tickets. At seven, Isabel was given an 8mm camera and began directing short films. She went on to found her own production company and began directing commercials, winning many international prizes. Her first screenplay, Morbus, was made into a film in 1983. She then decided to direct Demasiado viejo para morir joven in 1988, earning herself a Goya Award nomination as Best New Director. She wrote and directed her first English language film, Things I Never Told You in 1996, starring Andrew McCarthy and Lili Taylor. This time, she received a Goya Award nomination for Best Original Screenplay and won a Silver Alexander at the Thessaloniki Film Festival. Isabel shot Those Who Love in 1998, then wrote and directed the Canadian/Spanish co-production My Life Without Me which won an award at the Berlin International Film Festival 2003.

Christopher Doyle (Hong Kong/Australia)
Previous Films: Away with words (98)

Born in 1952 in Sydney, Doyle fled the banality of the suburbs to spend much of his early life on the road. In the late ‘70s, he moved to Taiwan and fell in with the Taipei art crowd, including such future members of the cultural elite as Hou Hsiao Hsien and Stan Lai. In 1978, he was one of the founding members of the Lanling Theatre Workshop, the first modern theater company in Taiwan; he also created a landmark television series, Travelling Images. Doyle’s true artistic and commercial breakthrough occurred with his first collaboration with auteur Wong Kar-Wai in Days of Being Wild (1991). Since then he has become one of the most important and influential cinematographers in Asian cinema working with Chen Kaige, Zhang Yimou, Stanley Kwan and Hsou Hsiao Hsien among many others. He made his directing debut with Away With Words (99). Screened at Cannes, some attacked it for being self-indulgent while others hailed it as extraordinary.

Alexander Payne (USA)
Previous films:  Sideways (04), About Schmidt (02), Election (99), Citizen Ruth (96), The Passion of Martin (91).

Although his thesis film from UCLA The Passion of Martin was screened at Sundance, Alexander Payne made his feature film debut with the critically acclaimed Citizen Ruth, a provocative satire about the abortion rights war. He followed that up in 1999 with the much lauded Election, which led the year’s critics’ Top Ten lists, earned Best Director and Best Film Independent Spirit Awards and, for Payne and co-writer Jim Taylor, won a number of Best Screenplay awards including the Writers Guild of America, the New York Film Critics Circle and the Independent Spirit Award, as well as an Oscar nomination for Best Adapted Screenplay. Payne followed with About Schmidt, starring Jack Nicholson and Kathy Bates. The film earned two Golden Globes (Best Adapted Screenplay and Best Director) and was voted Best Film of 2002 by the Los Angeles and London Film Critics Circles. Payne’s latest feature, Sideways, was the critical smash of 2004 earning five Oscar nominations and winning for Best Adapted Screenplay.

Walter Salles & Daniela Thomas (Brazil)
Previous films: Dark Water (04), The Motorcycle Diaries (04), Behind the Sun (01), Central Station (98), Midnight (98), Foreign Land (95), Life Somewhere Else (95), Exposure (91).

Walter Salles contributed to the international comeback of Brazilian film in the late ‘90s with the successful Central Station, itself partly inspired by his globally-aired documentary film Life Somewhere Else. Central Station won the Golden Bear at the Berlin Film Festival, and was nominated for an Oscar for Best Foreign Film. Walter Salles first collaborated with Daniela Thomas in 1995 on the film Foreign Land, then again in 1998 on Midnight, which is part of the Arte production 2000 seen by…. His last film, an adaptation of Che Guevara’s journals called The Motorcycle Diaries, was selected for the Cannes Film Festival 2004. In 2004 Walter has also completed his first studio film, a remake of Hideo Nakata’s Dark Water, with Jennifer Connelly, Tim Roth and John C. Reilly. Walter and Daniela are currently preparing their next feature, which they will co-direct.

Alfonso Cuaron (Mexico)
Previous films: Harry Potter and the Prisoner of Azkaban (04), And Your Mother Too (01), Great Expectations (98), A Little Princess (95), Sólo con tu pareja (91), Cita con la muerte (89)

Born and bred in Mexico city, Alfonso Cuaron studied filmmaking and philosophy at the National Autonomous University of Mexico. After graduating, he began working in television in Mexico, first as technician and then as director. In 1991, he landed his first big-screen directorial assignment, Solo con tu Pareja, a massive hit in Mexico and enthusiastically received worldwide. Sydney Pollack was impressed enough to hire him to direct an episode of Fallen Angels. In 1995, Cuarón made his first film produced in the US, A Little Princess, an adaptation of Frances Hodgson Burnett’s classic novel. Cuaron’s next feature was also a literary adaptation, a modernized version of Charles Dickens’ Great Expectations. Cuaron then returned to his home, shooting in Mexico with a Spanish-speaking cast, Y tu mamá también became an international hit and major success with critics. He also directed the third film in the successful Harry Potter series, Harry Potter and the Prisoner of Azkaban.

Bruno Podalydes (France)
Previous films: Le Parfum de la dame en noir (05), Le Mystere de la Chambre Jaune (03), Liberté-Oleron (01), Dieu Seul me voit (98),

After having started his career shooting films for Air France already starring his brother, Denis, Bruno Podalydès created the surprise hit in 1992 with Versailles Left Bank, a short film which won many rewards including the César for best short film in 1993. In 1994, he repeated his success with Voila, distinguished at the Venice Film Festival the same year. Two years later and still working with his brother Denis, he shot Dieu seul me voit (Versailles-chantiers), which won the César for Best first feature film in 1999. Screenwriter for all his films, he co-wrote with his brother his new opus, Liberté-Oléron, released in 1999. In 2002, he changes register with an adaptation of the detective novel by Gaston Leroux, Le Mystère de la Chambre Jaune. In 2005, surrounded by the same actors, he stayed in the universe of Gaston Leroux and adapted the sequel, Le Parfum de la Dame en Noir.
 

Oliver Schmitz (German)
Previous films: Hijack Stories (00), Mapantsula (88).

Born in Cape Town to German parents, Oliver Schmitz’s first film Mapantsula won a number of awards and catapulted him to international success in 1988. The film itself constituted an event in South African cinema. Since then, he has worked on several documentaries including Joburg Stoies in 1997, which won the Documentary Prize at the Montreal Vues d’Afrique Festival. His second feature film, Hijack Stories, was selected for competition at Cannes in 2001 in the “Un Certain Regard” category. In 2003, Oliver directed a romantic comedy for German television, The Best Piece, which attracted an unexpected five and half million spectators during its first airing. He went on to direct several television movies before returning to the big screen. He is currently writing his next feature, to be filmed in South Africa next year.

Wes Craven (USA)
Previous films: Red Eye (05), Cursed (04), Scream 3 (00), Music of the Heart (99), Scream 2 (97), Scream (96), Vampire in Brooklyn (95), Freddy (94), Nightmare café series (92), The people under the stairs (91), Night visions (90), Shocker (89), The serpent and the Rainbow (88), Deadly Friend (86), Casebusters (86), Twilight Zone series (85), Chiller (85), A nightmare on Elm street (84), Invitation to hell (84), The hills have eyes (84), Swamp Thing (82), Deadly Blessing (81), Strangers in our house (78), The hills have eyes (77), The last house on the left (72), Together (71).

Born to devoutly Baptist parents, Wes earned an undergraduate degree in writing and psychology from Wheaton College in Illinois, and a masters degree in Writing Seminars from Johns Hopkins University. Prior to landing his first job in the film industry as a sound editor for a post-production company in New York, he briefly taught English at Westminster College and was a humanities professor at Clarkson College. Craven’s work shares a common exploration of the nature of reality. A Nightmare on Elm Street introduced the world to one of its greatest talents in the field of cinematic scares. Craven is an acknowledged master of horror cinema, but has proven able to move beyond the boundaries of the horror genre with films such as Music from the Heart. His most recent film, Red Eye, starred Cillian Murphy and Rachel McAdams.
 

PRODUCTION TEAM

'From time to time during the shoot, I said to myself: OK, you're in Paris, in a film by Walter Salles. It's just incredible.'
- Catalina Sandino Moreno

Claudie Ossard – Producer
From a background in publicity, Claudie has become a true one-off in the world of independent film production in France. She produced her first film, Jean-Marie Perier's Public Telephone, in 1980, and from then on has been involved in a number of unusual projects. She brought us Jean-Jacques Beineix's Betty Blue, Delicatessen and The City of Lost Children by the Caro-Jeunet duo, Jeunet's solo project Amelie ; Arizona Dream by Emir Kusturica, Charlotte for Ever by Serge Gainsbourg, Leave Your Hands on My Hips by Chantal Lauby and Serge Frydman’s My Angel.

Emmanuel Benbihy – Producer, Feature Film Concept, Transition Sequences Co-Director
Emmanuel studied international business in the USA. In 2002 he produced his first feature, Abolfazl Jalil's Abjad, selected for the official competition at the Venice Film Festival. In January 2000 he became involved with Tristan Carné and Tristan's brother Frédéric on the development of the feature film concept for Paris, je t'aime.

Tristan Carné – Original Idea
Tristan began his career as an assistant to big-name fashion photographers, and later to Yann Artus Bertrand. He then moved into TV and film, working for many years as an assistant director. Since 1995, he has directed many well-received programs for French television, for a variety of different channels. Tristan first had the idea for Paris, je t'aime one day on a romantic stroll around the city.

Frédéric Auburtin – Editing Supervisor, Transition Sequences Co-Director, Quartier Latin
         Co-Director
Born in Marseilles, Frédéric is a musician as well as a film-maker. He started his career in cinema working with Robert Guédigan (Rouge Midi), then as an intern on Claude Berri's Jean de Florette and Manon des Sources. He then spent many years as assistant director to filmmakers including Berri, Francis Veber and Jean-Jacques Annaud. In 1999 he co-directed his first feature, The Bridge, with his friend Gérard Depardieu and directed Depardieu in Volpone, 2003. In March 2005 he was contacted by Claudie Ossard and Emmanuel Benbihy to work on creating fluid transitions between the film's different segments, the idea being that Paris, je t'aime should form one single feature film, rather than a series of short films.

Chris Bolzli - Executive Producer
In the past twelve years Chris has acquired experience in international co-production, executive and line production and in distribution both in France and abroad. His fondness for Eastern Europe leads him to produce Sergei Bodrov’s second feature film in 1992, White King, Red Queen, thus becoming an example of one of the first Russian-European co-productions. He continues with Ryaba my Chicken, directed by Andreï Konchalovsky in 1994, then with the Franco-Polish production Chamanka, directed by Andrzej Zulawski in 1996.
He soon creates his own production company, Alhéna Films, with which he will co-produce a dozen films such as Women Have Only One Thing on their Minds, directed by Charlotte Dubreuil (1994), starring Claudia Cardinale and Carole Laure, Anna Oz directed by Eric Rochant (1996) with Charlotte Gainsbourg and Gérard Lanvin, Marquise directed by Vera Belmont (1997) starring Sophie Marceau, Bernard Girardeau and Lambert Wilson, Augustin, King of Kung fu, directed by Anne Fontaine (1999) starring Maggie Cheung and Fanny Ardant, Place Vendôme directed by Nicole Garcia (1999) starring Catherine Deneuve and Jacques Dutronc, Simon, the Magician directed by Ildikó Enyedi (1998), Why Not Me? directed by Stéphane Guisti (1999), Le voyage à Paris directed by Marc-Henri Dufresne (1999) starring Olivier Gourmet, etc.
He goes on to become executive producer of films such as Merci mon chien, directed by Philippe Galland (1998) and The Comet (1999), a Franco-Mexican film directed by José Buil and Marisa Systach, and Azzurro, directed by Denis Rabaglia (2000).
In addition to his producing activities, he creates Alhéna Film Distribution in Switzerland and distributes 40-odd films between 1995 and 2001, including Hate, directed by Mathieu Kassovitz (1995) and Family Resemblances, directed by Cédric Klapisch (1996). He is particularly gifted at obtaining co-financing in every form: public grants, private funding or institutional investment.
He joined Claudie Ossard and Emmanuel Benbihy, and was a partner in the production of Paris, je t’aime.

Gilles Caussade - Executive Producer
Graduate from French business school, Ecole Supérieure de Commerce de Lille, BA in Law, Université de Lille, MBA and LLB from Washington University, St Louis, MO, USA (1970). He starts his career with US corporation W.R.Grace, then goes in Merger and Acquisitions with Anglo-Swiss Société Bancaire et Financière in Paris.
In 1978, created and developed L’herbier de Provence, a food and cosmetic herbal company, vertically integrated from the fields in Provence to the 120 stores in France and abroad (USA - 5 stores, Japan, Europe, etc.). The company was sold in 1982.
Gilles becomes President of 3 companies in the fashion business including Madame Grès Haute Couture, MicMac sportswear and Wrangler Jeans France-Benelux. Gilles then creates his own investment company, CD Finance, which invests in the communication business (medical databases, export of French press in China, Korea, Taïwan and India), in the restaurant business (Café La Jatte in Neuilly) and in the film industry.
He has been partner with Claudie Ossard for the past 10 years.

Feist – Sings the theme 'La même histoire'  (We’re all in the dance)
Feist (real name Leslie) was born on 13 February 1976 in Canada. She released her first solo album, Monarch (Lay Your Jewelled Head Down), in 1999. On tour in Europe some months later, she met Gonzales who, with Renard Letang, went on to produce her second album, Let it Die, released in 2004. She settled in Paris, and with her second album, a sensual mix of jazz, bossa nova, folk, rock and a hint of disco, reached a large audience for the first time. Recently, she has contributed to the new album by the Kings of Convenience, sung with Mocky on his album Are and Be, and written a song that she'll perform with Jane Birkin on Jane's new album, Rendez-Vous.
Paris, je t'aime is the first soundtrack to which she's contributed.

CREDITS

Film produced by. . . . . . . . . . . . . . . . . . . . . ……………. . .Claudie Ossard & Emmanuel Benbihy
Co-producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………. . . . . Burkhard Von Schenk
Executive Producers . . . . . . . . . . . . . . . . . . . . . . . . . . ……………. Chris Bolzli / Gilles Caussade
Associate Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………... . . . .Henri Jacob
In association with . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ………….ARRIVAL CINÉMA
Executive Producers . . . …………… .Sam Englebardt / Ara Katz / Chad Troutwine / Frank Moss
From an original idea by. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………… Tristan Carne
From a feature film concept by . . . . . . . . . . . . . . . . . . . . . . . . . ……………. . Emmanuel Benbihy
Executive Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………. Rafi Chaudry
Co-producers . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………. . .Stefan Piëch / Matthias Batthyány
Associate Co-producers. . . . . . . . . . . . . . . . . . . . ……………. . .Shaw-Lang Wang / Nicolas Druz
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………. .Film Faubourg Saint-Denis
Executive Production . . . . . . . . . . . . . . . . . . . . …………... . .X-Filme Creative Pool / Maria Köpf
International Sales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . …………………Celsius Entertainment

Editing Supervisor. . . . . . . . . . . . . . . . . . . . . . . . . …………… Simon Jacquet / Frédéric Auburtin
Production Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………... . . . . .Philippe Delest
Original Music . …………….. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pierre Adenot

Cinematography:
Montmartre . . . . . . . . . . . . . . …………... . . . . . . . . . . . . . . . . . . . .Matthieu Poirot Delpech, AFC
Quais de Seine . . . . . . . . . . . . . . . . . . . . ……………... . . . . . . . . . . . . . . . . . . . David Quesemand
Le Marais . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………... . . . . . . . . . . . Pascal Rabaud
Tuileries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . …………....Bruno Delbonnel, AFC
Loin du 16e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . …………… Eric Gautier, AFC
Quartier des Enfants Rouges / Bastille . . . . . . . . . . . . . . . ……………. Jean-Claude Larrieu, AFC
Place des Victoires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………...Pascal Marti, AFC
Tour Eiffel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . …………… Eric Guichard, AFC
Parc Monceau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………. Michael Seresin
Place des fêtes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………. . . . Michel Amathieu, AFC
Pigalle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………. .Gérard Stérin, AFC
Quartier de la Madeleine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . …………….. Tetsuo Nagata, AFC
Père-Lachaise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . …………….. . .Maxime Alexandre
Faubourg Saint-Denis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . …………….Frank Griebe
14e Arrondissement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ………….... . .Denis Lenoir, AFC
Quartier Latin / Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . …………... Pierre Aïm, AFC
Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………. . . . .Gérard Simon, AFC
Transitions. . . . …………….. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Christophe Paturange

Production Design. . . . . . . . ……………. . . . . . . . . . . . . . . . . . . . . . . . . Bettina Von Den Steinen
Costume Design……………………………………………..Olivier Bériot / Pierre-Yves Gayraud
 (“Tuileries” & “Faubourg Saint Denis”)

Editing:
Quais de Seine / Porte de Choisy / Bastille /
Pigalle / Quartier Latin / 14e Arrondissement . …………….. . . . . . . . . . . . . . . . . . .Simon Jacquet
Montmartre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………. . . . . . . . . . .Anne Klotz
Place des Victoires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………..Hisako Suwa
Parc Monceau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………. Alexandre Rodriguez
Quartier des Enfants Rouges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………... .Luc Barnier
Place des fêtes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………... . . . Isabel Meier
Père-Lachaise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . …………….. . Stan Collet
Faubourg Saint-Denis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ………….... . Mathilde Bonnefoy

Casting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………. . . . . . . . .Nathalie Cheron, ARDA

Sound and Mixing Supervisor . . . . . . . . . . . . . . . . ……………. . . . . . . . . . . . . . . . . Vincent Tulli

Transition Sequences Directed by……………………..Emmanuel Benbihy and Frédéric Auburtin

Transition Sequences Written by .………………………Emmanuel Benbihy / Frédéric Auburtin /
      Jean-Pierre Ronssin / Jane Hawksley

General Unit Manager. . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . …………….. . Margot Luneau

Chief Sound Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ……………... . . . . Capucine Courau

Sound Engineers . . . . . . . . . . . . . ………….. Antoine Ouvrier / Jean-Paul Mugel / Vincent Tulli /
Sam Cohen / Sophie Laloy / Jacques Pibarot /
David Ansalem / Daniel Sobrino

Music Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . …………….. . . Marie Sabbah

Soundtrack available on Polydor, a Universal Music France label

'The idea was just so interesting. I called my agent straight away and said yes, I absolutely want to be part of this.'
- Elijah Wood