AFI Catalog of Feature Films
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Title: Midnight in Paris

Production Company: Mediapro  
  Versátil Cinema  
  Gravier Productions  
  Pontchartrain Productions  
Production Text:
Distribution Company: Sony Pictures Classics  

Copyright Claimant Copyright Date Copyright Number
Gravier Productions, Inc. 17 May 2011 PA1736542
Mediaproduccion S.L.U. 17 May 2011 PA1736542
Versatil Cinema S.L. 17 May 2011 PA1736542

Release Date: 2011
Premiere Information: Los Angeles and New York openings: 20 May 2011
Production Date: late Jul--mid Sep 2010
Duration (in mins): 94
PCA NO: 46482
MPAA Rating: PG-13
Country: Spain and United States
Language: French and English

Physical Properties: Sd: Dolby Digital in selected theatres
  col: deluxe New York

Producer: Jack Rollins (Co-exec prod)
  Javier Méndez (Exec prod)
  Helen Robin (Co-prod)
  Raphaël Benoliel (Co-prod)
  Letty Aronson (Prod)
  Stephen Tenenbaum (Prod)
  Jaume Roures (Prod)
  Eva Garrido (Assoc prod, Mediapro)
Director: Woody Allen (Dir)
  Matthieu Rubin (Unit prod mgr)
  Helen Robin (Unit prod mgr)
  Gil Kenny (1st asst dir)
  Delphine Bertrand (2d asst dir)
  Aurore Coppa (3d asst dir)
Writer: Woody Allen (Wrt)
Photography: Darius Khondji (Dir of photog)
  Johanne Debas (2d unit dir of photog)
  Jan Rubens (Cam/Steadicam op)
  Fabienne Octobre (Focus puller)
  Benoît Pain (2d unit focus puller)
  Julien Andreetti (Clapper loader)
  Nathalie Lao (Central loader)
  Garance Garnier (Cam trainee)
  Ani Simon Kennedy (Cam trainee)
  Roger Arpajou (Still photog)
  Carl Turnquest, Jr. (Projectionist)
  Cyril Kuhnholtz (Key grip)
  Thibaut Guenois (Grip)
  Arnaud Imbert (Grip)
  Christian Martinello (Grip)
  Stéphane Germain (2d unit grip)
  Julien Moine (Grip trainee)
  Thierry Baucheron (Gaffer)
  Jean-Christophe Duwez (Best boy elec)
  Mohan Valmy (Elec)
  Sidney Baucheron (Elec)
  Benjamin Prévost (Elec)
  Eric Monin (Elec)
  Robert Polonia (Generator op)
  Transpalux (Lighting equip)
  TSF Paris (Grip equip)
Art Direction: Anne Seibel (Prod des)
  Jean-Yves Rabier (Art dir)
  Benoît Béchet (Asst art dir)
  Lilith Bekmezian (Illustrator)
  Georges Kafian (Graphic artist)
  Samudrika Arora (Art dept asst)
  Tatiana Bouchain (Art dept coord)
  Tina Gardinier (Art dept trainee)
Film Editor: Alisa Lepselter (Ed)
  Morgan Neville (1st asst ed)
  Kate Rose Itzkowitz (Asst ed)
  Orbit Digital (Avid equip & support)
Set Decoration: Hélène Dubreuil (Set dec)
  Aneymone Wilhelm (Set dec asst)
  Bernard Chédin (Prop buyer)
  Benoît Tételin (Prop buyer)
  Jean Miel (Dressing props)
  Gilles Géraud (Dressing props)
  Antonio Nogueira (Swing gang)
  Nicolas Bréchat (Swing gang)
  Tanty Lokonga (Swing gang)
  Dominique Gréau (Swing gang)
  Thomas Lemierre (Swing gang)
  Thomas Beele-Chanvril (Swing gang)
  Jacques Kazandjian (Upholsterer)
  Séverine Depye (Upholsterer)
  Francine Crolbois (Upholsterer)
  Hadjila Nezlioui (Storeman)
  Olivier Crespin (Standby props)
  François Poublan (Standby props asst)
  Pierre-Maxime Duval (Standby props asst)
  Uriel Zylberman (Standby props trainee)
  Patrick Véron (Const mgr)
  William Clément (Const buyer)
  Patrick Tombette (Head const grip)
  Christophe Lunay (Const grip)
  Christophe De Vos (Const grip)
  Hervé Pesquer (Const grip)
  Alain Guenier (Const grip)
  Bertrand Laval (Const grip)
  Didier Bautz (Plasterer)
  Madjid Hamaoui (Head carpenter)
  Jérémie Chapelet (Head carpenter)
  Jérôme Magne (Carpenter)
  Philippe Béhar (Standby carpenter)
  Liliane Conil De Vos (Head painter)
  Patrice Fasola (Painter)
  Stéphane Blanc (Painter)
  Acacio Francisco (Painter)
  Peter Hammond (Standby painter)
Costumes: Sonia Grande (Cost des)
  Solange Saban (Asst cost des)
  Claire Chanat (Cost supv)
  Dominique Cristina (Cost buyer)
  Virginie de Kinkelin (Cost buyer)
  François Le Tellec (Principals' dresser)
  Emily Martin (Principals' dresser)
  Aurore Pageot (Principals' dresser)
  Jérôme Brousseau (Crowd dresser)
  Elsa Le Guichard (Crowd dresser)
  Julien Moeglin (Crowd dresser)
  Elenore Pelletier (Crowd dresser)
  Jean-Marc Mirete (Head of sewing room)
  Magali Bonnot (Alterations)
  Céline Frécon (Alterations)
  Pascal Pecastaing (Cost asst)
  Guillaume Puthod (Cost asst)
Sound: Robert Hein (Supv sd ed)
  Lee Dichter Sound One Corp. (Re-rec mixer)
  Sylvia Menno (Dial ed)
  Glenfield Payne (Sd eff ed)
  David Wahnon (Sd ed)
  Rachel Chancey (Foley ed)
  Matt Haasch (Foley ed)
  Ryan Collison (Foley eng)
  Jay Peck (Foley artist)
  Jean-Marie Blondel (Prod sd mixer)
  Frédéric Pardon (Boom op)
  Théotime Pardon (2d boom/Cableperson)
  Thomas Kodros (Dolby sd consultant)
Make Up: Thi Thanh Tu Nguyen (Make-up supv)
  Cathy Vidal-Jabes (Hair supv)
  Lydia Pujols (Make-up artist)
  Patricia Planche (Make-up artist)
  Véronique Boslé (Hairstylist)
  Catherine Leblanc (Hairstylist)
Production Misc: Juliet Taylor (Casting)
  Patricia DiCerto (Casting)
  Stéphane Foenkinos (Casting)
  Elodie Demey (Casting asst)
  Samia Fadli (Crowd casting)
  Frédérique Charlotte Véret (Asst crowd casting)
  Anaïs Barrat (Casting trainee)
  Laurence Coutaud-Garnier (Prod coord)
  Scott Kordish (Prod coord)
  Angélique Bosio (Prod secy)
  Eric LeBlond (Prod office asst)
  Deborah Alexander (Asst to Mr. Tenenbaum)
  Melissa Tomjanovich (Asst to Mr. Allen)
  Bernard Lamy (Prod accountant)
  Pietro Lorino, Jr. (Prod accountant)
  Astrid Monarque (Asst prod accountant)
  Franck Nicolas (Asst prod accountant)
  Anne Wermelinger (Scr supv)
  Barbara Chayoux (Scr trainee)
  Mathieu Debusschère (Prod office trainee)
  Tigrane Minassian (Prod office trainee)
  Antonin Depardieu (Loc mgr)
  Pascal Ricuort (Asst loc mgr)
  Timothée Talandier (Asst loc mgr)
  Serge Desfilles (Asst loc mgr)
  Fanette Boisot (Asst loc mgr)
  Alice Cordié (Loc trainee)
  Stéphanie Véron (Loc trainee)
  Baptiste Caux (School trainee asst dir)
  Raphaël Holt (School trainee asst dir)
  Robin Plessy (Set prod asst)
  Eponine Maillet (Set prod asst)
  Morgan Cluett (Set prod asst)
  Max Roures (Set prod asst)
  Nicolas Biaugeaud (Set prod asst)
  Rabia Kassam (School trainee)
  Nathalie Anselme (Transport coord)
  Claire Augé (Unit driver)
  Philippe Benard (Unit driver)
  Alexandre Gautier (Unit driver)
  Cyril Guillaumin (Unit driver)
  Nicolas Jaubert (Unit driver)
  François Litou (Unit driver)
  Philippe Rinino (Unit driver)
  Bruno Szwarcbart (Unit driver)
  Charles Heidet (Picture vehicles supv)
  Jalal Aqdim (Picture vehicles asst)
  Marisa Fernández Armenteros (Staff prod coord, Mediapro)
  Yaiza Ráez (Staff prod asst, Mediapro)
  Bernat Elias (Staff prod crew, Mediapro)
  Teia Roures Cervera (Staff prod crew, Mediapro)
  Elena Garcia González (Staff prod crew, Mediapro)
  Mauro Margenat (Chief financial officer, Mediapro)
  Sandra Puig (Business affairs, Mediapro)
  Meritxell Ventanilla (Business affairs, Mediapro)
  Inés Gete (Legal affairs, Mediapro)
  Elena Sota Garcia (Legal affairs, Mediapro)
  Helena Fernández Pérez (Legal affairs, Mediapro)
  Ana Marti (Tax consultant, Mediapro)
  Carme Anglada (Mediapro press)
  Julia Rubio (Mediapro press)
  Anna Gonzálvez (Mediapro press)
  Firstep Productions (Prod service company)
  Pontchartrain Productions (Prod service company)
  City National Bank (Prod financing)
  Richard V. McCune (Prod financing)
  Erik Piecuch (Prod financing)
  Irwin J. Tenenbaum Loeb & Loeb (Legal services)
  Shani Hinton Jitterbug Law (Legal services)
  Véronique Hassid (Legal services)
  International Film Guarantors (Completion guarantee)
  Imagina International Sales, S.L.U. (International sales)
  Laura Comerford AON/Albert G. Ruben, Inc. (Insurance)
  Hugo Rubini (French insurance)
  Rebecca Hawkes Schedule 2 (Worldwide tech services)
  Emma Pindar Schedule 2 (Worldwide tech services)
  Cast & Crew Entertainment Services, LLC (U.S. payroll)
  42 West (Pub)
  Caroline Turner Hyperactive Publicity (Pub)
  Coupure Repas (Catering & craft service)
  Studio Phil (Facilities & trailers)
  Transpagrip & Cicar (Trucks)
  Caméléons Services VIP (Loc security)
  A.B.K.6 (Radios/Mobile phones)
Color Personnel: Quinta Industries (Color & digital dailies by)
  François Aube (LTC project mgr, Quinta Industries)
  Christian Dutac (Photochemical grader, Quinta Industries)
  Grégory Sapojnikoff (Scanlab operating mgr, Quinta Industries)
  Fabien Napoli (Digital dailies grader, Quinta Industries)
  Deluxe New York (Digital intermediate by)
  Joseph Gawler (DI col, Deluxe New York)
  Darrell R. Smith (DI supv prod, Deluxe New York)
  Jonathan Sanden (DI ed, Deluxe New York)
  Chris Mackenzie (Digital op, Deluxe New York)
  Markus Janner (Digital scanning and rec, Deluxe New York)
  Marika Litz (Digital restoration artist, Deluxe New York)
  Tim Mullen (Eng, Deluxe New York)

Music Text: "Recado," written & composed by Djalma Ferreira & Luiz Antonio, ©Fermata Do Brasil (Drink Editora Musical), used by permission of Rytvoc, Inc., performed by Original Paris Swing, courtesy of Ramón Galin, F. Lochon, L. Fradelizzi & V. Frade; "Bistro Fada," composed & performed by Stephane Wrembel, ©Stephane Wrembel Publishing, courtesy of Stephane Wrembel; "Barcarolle," from The Tales of Hoffman , composed by Jacques Offenbach, arranged by Eddy Davis, performed by "Yerason," Yrving & Lisa Yeras and Conal Fowkes; "Can-Can," from Orpheus in the Underworld , composed by Jacques Offenbach, courtesy of Extreme Production Music USA; "Ballad Du Paris," composed by François Parisi, performed by François Parisi, courtesy of Extreme Productions Music USA; "Le Parc de Plaisir," composed by François Parisi, performed by François Parisi, courtesy of Extreme Productions Music USA.
Song Text: "Si Tu Vois Ma Miere," lyrics by Sidney Bechet & Jean Brousolle, music by Sidney Bechet, ©Warner Chappell Music France - 1952, performed by Sidney Bechet, (P)1952, Disques Vogue, courtesy of Sony Music Entertainment France; "Je Suis Seul Ce Soir," written & composed by Rose Noel, Jean Casanova & Paul Durand, ©Les Nouvelles Editions Méridian-Paris, performed by Swing 41, Jorgen Martinsen, Martin Walker, Flemming Honig & Peter Williams, courtesy of Peter Williams; "Let's Do I (Let's Fall in Love)," composed by Cole Porter, ©WB Music Corp., performed by Conal Fowkes; "You've Got That Thing," composed by Cole Porter, ©WB Music Corp., performed by Conal Fowkes; "La Conga Blicoti," composed by A. Orefiche & A. de Badet, ©Editiones Coda/Heugel S.A., performed by Joséphine Baker, (P)1936 Capitol Music, courtesy of EMI Music France; "You Do Something to Me," composed by Cole Porter, ©WB Music Corp., performed by Conal Fowkes; "I Love Penny Sue," composed by Daniel May, ©Revision West, performed by Daniel May, courtesy of MasterSource; "Charleston," composed by James P. Johnson & Cecil Mack, ©WB Music Corp., ©Carlin Music Publishing Canada, Inc., on behalf of Redwood Music Ltd., performed by Enoch Light & The Charleston City All Stars, courtesy of Geffen Records, under license from Universal Music Enterprises; "Ain't She Sweet," composed by Milton Ager & Jack Yellen, ©WB Music Corp.; used by permission of Edwin H. Morris & Company, a division of MPL Music Publishing, Inc., performed by Enoch Light & The Charleston City All Stars, courtesy of Geffen Records, under license from Universal Music Enterprises; "Parlez-Moi d'Amour," written and composed by Jean Lenoir, ©Sté d'Editions Musicales Internationales (S.E.M.I.)-Paris, performed by Dana Boulé
Source Text:
Music Composer: Milton Ager
  Luiz Antonio
  Sidney Bechet
  Jean Broussolle
  Jean Casanova
  A. de Badet
  Paul Durand
  Djalma Ferreira
  James P. Johnson
  Jean Lenoir
  Cecil Mack
  Daniel May
  Rose Noel
  Jacques Offenbach
  A. Orefiche
  François Parisi
  Cole Porter
  Stephane Wrembel
  Jack Yellen

Cast: Starring Kathy Bates (Gertrude Stein)  
  Starring Adrien Brody (Salvador Dali)  
  Starring Carla Bruni (Museum guide)  
  Starring Marion Cotillard (Adriana)  
  Starring Rachel McAdams (Inez)  
  Starring Michael Sheen (Paul )  
  [and] Owen Wilson (Gil)  
  Co-starring Nina Arianda (Carol)  
  Co-starring Kurt Fuller (John)  
  Co-starring Tom Hiddleston (F. Scott Fitzgerald)  
  Co-starring Mimi Kennedy (Helen)  
  Co-starring Alison Pill (Zelda Fitzgerald)  
  Co-starring Léa Seydoux (Gabrielle)  
  [and] Corey Stoll (Ernest Hemingway)  
    Maurice Sonnenberg (Man at wine tasting)  
  1920's partygoers Thierry Hancisse    
    Guillaume Gouix    
    Audrey Fleurot    
  [and] Marie-Sohna Condé    
    Yves Heck (Cole Porter)  
    Sonia Rolland (Joséphine Baker)  
    Daniel Lundh (Juan Belmonte)  
    Laurent Spielvogel (Antiques dealer)  
    Thérèse Bourou-Rubinsztein (Alice B. Toklas)  
    Marcial Di Fonzo Bo (Pablo Picasso)  
    Emmanuelle Uzan (Djuna Barnes)  
    Tom Cordier (Man Ray)  
    Adrien De Van (Luis Buñuel)  
    Serge Bagdassarian (Détective Duluc)  
    Gad Elmaleh (Détective Tisserant)  
    David Lowe (T.S. Eliot)  
    Atmen Kelif (Hotel doctor)  
    Yves-Antoine Spoto (Henri Matisse)  
    Laurent Claret (Leo Stein)  
  Belle époque couple Sava Lolov    
  [and] Karine Vanasse    
    Catherine Benguigui (Maxim's hostess)  
    Vincent Menjou Cortes (Henri de Toulouse-Lautrec)  
    Olivier Rabourdin (Paul Gauguin)  
    François Rostain (Edgar Degas)  
    Marianne Basler (Versailles royalty)  
    Michel Vuillermoz (Versailles royalty)  

Summary: While wandering through a French park on vacation, Gil, a frustrated American screenwriter, tells his fiancé, Inez, his fantasy of living the romantic life of a novelist in Paris, just like real writers did in the 1920s. Inez, however, cannot picture herself living outside the U.S. Meeting Inez's parents for dinner, Gil continues to wax poetic about the French city. But, dinner is interrupted with the surprise appearance by Inez's old friend, Paul, and his girlfriend, Carol. Paul invites the couple to hang out at Versailles the next day and even though Gil tries to weasel their way out of it, Inez insists they go. Back in their hotel room, the couple bickers over the next day's trip. Inez confesses she used to have a crush on Paul back in college, while Gil belittles him as being a phony intellectual. The trip to Versailles turns into a lecture as Paul acts as a know-it-all tour guide. Inez embarrasses Gil by trying to get him to open up about his novel, which is about a man who works in a "nostalgia shop." Paul thinks that anyone who is nostalgic for the past is just in denial about the present. Later, while visiting a museum, Paul gets into an argument with their tour guide over the names of the artist Rodin's wife and mistress. After a wine tasting, a semi-drunk Gil talks his way out of going to a nightclub with Inez, Paul and Carol. Walking back to the hotel, Gil gets lost and, as a clock rings its midnight chimes, he sees an old-fashioned car filled with partygoers who beckon Gil to join them. He is taken to a party where he meets a man and woman claiming to be F. Scott and Zelda Fitzgerald. When he's told he's at Jean Cocteau's home, Gil can't figure out why everybody is named after somebody famous. It isn't until he's taken to a restaurant where he meets Ernest Hemingway that Gil realizes he's actually visiting the past. He works up the courage to ask Hemingway to critique his troubled novel. Hemingway refuses, but agrees to give it to Gertrude Stein. Once Gil leaves the restaurant, he finds himself back in the present and unable to return. The next night, Gil brings his fiancé to the spot where he made his time travel jaunt, but the mystery car never appears. Fed up, Inez finally takes a taxi back to the hotel alone. However, Gil has simply miscalculated. When the clock strikes midnight again, the time traveling car reappears, this time with Hemingway in it. The two eventually make their way to Gertrude Stein's house where she is having a fiery debate with Pablo Picasso over what she contends is an ineffectual portrait of his lover Adriana, who sits in the next room. Gertrude reads the first paragraph of Gil's novel out loud and Adriana is immediately entranced by it. The past has always held a tremendous grip on Adriana's imagination and she particularly romanticizes the Belle époque period of the late 1800s. Back in the present, Gil visits a row of shops with Inez where he's distracted by a female antiques dealer, Gabrielle. Later, Gil and Inez visit another museum with Paul, who continues to pontificate about art. However, when they spot Picasso's controversial portrait of Adriana, it's Gil's turn to give everybody a lesson on the painting and Adriana's origin. Back at another party in the past, a boorish Hemingway does his best to woo Adriana, but she clearly prefers the more sensitive Gil. During a romantic stroll, they stop a suicidal Zelda Fitzerald from jumping into the Seine. In the process, Gil inadvertently drops the bombshell that he's engaged to be married to Inez. As soon as Adriana hears the news, she grows cold and bids Gil adieu. Feeling heartbroken, Gil runs into Salvador Dali, Luis Buñuel and Man Ray. Being surrealists, the artists can relate to Gil's time traveling, even as they lack any sound advice to give him. On Gil's next trip to the past, Picasso is distraught that Adriana has traveled to Africa with Hemingway while Gertrude encourages Gil not to be such a defeatist in his writing. When Inez and her parents go to the countryside for the weekend, Gil bonds with Gabrielle. Then, at a used bookstand, he buys a well-read copy of Adriana's memoir, which the museum tour guide translates for him. In the book, Adriana has written about how much she is in love with Gil and has had a dream in which he brings her earrings and they make love. Gil hastily returns to his hotel to package up a pair of Inez's pearl earrings to bring into the past. However, as he attempts to leave, Inez and her parents unexpectedly show up. John is complaining of chest pains, so the two women order a doctor to see him. During an argument over Gil's cheap taste in jewelry, Inez discovers that her earrings are missing and calls for the house detective. Luckily, when the doctor arrives and everyone is distracted, Gil is able to pretend that he found the earrings in the bathroom. Going out and buying a new pair of earrings, Gil then jumps back into the time traveling car. He takes a rewritten version of his book to Gertrude, from whom he learns that Adriana is attending a surrealist wedding reception. Hooking back up with the woman of his dreams, Gil passionately kisses Adriana on the street. He gives her the earrings, which she adores and immediately places in her ears. Just then, partygoers in a passing horse and carriage urge the romantic couple to get in. They do and are whisked away to the time of the Belle époque. They dance romantically together before going to the Moulin Rouge where they watch Can-Can dancers and chat with Toulouse-Lautrec, Paul Gauguin and Edgar Degas. Degas says he believes life must have been better during the Renaissance. At last, Gil comes to the realization that every generation unfairly romanticizes a previous generation as being a "Golden Era." Despite Gil's pleading, Adriana decides to remain behind in the Belle époque. He returns to the '20s where Gertrude, through discussing Gil's book, makes him realize that Inez is most likely having an affair with Paul. In the present, Gil confronts Inez, who voraciously denies the affair – until she finally confesses to sleeping with Paul on a few occasions. Inez implores Gil to get over it. He won't and says he feels that Inez will be better off without him. She opens their hotel room door and ushers him out to go live in his fantasy world. Wandering present-day Paris alone, Gil eventually runs into Gabrielle along the Seine as the midnight chimes peal. It begins to rain, and they walk into the distance together. 

 
Genre: Romantic comedy
 
Subject Major: Nostalgia
  Paris (France)
  Romance
  Time travel
 
Subject Minor: Art--History
  Artists
  Authors
  Clocks
  Hotels
  Idols and images
  Infidelity
  In-laws
  Manuscripts
  Mistresses
  Painters
  Parties
  Tourists
  Vacations
  Versailles (France)
  Voyages and travel

Note: Additional companies and organizations are acknowledged in the end credits as follows: "With the collaboration of Telvisió de Catalunya" and "With the support of Gobierno de España, Ministerio de Cultura, ICAA, Geralitat de Catalunya Institut Català de les Indústries Culturals, and Catalan Films & TV." Also in the end credits, producers "gratefully acknowledge and wish to thank" the following organizations and individuals: 120% Lino, American Vintage, André, Anthony Peto, Aram, Avene, Badoit, Bellerose, Bensimon, Berwich, Burberry, Castañer, Celine, Cerruti, Chanel, , Domaine Clarence Dillon SAS, Chloé, Christian Dior, Christian Louboutin, Closed, Corachan y Delgado, Dalloyau Paris, Daniel Hechter, David Mayer Naman, Dockers, Dr. Hauschka, Eleven Paris, Emmanuelle Khanh, Forte Forte, Geox, Giorgio Armani Parfums, Goyard, Hartford, Hermès, Hogan, Hugo Boss, Isabelle Marant, Lanvin, Lee, J.M. Weston, Jamin Puech, Jerome Dreyfuss, Jimmy Choo, Kenzo, Kitsuné Paris, Lacoste, Leonor Greyl, Les Deux Ailleurs, Les Petites, Levi's, Liu Jeans, Liu-Jo, LOFT design by..., Lottusse, Lydia Courteille, Mango, Maquillage Dior, Minelli, Miss Sixty/Energie, Montblanc, Notify, Orbis Media, Pernod, Petit Bateau, Persol, Ralph Lauren, Ray-Ban, Rene Furterer, Repetto, Sandro, Sarah, Sonia Rykiel, Tequila Solo, Vanessa Bruno, Julien Civange, Caroline Goux, Greg Johnson, Howard Neustadt, Jay Rubin, Eric Zeller, Gaelle Duchemin, Muriel Guidoni, John Kochman, Cédric Meeschaert, Christophe Musitelli, Chopard, Hôtel Le Bristol Paris, Peugeot, Mission Cinéma-Mairie de Paris, Préfecture de Police de Paris, La Compagnie des Bateaux-Mouches®, VNF-Voies Navigables de France, Marché Paul Bert-Serpette-Puces de Paris St. Ouen, Le Meurice Paris, and Restaurant Lapérouse. End credits also contain the following statement in French: "Avec l'aimable concours de la Ville de Paris et de la Société d'Exploitation de la Tour Eiffel, Copyright Pierre Bideau pour l'éclairage de la Tour Eiffel. Remerciement à la Fondation Claude Monet à Giverny propriété de l'Academie des Beaux Arts, Etablissement Public du Musée et du Domaine National de Versailles, ©Pyramide du Louvre, Artchitect I.M. Pei, Musée Rodin, Paris, Musée de l'Orangerie-Jardins des Tuileries," and "Cette oeuvre a bénéficie du credit d'impôt en faveur de la production de films étrangers en France/This film has benefited from the tax credit for foreign film production in France." Works used in the film are then credited as follows: "Various Artworks by Galerie Troubetzkoy & Mathieu Lemarie; Calligraphy by Catherine Mouligné; "Can-Can" Dancers courtesy of "Les Caprices Parisiens," Fabienne Debastiani, Choreographer; Moulin Rouge® is a registered trademark of Moulin Rouge SA; "The Bather," "Head of a Sleeping Woman," "Study for Nude with Drapery," "Grand Nu à la Draperie," ©2010 Estate of Pablo Picasso/Artist Rights Society (ARS), New York."
       According to production notes, director Woody Allen's love for Paris began when he travelled there for the filming of WHAT'S NEW PUSSYCAT? (1965, see entry), which he'd written. Allen expressed that he was "rueful about not staying [in Paris] after the filming." The character "Gil" in Midnight in Paris , who expatriated to the French capital at some point in his twenties, shares Allen's "romantic attachment" to the city.
       An 18 Apr 2006 DV article announced that Allen had "scrapped plans" to film a project in Paris, with actors David Krumholtz and Michelle Williams playing the lead roles, due to a costly budget. In a 9 Dec 2011 DV article, Letty Aronson, Allen's sister and longtime producer, stated that they "tried to [shoot the Midnight in Paris script] about two or three years prior to our [summer 2010] shoot, but it was just too expensive." In 2010, Allen was able to re-launch the project in Paris, with a new cast, due to a French tax rebate which had been passed in 2009, as noted in a May 2011 Screen International article.
       A 23 Apr 2010 HR news item stated that Allen, who normally would not divulge details about upcoming producitons, had revealed the plot of the film, saying it was "a romantic comedy about a family traveling to the French capital on business." The film was being made as "part of a three-picture financing deal between Allen's Gravier Prods. and Mediapro," with a budget of $30 million, according to a 30 Nov 2009 DV news item.
       Owen Wilson was the first actor to join the cast, according to the 9 Dec 2011 DV article. Production notes stated that, although Allen had first written Gil as "an east coast intellectual," casting director Juliet Taylor urged him to consider Owen Wilson, a Texan with blonde hair. Allen later changed Gil's hometown to California to better match Wilson to the role.
       According to the May 2011 Screen International , shooting began in Paris in late Jul 2010 with a seven-week schedule. Aronson commented in the 9 Dec 2011 DV article that, despite Allen's preference for daytime shooting hours, half the film takes place at night, so late hours were mandatory. Because the sun sets late in Europe during summer, the crew "had to work until 2 or 3 in the morning." In a 4 Apr 2011 Var article, Olivier-Rene Veillon of the Ile-de-France Film Commission stated that scenes in the film "move through the whole of Paris, from Montmartre to the banks of the Seine." Parisian locations used include: the Rodin Museum, the Musee de l'Orangerie, Saint-Ouen flea market, Versailles Palace, the Bristol Hotel, Le Meurice Hotel, Maxim's restaurant and Claude Monet's garden at Giverny. The May 2011 Screen International article noted that "Allen is well-liked in the city which made it easier" to accommodate the "fairly complex" shoot. Many shooting days included last minute changes to the schedule and moves to multiple locations, with the 60-70-person crew.
       A 12 Dec 2011 DV article explained director of photography Darius Khondji's use of different lenses and lighting schemes to distinguish the present-day scenes from the 1920s world into which Gil ventures: "for the period sections, [Khondji] used old Taylor-Hobson Cooke lenses from the 1960s and '70s, and sharp, modern Cooke S5 lenses for contemporary pieces." Khondji stated, "The modern period...has a wider lens and more camera moves to be sharper with more depth of field, while we used longer lenses for period work." For the 1920s period, Allen insisted the exteriors look dim, to reflect a "darker and grittier [Paris]...as it surely was before modern illumination took hold."
       Actor Michael Sheen commented on Allen's notoriously hands-off directing style in a 20 May 2011 WSJ , saying, "My experience was that he was very hands-on. There were bits of direction that were very specific. 'Leave a slightly longer pause before you say that word and it will be funnier.'" Sheen further noted that Allen shot many scenes in long takes which gave the actors freedom to establish their own rhythm, and that Allen preferred the actors "to play the surface" of a scene instead of trying to convey subtext.
       A 12 Jan 2011 HR article announced that Sony Pictures Classics had "acquired all North American rights" to the film. In a 9 Jul 2011 LAT article, Sony Classics Co-Chairman Tom Bernard described the "total guerrilla marketing campaign" they were forced to conduct given a budget of only $10 million, pointing out the creativity used to draw in adult audiences which are hard to pin down. Bernard noted that they used the TV Guide to target programs during which they would buy advertising, saying "We bought time on the Weather Channel and the Cooking Channel...[and] a lot of local baseball games...because baseball broadcasts definitely deliver an older audience." Both Allen and Wilson were mostly unavailable for publicity, but Sony successfully encouraged reporters to speak to Wilson about the film while he was on a press junket for Cars 2 (2011, see entry).
Midnight in Paris premiered 11 May 2011, at the opening of the Cannes Film Festival. A 13 May 2011 NYT article reported that, at the film's Cannes press conference, Allen was asked whether the "cliché" views of Paris in the film reflected "his vision" of the city, or the main character's. Allen responded that it was "the same New York City that I've shown to people around in the world in a picture like Manhattan . It's the Manhattan that I don't see around me but the one I recognize from the movies. And this is the same thing in Paris. I wanted to show the city emotionally, the way I felt about it. It didn't matter to me how real it was or what it reflected."
       According to a 9 Jun 2011 HR article, the film opened on 20 May 2011 in only six theaters. A 23 May 2011 LAT article reported that the film's opening weekend "per-theater average of $96,468 is not only the best ever for Allen but also the best of 2011 and the 15th highest of all time." Sony expanded the film early due to the success, screening in a total of 147 theaters by early Jun 2011.
       The film opened to generally positive reviews. Var noted the "undeniably populist appeal, light as meringue and twice as sweet, in the pic's arm's-reach sophistication," and lauded Wilson's "unassuming charm." Kenneth Turan of LAT , who admitted to reviewing Allen's last dozen films poorly, called the film Allen's "warmest, mellowest and funniest venture in far too long." In a mixed review, HR feared Allen's latest was "unlikely to connect with those with no knowledge of or feel for the Paris of the Fitzgeralds, Hemingway, Gertrude Stein, and Picasso." However, the film drew record audiences for Allen, and an 18 Aug 2011 HR article reported that Sony Pictures Classics was set to "re-expand" the film to an "additional 500 to 600 theaters" on 26 Aug 2011 in order to capitalize on a "late-summer rush."
       Midnight in Paris eventually became Allen's biggest box-office success to date, grossing over $84 million worldwide, and $55 million domestically, according to a 28 Nov 2011 Var article. The film was named by AFI as one of the Top 10 Movies of the Year. In Jan 2012, Allen won a Golden Globe Award for "Best Screenplay," and the film was later nominated for the following Academy Awards: "Best Picture," "Best Art Direction," "Best Directing," and "Best Writing (Original Screenplay)."
 

Note Credits: General (mod): David Krumholtz
  General (mod): Michelle Williams
  Geographic location: Paris France

Source   Date   Page
Daily Variety   18 Apr 2006.   
Daily Variety   30 Nov 2009.   
Daily Variety   12 May 2011   p. 2, 10.
Daily Variety   24 May 2011   p. 2.
Daily Variety   1 Dec 2011   p. 3, 29.
Daily Variety   9 Dec 2011.   
Daily Variety   12 Dec 2011   p. 8, 12.
Hollywood Reporter   18 Apr 2006.   
Hollywood Reporter   23 Apr 2010.   
Hollywood Reporter   12 Jan 2011.   
Hollywood Reporter   12 May 2011.   
Hollywood Reporter   9 Jun 2011.   
Hollywood Reporter   18 Aug 2011.   
Los Angeles Times   3 Feb 2011   p. D2.
Los Angeles Times   20 May 2011.   
Los Angeles Times   23 May 2011   p. D1.
Los Angeles Times   9 Jul 2011   p. D1.
Los Angeles Times   5 Sep 2011   p. D10.
Los Angeles Times   1 Dec 2011   p. S30.
New York Times   13 May 2011   p. C6.
New York Times   20 May 2011   p. 1.
Screen International   May 2011   pp. 60-61.
Variety   4 Apr 2011   p. A16.
Variety   28 Nov 2011.   
WSJ   20 May 2011   p. D5.

 
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