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Get behind the scenes of your favourite film with our handy travel guide to backlots and backdrops. Browse tips on iconic film locations or share your own suggestions on how to get in on the act.
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    Pont de Bir-Hakeim

    Posted by landau 30 September 2009

    A striking double decker road and rail bridge over the Seine with a fascinating real and fictional life. Originally the Passy Viaduct, renamed the Pont de Bir-Hakeim to commemorate battles in Libya against Rommel.

    It appears in films by Malle and Kieslowski, but most strikingly in Bertolucci's Last Tango in Paris. This is where tortured American widower Paul (Brando) first meets Maria Schneider's Jeanne for the first time. A sinister, beautiful and overwhelming piece of European architecture that sets the tone for the film.

    15th / 16th arrondissement Paris

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    Canal St Martin

    Posted by Harrily 11 January 2007

    As seen in the film Amelie, Canal St Martin is good for a wander away from the busier, more touristy areas of Paris.

    Beautiful in spring when the trees are in leaf, this area provides a welcome retreat any time of the year.

    Canal St Martin can be found running parallel-ish to Blvd Magenta (between Place de la Republique and de la Bastille).

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    Canal St Martin

    Posted by steveg 8 October 2005

    The Canal St Martin, as featured in Amelie, is a green lung through the eastern side of the city with its entrancing bow shaped, green bridges. Cross over the Place de Stalingrad to continue into the Bassin de la Villette. Very romantic by moonlight.

    Start off from metro Stalingrad

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    Before Sunset

    Posted by JPWKing 2 September 2005

    Richard Linklater's sequel to Before Sunrise is gentle, honest and quite unlike anything else from a mainstream American director at the moment. It's also a love letter to Paris, and the city manages to enchant you all over again as Ethan Hawke and Julie Delpy wander its streets and talk, talk, talk.

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    Amelie

    Posted by JonHenley 11 August 2005

    Or Le Fabuleux Destin d'Amélie Poulain. Now they've lost the Olympics we can afford to harbour nice feelings about the French, can't we? This delighful and wholly whimsical piece of candyfloss shows French directors can please crowds as well as critics.

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