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A Parisian getaway becomes anything but romantic for a high-strung New York couple in writer/director Julie Delpy's smart, sexy comedy about how opposites attract—and then slowly drive each other crazy. Marion (Delpy) is a French photographer and Jack (Adam Goldberg) is an American interior designer. After a less than idyllic vacation in Italy, they stop off in Paris for two days, where Jack has to deal with a new language, a crazily unfamiliar culture, meeting Marion's sexually frank and permissive family and a bevy of flirtatious ex-boyfriends. In the city of lights, Jack and Marion begin to see each other in a different, less appealing light as the cultural divide between them grows. Will these two days in Paris be Jack and Marion's last days as a couple, or will they be the beginning of a new, richer life together?

 

 

 2 Days in Paris

When I started writing 2 Days in Paris, I envisioned my own parents in the parts of Marion’s parents. Not because I have no imagination, but because each time I think of an amazing actor in his 60s who speaks French, I think of my dad, and each time I think of a fantastic French actress in her 60s, I think of my mom. For as long as I can remember, I have seen them perform, and for as long as I can remember, I’ve looked up to their work and integrity as actors. I’ve especially admired how extremely funny they are on stage and I wanted to give them a part they truly deserve on screen. That being said, if I had not cast them in the film I would have been in big trouble. They would have probably kidnapped my pet and blackmailed me.

My parents really are role models for me. Their integrity and love of their art is 100 percent pure. They had to fight their families to become actors—especially my dad, whose family thought he had a great future as a postman. They never acted for fame or money—unlike nowadays where some people seem to be attracted only to the glamourous aspects of it. My parents are so not into the glamour that after the film was done and they had achieved what very few people can—true comedic performances—they were very happy to see the film but were never interested in film festivals or press. I begged my parents to come to the Berlin Film Festival; I wanted them to share the spotlight with me for a night. But they didn’t want to. They were both doing plays, so why would they give up a day’s work for one night of red carpet “glory”?

Work is all that matters to them. And the truth is, they are right—the true pleasure and reward of making a film is the act of making it. And I had the pleasure of doing so, from writing to editing this film. It is wonderful to have someone tell you that they liked your film, but really, creating it is the most fun part of all. I would work with my parents again in the blink of an eye. They were not just amazing as actors, they were also humble and kind to everyone on set, and they would share their warmth and joy with everyone around them.

My parents started giving me an education in art and film early on. As a kid my father brought me to see serious films by Godard, Bergman and Cassavetes, while my mom would bring me to see Star Wars, Jaws and broad comedies. I went to Cannes in 1979 and I was lucky enough to see Apocalypse Now and The Tin Drum when I was only nine years old. With my parents I went to the theater three times a week, the movies four times a week, art exhibitions many times a month; I met writers, painters and all sorts of artists throughout my childhood. Okay, so we didn’t have a bathroom until I was eight (actually, public baths were not as bad as you would think) but they gave me so many other things. They sent me to music, dance, photography, painting and writing classes on top of regular school. I am the luckiest person in the world to have been raised by the greatest parents in the world and everything I’ve achieved successfully in my life I owe to them.