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