0:00:03 > 0:00:07BEEPING
0:00:12 > 0:00:16ORCHESTRAL MUSIC PLAYS
0:00:18 > 0:00:23It's really a misconception to feel like artists
0:00:23 > 0:00:25will be able to gain back
0:00:25 > 0:00:27a certain amount of control
0:00:27 > 0:00:31if this control has somehow been compromised along the way.
0:00:47 > 0:00:49We're wearing these black bags because,
0:00:49 > 0:00:52as Daft Punk, we're not showing our faces
0:00:52 > 0:00:54in pictures or on television.
0:00:57 > 0:01:00Who revolutionised dance music the most?
0:01:00 > 0:01:02And people say Daft Punk.
0:01:03 > 0:01:05They're robots.
0:01:05 > 0:01:07They don't need to be like anybody else.
0:01:10 > 0:01:13Look at yourself. Look at yourself!
0:01:14 > 0:01:17Here's something you don't see every day,
0:01:17 > 0:01:20Grammy winners tonight - Daft Punk.
0:01:20 > 0:01:22CHEERING
0:01:22 > 0:01:29TENSE MUSIC PLAYS
0:01:29 > 0:01:33MUSIC MUFFLED THROUGH HELMET
0:01:39 > 0:01:41Everyone knows Daft Punk, you know?
0:01:41 > 0:01:44And everyone can hear Around The World or One More Time
0:01:44 > 0:01:46or even those records and feel it,
0:01:46 > 0:01:48and it feels good.
0:01:49 > 0:01:51# Beyond dreams
0:01:53 > 0:01:55# Beyond life
0:01:57 > 0:01:59# You will find
0:02:01 > 0:02:04# Your song. #
0:02:41 > 0:02:45The way we got into music is, pretty much,
0:02:45 > 0:02:47the very common way
0:02:47 > 0:02:49like many teenagers.
0:02:49 > 0:02:52We were 17
0:02:52 > 0:02:55and we just wanted to have a rock band, like anybody.
0:02:55 > 0:02:58So, that's how Darlin' came about,
0:02:58 > 0:03:00and the single was released.
0:05:16 > 0:05:19DANCE BEAT PLAYS
0:05:45 > 0:05:47# Can you feel the bass?
0:05:48 > 0:05:51# Can you feel the bass? #
0:06:06 > 0:06:09That was the amazing thing about the sound.
0:06:09 > 0:06:12It was... We didn't have to turn it up so loud
0:06:12 > 0:06:15and you could feel the vibrations of the bass.
0:06:15 > 0:06:18Often, you'll see people closing their eyes and swaying their bodies
0:06:18 > 0:06:22to certain moments and really taking in everything they're hearing.
0:06:22 > 0:06:23# The bass in the place
0:06:25 > 0:06:27# The way it shakes the floor... #
0:06:30 > 0:06:32You can see they're taking into their bodies
0:06:32 > 0:06:36and the sound system's pumping the vibrations through their bodies.
0:07:05 > 0:07:11DANCE MUSIC PLAYS
0:07:18 > 0:07:21We met Thomas and Guy-Manuel when we came to Paris.
0:07:21 > 0:07:23Someone got in touch, didn't they?
0:07:23 > 0:07:25- Serge Nicolas.- Yeah.
0:07:25 > 0:07:27Got in touch and said,
0:07:27 > 0:07:30"There's these two guys that want to meet you.
0:07:32 > 0:07:33"They really love the label,
0:07:33 > 0:07:36"they love the record Positive Education,
0:07:36 > 0:07:39"they want to come and hang out and let you hear their music."
0:07:45 > 0:07:49I just remember these two really quiet, shy French guys.
0:08:07 > 0:08:10We were all sitting there and they put on the music and,
0:08:10 > 0:08:12for such quiet guys,
0:08:12 > 0:08:15this music came over the system and it was like...
0:08:15 > 0:08:18HE MIMICS BASSLINE
0:08:18 > 0:08:22DANCE MUSIC PLAYS
0:08:25 > 0:08:27So, Thomas invited us round to his dad's house
0:08:27 > 0:08:29where he had the studio,
0:08:29 > 0:08:33we sat down and heard the music again and a few weeks later...
0:08:33 > 0:08:36We just... It was the days of phoning so we phoned up,
0:08:36 > 0:08:38"Send us a tape, send us a tape."
0:08:38 > 0:08:40And, exactly as the cassette came to us,
0:08:40 > 0:08:42that was the first record.
0:08:58 > 0:09:01BASSY BEAT PLAYS
0:09:18 > 0:09:21I remember going into the Soma office and Richard Brown,
0:09:21 > 0:09:23who was the label manager at the time,
0:09:23 > 0:09:26had stopped answering the phone and going, "Hello, Soma Records",
0:09:26 > 0:09:29and just started picking the phone up and going, "Hello, Daft Punk."
0:09:29 > 0:09:32There was so many calls coming in.
0:09:32 > 0:09:35The momentum, at that point,
0:09:35 > 0:09:37really built so quickly.
0:09:50 > 0:09:53CHEERING
0:09:53 > 0:09:59BUZZING BEAT
0:10:01 > 0:10:03Thomas was playing a track
0:10:03 > 0:10:05and he took...
0:10:06 > 0:10:10..the wire out of the mixer
0:10:10 > 0:10:12from one of the turntables
0:10:12 > 0:10:17and, you know when you go to connect a turntable,
0:10:17 > 0:10:18you know, the wire?
0:10:18 > 0:10:21Before you connect it, it makes a really bad buzzing sound.
0:10:21 > 0:10:24Well, he did it intentionally
0:10:24 > 0:10:27and started playing the buzzing sound
0:10:27 > 0:10:28like a bassline to a track.
0:10:28 > 0:10:30So he made this, like...
0:10:30 > 0:10:33I'm getting goose bumps thinking, "What genius!"
0:10:33 > 0:10:39BUZZING BEAT
0:10:39 > 0:10:43CHEERING
0:11:14 > 0:11:16They made great choices.
0:11:16 > 0:11:17That's kind of what production is.
0:11:17 > 0:11:20It's like a process of elimination.
0:11:27 > 0:11:29I know now, retrospectively,
0:11:29 > 0:11:32what they were doing was quite retro
0:11:32 > 0:11:34in terms of the way they were making music.
0:11:52 > 0:11:54# Work it harder
0:11:54 > 0:11:56# Do it faster
0:11:56 > 0:11:58# More than ever
0:11:58 > 0:12:00# Our work is never over
0:12:00 > 0:12:02- # Work it harder - Make it better
0:12:02 > 0:12:03- # Do it faster - Makes us stronger
0:12:03 > 0:12:05- # More than ever - Hour after
0:12:05 > 0:12:08# Our work is never over. #
0:12:08 > 0:12:09Whether it was right from the start,
0:12:09 > 0:12:11right from the start, from that first album,
0:12:11 > 0:12:13the fact that Virgin...
0:12:13 > 0:12:16It was that combination of Thomas and Guy, and Pedro Winter,
0:12:16 > 0:12:20and that relationship with that record company at the time...
0:12:20 > 0:12:22# Come on
0:12:22 > 0:12:23# Da funk back to the punk
0:12:23 > 0:12:24# Come on. #
0:14:13 > 0:14:18MUSIC: Da Funk by Daft Punk
0:14:30 > 0:14:32You know, the minute you heard Da Funk
0:14:32 > 0:14:34and saw that video on MTV,
0:14:34 > 0:14:37the band just went from here...to, like, here.
0:14:37 > 0:14:39They just became so much more important.
0:14:39 > 0:14:41I would say that's probably,
0:14:41 > 0:14:43of all the things they've done,
0:14:43 > 0:14:46still probably one of THE most important things they've done.
0:14:46 > 0:14:49Obviously, they had to make great music and keep making great music
0:14:49 > 0:14:52but actually, that moment at the beginning,
0:14:52 > 0:14:54having that Spike Jonze video at that time,
0:14:54 > 0:14:56for what video meant at that time,
0:14:56 > 0:14:57was really significant.
0:18:06 > 0:18:08- Got that drink?- Yes.
0:18:08 > 0:18:12Can you get me a Coca-Cola for Mr Bowie, please?
0:19:12 > 0:19:16TECHNO MUSIC PLAYS
0:20:56 > 0:20:59I just think that they're just a unique set of, like,
0:20:59 > 0:21:01entities, you know?
0:21:01 > 0:21:03I have a hard time calling them human,
0:21:03 > 0:21:05just because, musically, you know,
0:21:05 > 0:21:07the robots are just something else.
0:21:07 > 0:21:10You just never experience working with someone,
0:21:10 > 0:21:13you know, working with individuals like them.
0:21:13 > 0:21:15Everything's just so concise.
0:21:15 > 0:21:17There's a reason behind everything.
0:21:17 > 0:21:19Nothing is done by coincidence, accident or mistake -
0:21:19 > 0:21:21it's always a real, true intention
0:21:21 > 0:21:23that's meant to serve a purpose.
0:21:34 > 0:21:37They've never made any concessions.
0:21:37 > 0:21:39I just think that they are these two super-special entities
0:21:39 > 0:21:42that were meant to bring music to this planet
0:21:42 > 0:21:45and remind people that feeling good is
0:21:45 > 0:21:48not so hard to do when things sound good.
0:22:30 > 0:22:33I remember the day when Thomas told me that
0:22:33 > 0:22:35they were getting helmets made.
0:22:35 > 0:22:36I'm like, "Who does this?
0:22:36 > 0:22:38"At 20-something years old,
0:22:38 > 0:22:41"I wouldn't have thought to do something like that."
0:22:43 > 0:22:44I think the masks are a reflection
0:22:44 > 0:22:46of who they are as people -
0:22:46 > 0:22:49because, if they really wanted fame,
0:22:49 > 0:22:51they could take the masks off...
0:22:52 > 0:22:55Whatever, develop an image that showed their faces,
0:22:55 > 0:22:56but they didn't want that.
0:22:58 > 0:22:59They are successful.
0:22:59 > 0:23:04They didn't start living these extravagant lifestyles, you know?
0:23:04 > 0:23:06Even for being so successful,
0:23:06 > 0:23:09I would still say that they are still...
0:23:09 > 0:23:12They live kind of humbly,
0:23:12 > 0:23:14materialistically so humbly,
0:23:14 > 0:23:16and they reinvest into their art,
0:23:16 > 0:23:18which...I love that idea.
0:23:18 > 0:23:21THUNDERCLAP
0:23:51 > 0:23:54So, this is the process, actually, that we did on
0:23:54 > 0:23:58Thomas and Guy-Manuel for the helmets, originally.
0:23:58 > 0:24:00Then, once the plaster sets up,
0:24:00 > 0:24:02both halves are separated
0:24:02 > 0:24:03and then, very gently,
0:24:03 > 0:24:05the alginate is pulled from his face.
0:24:05 > 0:24:09It's so delicate, it really wants to just break apart.
0:24:09 > 0:24:12This is the way we did it for Daft Punk way back when.
0:24:12 > 0:24:15And we had to do both the guys,
0:24:15 > 0:24:16breathing was an issue
0:24:16 > 0:24:18because, especially with Guy-Manuel,
0:24:18 > 0:24:20there was no area for a nose.
0:24:22 > 0:24:25We had to have a curvature to the head
0:24:25 > 0:24:27that allowed for his nose to exist in there,
0:24:27 > 0:24:30as well as all the LEDs and mechanics,
0:24:30 > 0:24:31and then the helmet.
0:24:33 > 0:24:35We didn't want it to get too big
0:24:35 > 0:24:38and look like this giant head on a little body,
0:24:38 > 0:24:42so the head cast allowed us to continue to refine the design
0:24:42 > 0:24:45and compress it a lot closer around his head.
0:24:45 > 0:24:48Get it over. Just try to pull straight back.
0:24:48 > 0:24:51- There you go.- Beautiful.
0:24:51 > 0:24:53When we first met them, they were explaining
0:24:53 > 0:24:56that they were shooting a series of videos for their songs
0:24:56 > 0:24:58from that current album,
0:24:58 > 0:25:00but each video, actually,
0:25:00 > 0:25:03was a small piece of a feature film,
0:25:03 > 0:25:04and it was all animated,
0:25:04 > 0:25:07and they were working on it in Tokyo,
0:25:07 > 0:25:10and they wanted to work with us to figure out the design
0:25:10 > 0:25:11of their robot characters
0:25:11 > 0:25:14so they could actually introduce their robots
0:25:14 > 0:25:18into their own videos, so that they could have a little cameo in it.
0:25:29 > 0:25:32I think we built all this stuff
0:25:32 > 0:25:35in a position of what all the kids in our class
0:25:35 > 0:25:37were doing or listening.
0:25:37 > 0:25:39We wanted to do something different
0:25:39 > 0:25:41than just listening to the chart or...
0:25:41 > 0:25:44Now we are really on the same wavelength,
0:25:44 > 0:25:45and even at the time too,
0:25:45 > 0:25:48because we discovered everything together.
0:25:51 > 0:25:54# One more time... #
0:26:04 > 0:26:07And so, I remember, very vividly,
0:26:07 > 0:26:13hearing One More Time as this big, kind of, muscly track
0:26:13 > 0:26:16that was very electronic but kind of, like, happy
0:26:16 > 0:26:17and had this big spirit.
0:26:17 > 0:26:22I remember hearing it, I think it was during an awards show on MTV...
0:26:22 > 0:26:23# One more time
0:26:23 > 0:26:25# We're gonna celebrate
0:26:25 > 0:26:26# Oh, yeah... #
0:26:26 > 0:26:29..which was all I used to watch when I was younger,
0:26:29 > 0:26:31and hearing that sound, and it was vocals,
0:26:31 > 0:26:33but it was like electronic vocals,
0:26:33 > 0:26:36and knowing distinctly that it was unlike anything else
0:26:36 > 0:26:38that they were putting on that stage.
0:26:38 > 0:26:39It was unlike any of these pop stars.
0:26:39 > 0:26:41It was unlike any of these rock bands.
0:26:41 > 0:26:43It was its own thing.
0:26:43 > 0:26:45# One more time
0:26:46 > 0:26:48# One more time... #
0:26:48 > 0:26:50That was something that,
0:26:50 > 0:26:51for a very long time, Daft Punk,
0:26:51 > 0:26:56especially in the US, didn't have any contemporaries with that sound.
0:26:58 > 0:27:00# Music's got me feeling the need
0:27:02 > 0:27:04# Need... #
0:27:09 > 0:27:10# One more time
0:27:10 > 0:27:12# Music's got me feeling so free
0:27:12 > 0:27:13# We're gonna celebrate
0:27:13 > 0:27:16# Celebrate and dance so free
0:27:16 > 0:27:17# One more time
0:27:17 > 0:27:19# Music's got me feeling so free... #
0:27:33 > 0:27:34I think they lost a few people then -
0:27:34 > 0:27:36in terms of, like, the people
0:27:36 > 0:27:39that just loved them for being this dirty, messed-up...
0:27:39 > 0:27:40# One more time
0:27:40 > 0:27:42# Music's got me feeling so free... #
0:27:42 > 0:27:44The first album was a homage to their experience
0:27:44 > 0:27:46and their love for house music.
0:27:46 > 0:27:49I think the second album was the beginning of them saying,
0:27:49 > 0:27:51"Well, actually, this is the kind of music we really...
0:27:51 > 0:27:53"This is what's in us that we want to get out."
0:27:53 > 0:27:56And they started, you know, showing us more
0:27:56 > 0:28:01their more conventional, kind of, songwriting melodic capabilities,
0:28:01 > 0:28:03but their reference points have always been rooted in
0:28:03 > 0:28:07very, kind of, guilty pleasure, almost, type pop music
0:28:07 > 0:28:08from the '70s.
0:28:11 > 0:28:12# What's going on?
0:28:12 > 0:28:15# Could this be my understanding? #
0:28:15 > 0:28:18# It's not your fault, I was being too demanding
0:28:18 > 0:28:22# I must admit, it's my pride that made me distant
0:28:22 > 0:28:26# All because I hoped that you'd be someone different... #
0:28:46 > 0:28:48What made the home studio a revolution
0:28:48 > 0:28:52was that it allowed people to do what a whole band could do -
0:28:52 > 0:28:53but as one person.
0:28:53 > 0:28:56You didn't have to have a whole bunch of instruments,
0:28:56 > 0:28:59you had everything at your fingertips
0:28:59 > 0:29:01in a couple of pieces of equipment.
0:30:56 > 0:30:59# Television
0:31:00 > 0:31:02# Through the nation... #
0:31:02 > 0:31:05I was just looking back before, while I was waiting for you.
0:31:05 > 0:31:07Apparently, Human After All, you did it in six weeks.
0:31:07 > 0:31:09- I forgot that.- Yes.
0:31:09 > 0:31:12Human After All was maybe made in 12 days,
0:31:12 > 0:31:13but THAT was the concept of the record,
0:31:13 > 0:31:17which is looking back at rock or garage records.
0:32:31 > 0:32:33Electroma actually started out
0:32:33 > 0:32:35as a music video for Human After All,
0:32:35 > 0:32:38but the music video Human After All
0:32:38 > 0:32:40became the feature film Electroma...
0:32:42 > 0:32:45..and it was really all about two robots
0:32:45 > 0:32:47living in a world with other robots
0:32:47 > 0:32:49and wanting to be something else.
0:32:49 > 0:32:53In this case, wanting to be human beings.
0:32:53 > 0:32:55To be quite honest, we all thought...
0:32:55 > 0:32:57We all thought at the end of Electroma,
0:32:57 > 0:33:00when both the robots self-destruct,
0:33:00 > 0:33:03that that was the end of the robots.
0:33:03 > 0:33:06BEEPING
0:33:42 > 0:33:46I'll tell you what, they have a really good last name, Punk,
0:33:46 > 0:33:49cos that's what I am until I die.
0:33:50 > 0:33:51You know...
0:33:54 > 0:33:57..so many artists have been,
0:33:57 > 0:34:00de-powered by the concept of money and possessions.
0:34:01 > 0:34:03They lose their voice,
0:34:03 > 0:34:06you know, out of fear of losing possessions,
0:34:06 > 0:34:09when the greatest thing they have is their voice.
0:34:11 > 0:34:17Music is where a revolution can happen
0:34:17 > 0:34:19and music is the place
0:34:19 > 0:34:23where two different lunch tables can sit together,
0:34:23 > 0:34:26where all stereotypes can be broken cos, at the end of the day,
0:34:26 > 0:34:28if the people dance, it has a chance.
0:34:28 > 0:34:30Simple as that.
0:34:44 > 0:34:47I think that I definitely have an attitude.
0:34:50 > 0:34:53An attitude that's fighting for freedom.
0:34:53 > 0:34:56I mean, my parents were activists so,
0:34:56 > 0:34:58if I get a chance, I'm going to activate.
0:35:02 > 0:35:07MUSIC: On Sight by Kanye West
0:35:09 > 0:35:11# Yeezy season approaching
0:35:11 > 0:35:13# Fuck whatever y'all been hearing
0:35:13 > 0:35:15# Fuck what, fuck whatever y'all been wearing
0:35:15 > 0:35:17# A monster about to come alive again
0:35:17 > 0:35:19# Soon as I pull up and park the Benz
0:35:19 > 0:35:21# We get this bitch shaking like Parkinson's
0:35:21 > 0:35:23# Take my number and lock it in
0:35:23 > 0:35:26# Indian hair, no moccasins
0:35:26 > 0:35:28# There's too many hoes in this house of sin
0:35:28 > 0:35:30# Real nigga back in the house again
0:35:30 > 0:35:32# Black Timbs all on your couch again
0:35:32 > 0:35:34# Black dick all in your spouse again
0:35:34 > 0:35:37# And I know she like chocolate men
0:35:37 > 0:35:40# She got more niggas off than Cochran, huh?
0:35:40 > 0:35:42# On sight. #
0:35:42 > 0:35:43- CROWD:- On sight!
0:35:49 > 0:35:51Yeah, you always have to fight for your freedom.
0:36:09 > 0:36:12Well, Coachella, which is in Indio, California -
0:36:12 > 0:36:15which is Southern California, near LA -
0:36:15 > 0:36:18was the annual destination travelling festival,
0:36:18 > 0:36:22became a big part of the American live music business.
0:36:24 > 0:36:28If you were a new act and you really put it over at Coachella,
0:36:28 > 0:36:30you became a star.
0:36:30 > 0:36:32So, Coachella was a star-making festival.
0:36:32 > 0:36:37They had been trying to get Daft Punk every single year
0:36:37 > 0:36:39and failed...
0:36:43 > 0:36:45..and in 2005,
0:36:45 > 0:36:47they made them an offer of 250,000 -
0:36:47 > 0:36:49and they said no.
0:36:52 > 0:36:55The following year, they upped the amount.
0:37:45 > 0:37:47The way it typically works in a live situation
0:37:47 > 0:37:52is that the promoter advances you maybe 10% of the money...
0:37:53 > 0:37:57..and Daft Punk kept asking for more of the advance
0:37:57 > 0:38:00because they needed it to build their show.
0:38:03 > 0:38:05Almost no-one knew what was going on.
0:38:05 > 0:38:10They kept it completely secret, except to their tech people.
0:38:10 > 0:38:11Their manager, Pedro Winter,
0:38:11 > 0:38:14didn't even know what they were doing with the money.
0:39:04 > 0:39:06The last act of the night, before Daft Punk,
0:39:06 > 0:39:08was Audio Bullys from the UK -
0:39:08 > 0:39:12and, typically, there was a half-hour between acts.
0:39:12 > 0:39:14There was an hour.
0:39:14 > 0:39:15They made people wait an hour.
0:39:15 > 0:39:19The entire backstage was cleared.
0:39:19 > 0:39:21Everybody who was a hanger-on had to leave.
0:39:55 > 0:39:56Everybody is just like,
0:39:56 > 0:39:59"What the hell are they going to do?
0:39:59 > 0:40:01"What could they possibly be doing?"
0:40:03 > 0:40:05And then out comes the pyramid.
0:40:08 > 0:40:12CHEERING
0:40:23 > 0:40:26It takes a while for the entire thing to become visible.
0:40:26 > 0:40:28The entire pyramid, all the visual stuff...
0:40:28 > 0:40:33MUSIC: Robot Rock by Daft Punk
0:40:38 > 0:40:41..and no-one had seen anything like that.
0:40:41 > 0:40:44No-one had seen that level of production,
0:40:44 > 0:40:45no-one had seen that level of LED,
0:40:45 > 0:40:50no-one had seen that level of projection graphics.
0:40:50 > 0:40:52They were at a completely higher level,
0:40:52 > 0:40:54just in terms of production, than everybody.
0:40:58 > 0:41:00Everybody who was in that tent
0:41:00 > 0:41:02was texting everybody else.
0:41:04 > 0:41:08"You are missing this. This is the greatest thing I've ever seen.
0:41:08 > 0:41:10"Oh, my God."
0:41:13 > 0:41:15Everybody I know who was a dance person was like,
0:41:15 > 0:41:18"Yeah, my phone blew up that night."
0:41:21 > 0:41:24Like, "You're missing the greatest performance of all time."
0:41:48 > 0:41:51MUSIC: Aerodynamic by Daft Punk
0:42:18 > 0:42:20This is a "biz" crowd as well as anything else.
0:42:20 > 0:42:24This is where everybody in the music business goes to, Coachella.
0:42:24 > 0:42:26So, everybody in the music business,
0:42:26 > 0:42:30including all the rock people who had, for years and years, and years,
0:42:30 > 0:42:33been like, "What's the big deal? I don't get it.
0:42:33 > 0:42:35"Why isn't that guy on stage doing anything?
0:42:35 > 0:42:37"Where are the guitars?"
0:42:37 > 0:42:39They get it for the first time.
0:42:39 > 0:42:40For the very first time,
0:42:40 > 0:42:43all the rock people in the music business are like,
0:42:43 > 0:42:45"Oh, THAT'S what everybody's into.
0:42:45 > 0:42:49"THAT'S what people have been talking about all these years."
0:42:51 > 0:42:55MUSIC: Around The World by Daft Punk
0:43:31 > 0:43:36When Daft Punk came to the LA Sports Arena in 2007,
0:43:36 > 0:43:38I went alone, actually.
0:43:38 > 0:43:41I didn't have a ticket and I was... "Hopefully, I can scalp a ticket."
0:43:41 > 0:43:44So I bought some ticket from someone for something like 150,
0:43:44 > 0:43:46just all my money on the ticket
0:43:46 > 0:43:48and it really did change my life
0:43:48 > 0:43:50and rocked my world, messed me up, you know?
0:43:50 > 0:43:52In a good way. It just like...
0:43:52 > 0:43:56Being such a fan of the records, and seeing how they -
0:43:56 > 0:43:58one, the live show and the pyramid and how awesome it would -
0:43:58 > 0:44:01but how they took all the songs and blended it together
0:44:01 > 0:44:04and created, like, new, live mashup versions.
0:44:04 > 0:44:06I've never seen anything like it.
0:44:06 > 0:44:08DUBSTEP PLAYS
0:44:15 > 0:44:17It blew my mind.
0:44:17 > 0:44:18It just like...
0:44:18 > 0:44:21It really opened the doors to what you could create live
0:44:21 > 0:44:25and how you reinterpret records live as well.
0:44:25 > 0:44:27So, all those things just stuck with me, you know?
0:44:44 > 0:44:46Wow.
0:44:46 > 0:44:49I am here, back in Electric Lady Studios and...
0:44:50 > 0:44:54..I cannot tell you the history I have with this place.
0:44:54 > 0:44:57Let's come into the room.
0:44:57 > 0:45:00This is Studio A...
0:45:01 > 0:45:04..and in studio A, here,
0:45:04 > 0:45:06there's just nothing more magical.
0:45:06 > 0:45:08As a matter of fact, when we play in this room,
0:45:08 > 0:45:11everybody always says there's voodoo in his room.
0:45:11 > 0:45:14You know, from Hendrix, Voodoo Child,
0:45:14 > 0:45:17they say that there's something in this space
0:45:17 > 0:45:20that there's just spirit inside these walls.
0:45:20 > 0:45:22# Have you got a penny, Benny?
0:45:24 > 0:45:26# I'm on the telephone, Jenny
0:45:28 > 0:45:30# And I just got
0:45:30 > 0:45:32# Just got
0:45:32 > 0:45:35# Nine cents to my name
0:45:35 > 0:45:38# Have you got a penny, Benny? #
0:45:38 > 0:45:40Studio time was expensive.
0:45:40 > 0:45:42Things were...
0:45:42 > 0:45:46They had to run like clockwork, like a train schedule.
0:45:46 > 0:45:47So, when I explained to them,
0:45:47 > 0:45:49I said, "You know, we didn't have much money."
0:45:49 > 0:45:53"So we came in and we set up, and we started recording."
0:45:53 > 0:45:55They had no idea
0:45:55 > 0:45:57and Daft Punk are very big Chic fans -
0:45:57 > 0:46:00so when they found out that we were standing in the exact same room
0:46:00 > 0:46:02that we made the first record, they said to me,
0:46:02 > 0:46:05"Well, how did you make Chic records?"
0:46:05 > 0:46:09I said, "Well, typically, what we would do is
0:46:09 > 0:46:13"write the basic song and then I would listen to the bassline
0:46:13 > 0:46:15"and once the bassline was laid down,
0:46:15 > 0:46:18"I would map out the bassline."
0:46:18 > 0:46:21so in the case of, say, a song like Get Lucky,
0:46:21 > 0:46:23the basic chords where...
0:46:23 > 0:46:29HE PLAYS GET LUCKY CHORDS
0:46:32 > 0:46:34So, that's the basic chords.
0:46:34 > 0:46:36So, what I would do, usually, is I would go...
0:46:36 > 0:46:43HE PLAYS BASSLINE FOR GET LUCKY
0:46:45 > 0:46:47And then I play...
0:46:47 > 0:46:53HE PLAYS GET LUCKY
0:46:55 > 0:46:56And once they heard me do that,
0:46:56 > 0:46:59they went, "Oh, my God. This is cool."
0:46:59 > 0:47:01If I didn't have to go do another record,
0:47:01 > 0:47:04we'd probably still be here making the record because
0:47:04 > 0:47:07it was so exciting to be in a room
0:47:07 > 0:47:09with people that you respect,
0:47:09 > 0:47:13doing live music, taking ideas from one another,
0:47:13 > 0:47:16trading back and forth, and...
0:47:17 > 0:47:21..there's no special feeling in the world, to me,
0:47:21 > 0:47:24that matches the magic of creating something from nothing.
0:47:56 > 0:47:58You know, while people were still alive -
0:47:58 > 0:48:01like Giorgio Moroder, in particular, and Nile Rodgers -
0:48:01 > 0:48:05they wanted to collaborate with those people and see what happened.
0:48:10 > 0:48:13Thomas says that they would have made it earlier
0:48:13 > 0:48:15if they knew how to do it.
0:48:15 > 0:48:17It was really only after coming to Hollywood
0:48:17 > 0:48:19and then working with Disney and getting the Tron soundtrack
0:48:19 > 0:48:22that they started to work with orchestras and more real musicians
0:48:22 > 0:48:26and they got very comfortable with that and very inspired by that.
0:48:29 > 0:48:31This is going to be quite the ride.
0:48:35 > 0:48:37SCREAMING
0:48:37 > 0:48:40I think for Thomas and Guy-Man to hear the orchestra
0:48:40 > 0:48:42for the first time on Tron Legacy
0:48:42 > 0:48:44was like a kid going into a candy shop.
0:48:44 > 0:48:47That's what almost gave birth to the idea of Random Access Memories,
0:48:47 > 0:48:50saying, "We can do this."
0:48:50 > 0:48:52This whole world, in that fraction of a second,
0:48:52 > 0:48:55from when Gavin lifted the baton and said, "Go!"
0:48:55 > 0:48:57You know, that moment...
0:49:10 > 0:49:13Artists like Daft Punk get built up bigger and bigger,
0:49:13 > 0:49:15and bigger, actually, but when you cut through all of it,
0:49:15 > 0:49:17it's actually quite simple, their story.
0:49:17 > 0:49:20They've actually been quite consistent since day one
0:49:20 > 0:49:22about what they like and what they sound like.
0:49:22 > 0:49:23They just got better at doing it.
0:49:23 > 0:49:26I think that they got the opportunity,
0:49:26 > 0:49:28with Random Access Memories,
0:49:28 > 0:49:30to make a record that sounded like that.
0:49:30 > 0:49:32The fact that they were so painstaking
0:49:32 > 0:49:34about the recording process
0:49:34 > 0:49:39and honouring these great techniques that...were dying,
0:49:39 > 0:49:42they were becoming obsolete,
0:49:42 > 0:49:45extinct, in terms of the way people made music.
0:49:46 > 0:49:51GUITAR BEING STRUMMED
0:50:03 > 0:50:05Daft Punk is such a perfect example.
0:50:05 > 0:50:07My guitar is clean and straight.
0:50:10 > 0:50:12There's no fancy effects, there's no nothing.
0:50:12 > 0:50:14It's just me playing guitar.
0:50:17 > 0:50:18Well, I can tell you one thing.
0:50:18 > 0:50:22I came in the studio, in Paris, they sat me down
0:50:22 > 0:50:24and they just told me,
0:50:24 > 0:50:28"Talk about your life."
0:50:28 > 0:50:30'My name is Giovanni Giorgio,
0:50:30 > 0:50:33'but everybody calls me Giorgio.'
0:50:35 > 0:50:38So they had three microphones and I asked,
0:50:38 > 0:50:42"Why would you have three microphones for an interview?"
0:50:42 > 0:50:45They said, "OK, the microphone on the left is...
0:50:46 > 0:50:50"..a very old one and that's what we're going to use
0:50:50 > 0:50:54"when you tell about your youth, when you were 15.
0:50:54 > 0:50:59"Then the microphone in the middle was the microphone", they said,
0:50:59 > 0:51:01"where you, kind of, recorded in the '70s
0:51:01 > 0:51:05"and the microphone on the right is the microphone of the future,
0:51:05 > 0:51:07"the microphone they use now in 2014."
0:51:07 > 0:51:09So, I said,
0:51:09 > 0:51:12"But who would hear a difference?"
0:51:12 > 0:51:14And the technician said, "Nobody would hear it."
0:51:14 > 0:51:17So I said, "Why are they doing it?"
0:51:17 > 0:51:19"Oh, they are going to hear it."
0:51:19 > 0:51:23I know for a fact that everybody else in the business
0:51:23 > 0:51:26spends a lot of time - or has spent hours and hours, and hours -
0:51:26 > 0:51:29listening to Daft Punk records in a studio going,
0:51:29 > 0:51:30"How did they do that?"
0:51:31 > 0:51:34You know, "We want to sound like Daft Punk.
0:51:34 > 0:51:36"We want a kick drum like Daft Punk. We want to do this like Daft Punk."
0:51:36 > 0:51:38They know that.
0:51:38 > 0:51:40They're kind of proud of that.
0:51:40 > 0:51:42You know, it's so easy to make music now
0:51:42 > 0:51:45and it's so easy to access all these, you know, on your laptop
0:51:45 > 0:51:47and all this software and everything like that,
0:51:47 > 0:51:49I think they thought,
0:51:49 > 0:51:51"What could we do that's really difficult to do?
0:51:51 > 0:51:54What can we do that nobody else can do all the time?"
0:52:08 > 0:52:11Four years in the studio,
0:52:11 > 0:52:13it's crazy.
0:52:13 > 0:52:14So, at the end,
0:52:14 > 0:52:17when we finished mixing,
0:52:17 > 0:52:18it was...
0:52:18 > 0:52:20There was no way we were going to
0:52:20 > 0:52:23let the master tapes leave our sight,
0:52:23 > 0:52:25so we started another journey.
0:52:33 > 0:52:35So, yeah, we decided to drive
0:52:35 > 0:52:37the Random Access Memories tapes ourselves
0:52:37 > 0:52:40to Bob Ludwig, the master engineer.
0:52:40 > 0:52:42We didn't really trust anyone
0:52:42 > 0:52:45so we drove from Los Angeles to Portland, Maine,
0:52:45 > 0:52:46which is on the east coast.
0:52:49 > 0:52:52If the tapes were lost, I think I would change my name,
0:52:52 > 0:52:56become, like, a scuba-diving instructor in Costa Rica
0:52:56 > 0:52:57- or...- Cozumel.
0:52:57 > 0:52:58Yeah.
0:53:00 > 0:53:04Each tape is a unique
0:53:04 > 0:53:06and each mix is unique.
0:53:06 > 0:53:09There's only one of them and it existed in a trunk in the car.
0:53:28 > 0:53:31It's like the opening of a great MGM,
0:53:31 > 0:53:35old-school, major dramatic film.
0:53:35 > 0:53:37This is... This is life.
0:53:37 > 0:53:38This is the essence of life.
0:53:38 > 0:53:40This is the gift of life,
0:53:40 > 0:53:44and it's all in this music. It's all right there.
0:53:44 > 0:53:46MUSIC PLAYS THROUGH PHONE
0:53:46 > 0:53:48And then... Tsh!
0:53:48 > 0:53:49# Dream
0:53:51 > 0:53:53# Beyond dreams
0:53:53 > 0:53:55Dream beyond dream, that's what life is.
0:53:55 > 0:53:57# Beyond life... #
0:54:20 > 0:54:21Look at yourself.
0:54:21 > 0:54:24- RASPED BREATHING - Look at yourself!
0:54:26 > 0:54:28What's that horrible sound you're making?
0:54:28 > 0:54:29- Can't you talk? - RASPED BREATHING
0:54:32 > 0:54:35Look around you, Winslow.
0:54:35 > 0:54:37You've destroyed your face,
0:54:37 > 0:54:38your voice
0:54:38 > 0:54:42and now you're trying to destroy the Paradise.
0:54:42 > 0:54:43Haven't we all had enough?
0:54:43 > 0:54:45I can give you the power to create again.
0:54:45 > 0:54:47I can make you somebody.
0:54:47 > 0:54:49We're going to do start all over again, Winslow -
0:54:49 > 0:54:52only this time, working together, instead of against each other.
0:54:52 > 0:54:54The time for your sound is now.
0:54:54 > 0:54:57People are going to want to hear your music.
0:54:57 > 0:54:58I mean what I say.
0:54:58 > 0:55:00Tomorrow, I'll put a whole new group together.
0:55:00 > 0:55:03We'll do your songs, your way. You don't have to believe me.
0:55:03 > 0:55:06Come to the auditions and see for yourself.
0:55:06 > 0:55:07Trust me.
0:55:17 > 0:55:20You create a mystery with a mask.
0:55:20 > 0:55:22The mystery is fascinating.
0:55:22 > 0:55:25Without the quality of art that they presented,
0:55:25 > 0:55:27it would have been a gimmick.
0:55:27 > 0:55:30But because they are Daft Punk,
0:55:30 > 0:55:34because the quality of what they present at the level that it is,
0:55:34 > 0:55:36it's not a gimmick,
0:55:36 > 0:55:38it's something larger.
0:55:38 > 0:55:41As I start immediately thinking of the great quotes, like,
0:55:41 > 0:55:44"Give a man a mask and he will tell you the truth."
0:55:44 > 0:55:47I think that the gifts of remaining anonymous...
0:55:48 > 0:55:50..have been huge for them.
0:55:52 > 0:55:56Beyond their art, of course, to have a private life.
0:55:56 > 0:55:59To have families and
0:55:59 > 0:56:01be able to walk on the beach or the pier.
0:56:03 > 0:56:06CHEERING
0:56:06 > 0:56:08Bonjour, people of Earth.
0:56:10 > 0:56:13I bring good news. We are all about to Get Lucky...
0:56:13 > 0:56:15CHEERING
0:56:15 > 0:56:17..because here's something you don't see every day -
0:56:17 > 0:56:19Grammy winners tonight, Daft Punk.
0:56:21 > 0:56:24# Like the legend of the phoenix... #
0:56:24 > 0:56:26It was unbelievable.
0:56:26 > 0:56:28I mean, we just had a myriad of people on stage
0:56:28 > 0:56:31that were just like historical, really incredible figures
0:56:31 > 0:56:34that have played on countless records that we grew up to.
0:56:34 > 0:56:35Masters.
0:56:35 > 0:56:37I mean, it was just...
0:56:37 > 0:56:39It was another level.
0:56:41 > 0:56:44# If you wanna leave, I'm with it
0:56:44 > 0:56:47- # I got... - Come on, y'all!
0:56:47 > 0:56:48# I'm up all night to get lucky
0:56:48 > 0:56:50# I'm up all night to get lucky
0:56:50 > 0:56:52# I'm up all night to get lucky
0:56:52 > 0:56:54# I'm up all night to get lucky
0:56:54 > 0:56:56- # I'm up all night to get lucky - # Harder
0:56:56 > 0:56:58- # I'm up all night to get lucky - # Better... #
0:56:58 > 0:57:01The enjoyable part I have that Grammy evening is
0:57:01 > 0:57:03after the first award was won
0:57:03 > 0:57:06and Pharrell and the guys came back,
0:57:06 > 0:57:09and Thomas took his helmet off
0:57:09 > 0:57:12and you could totally tell that one moment of...
0:57:12 > 0:57:16"We didn't say anything and, Pharrell, you need to express more."
0:57:21 > 0:57:23Dude...
0:57:27 > 0:57:30- ..on the behalf of the robots... - SCATTERED LAUGHTER
0:57:32 > 0:57:36But you could totally tell the love and the passion in Thomas
0:57:36 > 0:57:38that he was like, "We're not saying anything.
0:57:38 > 0:57:41"We're robots. You need to tell them about the magic."
0:57:41 > 0:57:43You know, I just got a message from the robots
0:57:43 > 0:57:47and what they wanted me to say is that as elegant and as classy as...
0:57:47 > 0:57:50APPLAUSE DROWNS OUT SPEECH
0:58:46 > 0:58:47# Touch
0:58:48 > 0:58:50# I remember touch
0:58:51 > 0:58:54# Pictures came with touch
0:58:55 > 0:58:57# A painter in my mind
0:58:58 > 0:59:01# Tell me what you see
0:59:02 > 0:59:05# A tourist in a dream
0:59:05 > 0:59:08# A visitor it seems
0:59:08 > 0:59:11# A half-forgotten song
0:59:12 > 0:59:15# Where do I belong?
0:59:17 > 0:59:19# Tell me what you see
0:59:20 > 0:59:23# I need something more
0:59:28 > 0:59:29# Kiss
0:59:29 > 0:59:31# Suddenly alive
0:59:31 > 0:59:33# Happiness arrive
0:59:33 > 0:59:35# Hunger like a storm
0:59:35 > 0:59:37# How do I begin?
0:59:37 > 0:59:39# A room within a room
0:59:39 > 0:59:41# A door behind a door
0:59:41 > 0:59:43# Touch, where do you lead?
0:59:43 > 0:59:45# I need something more
0:59:47 > 0:59:49# Tell me what you see
0:59:49 > 0:59:52# I need something more. #