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Not long into his eclectic career, Duris featured in Jan Kounen’s seminal, ultraviolent . (Her playing features on the film’s soundtrack.) “She would drag me in to do little party pieces for her friends,” recalls Duris. The girl proves useless at everything, of course, but her skills as a typist are near supernatural. We were given new things to play with faster than we could work them out. Only Michel Gondry could know how to make a movie like this. Did he feel as though he was part of a nouvelle, nouvelle vague at the time? I like to mix things up too much to say,” he grins. The young audiences can go to a film by an author like Gaspar Noé or Ozon and, you know, that’s great. Her boss quickly hatches a plan to enter his charge in the National Typing Competition; he’ll do the coaching, she’ll get the Carpal Tunnel Syndrome. Today, he has stopped off in one of London’s more fashionable hotels for a flying visit, but Duris’s return ticket on the Eurostar ought to, one feels, mark the first stage of a daring inter-railing adventure. To date, he’s essayed the title roles in the biopics , his ditzy 2010 Côte-d’Azur romance, playing opposite Vanessa Paradis, remains his biggest Francophone hit. “To hold back on opening his humanity, to hold back on being nicer. Is there anything that unifies Duris’s wildly varied oeuvre ? But I try not to think if I have done something before or even to think if it is good or not.” He remains an auteur theorist and turns into an all-out fanboy at the mention of Tarantino: “He is the most important representative of our art that we have for this age.” Duris has worked repeatedly with directors such as Tony Gatlif. “I’m more attracted by directors who have their own world and who are passionate about cinema and who are trying to explain something new and different to the audience.And yet, as even a cursory glance at his CV reminds us, Duris is 39 and has notched up almost two decades’ worth of credits in the “biz” – stretching all the way back to Cédric Klapisch’s 1994 dramedy, spring to mind – Duris’s early breakthroughs were synonymous with what, in the Anglophone world, was dubbed the New French Extremism. ” Born in Paris to an architect-engineer and a ballerina, Duris’s training for stage and screen came through his sister Caroline, a concert pianist who taught her brother how to fake being a piano virtuoso in . “And it’s the film I said ‘no’ to for the longest,” he says. And then it turned out to be the most successful film I’ve made in terms of footfall and box office.” He shrugs: “Maybe I’m just bad at pickling commercial successes.” The incoming , the Day Glo comedy has Duris’s 1950s chauvinist take on Déborah François’s bumpkin as his secretary. For most of the film he’s not open to love and emotions. It’s easier for me to work with and understand directors with very clear ideas.” We do hope that thinking stood him in good stead for Michel Gondry’s , Indigo arrives here later this year, replete with an invisible car and piano cocktails. “Every instruction was bizarre,” laughs Duris.”It was chaos.You have to remind yourself that Romain Duris is closing in on 40 and that later today, he’ll return home to La Bastille to be with his actor partner, Olivia Bonhamy, and the couple’s four-year-old son, Luigi. When I read something, I’m looking for the kind of purity any reader is looking for when you read a book or a news story.He has dressed down, in jeans, and his artfully messy, dark hair makes one think in style section bytes such as “campus chic” and not of phrases such as “dad” or “average age of Volvo owner”. She would gather her friends around: ‘Look, my little brother: he’s Michael Jackson’.” Despite this inauspicious sounding schooling, Duris has seldom been short on gravitas. That was the most important thing for me,” notes Duris. I think when I want to play the guy it usually happens because it is new.

Born in Paris, son of an engineer-architect father and a dancer mother, Duris studied arts at university but decided to follow a career in music forming a jazz-funk band. He was noticed in the street by a casting director whilst waiting in a queue in 1993 and was offered a part in the 1994 Cédric Klapisch film Le péril jeune. His first role however was in a pop video for Princess Erika, Faut qu'j'travaille, (I need to work) in which he plays the role of a small-time gangster.

“I’m not feeling very well,” he concedes, reaching for a tissue and ordering a double espresso, but his good humour – admirably maintained when said espresso arrives 20 minutes later only to be spilt just as it reaches the table – is almost as striking as his appearance.

Adolescently slim in skinny jeans, with his trademark mop of dark curls, five o’clock shadow and a trio of unusual, arty rings (“Palestine, New York, Africa” he glosses), Duris is bohemian Paris chic made flesh and so youthful that it’s hard to believe he’s been a star of French cinema for 20 years.“I don’t think about it in that abstract way,” he reflects when we meet a week or two shy of his 40th birthday.

At least, as played by an unusually starchy Romain Duris, he cuts a visually resplendent figure, dashingly bearded and attired in rakish, rumpled linen tailoring.

Such decorative surface detailing represents the chief pleasure of “Ceasefire,” which is shot in classically honeyed fashion by Clint Eastwood’s favored d.p.