WEBVTT FILE

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We're always trying

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new things.

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We are so used

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to having crappy products.

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Daft Punk thought about
their music before they made it.

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That makes a real difference.
And weirdly enough,

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creating those robot personas
let them stay human,

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grounded and completely free.

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They bought their freedom
by sending the robots

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to do their dirty work.

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They were proud to release an EP
on the same label as Stereolab.

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That's how it all started.

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Guy-Manuel and Thomas
were 17 or 18 back then.

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They thought everything
had been set in motion.

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But a critic from Melody Maker
called them "daft punky thrash".

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That made them stop and wonder.

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It changed the optimistic view
they had on their music.

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It took them six or seven months
to send me two other tracks.

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I think they just
did not want to go that way.

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They would say "you'll have
the new tracks next week",

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but what they really meant was
"we don't care.

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We have
other things to think about."

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We were 18
when we went to our first rave

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on the roof of Beaubourg.

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We discovered a new kind
of music and energy

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with people dancing to music
they had never heard before.

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Something new
was happening on that scene

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and it was still alternative
and underground at the time.

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Not the kind of music
you heard on the radio.

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We thought there was
something to be done

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with electronic music.

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Thomas,
Guy-Manuel and I met there

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and the closer we got, the more
we could feel the vibrations.

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There's a track from Chicago
with a dark voice

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singing
Can You Feel The Bass...

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It was the last major revolution
in recent decades.

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Electronic music and hip-hop
were the last great revolutions.

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Everything since then
ultimately comes from

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one of those two movements.

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There were people
discovering drugs as well.

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I remember Thomas saying
he did not like it

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because using ecstasy made you

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lose your critical faculties.

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And that was it.

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He hates nothing more
than losing control.

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I called and asked them to come

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and to bring their demo.

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When they arrived,

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they were wondering
what was going on.

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They come in, their eyes
wide open. Guy-Man is blushing.

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I introduce
the people from Slam.

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We didn't have a name.

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We decided to use
the name from that bad review.

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They called us "daft punk".

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They have a very clear vision
of their careers

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because they get advice from
Thomas's Bangalter father.

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He produced disco music in the 70s
under the name Daniel Vangarde.

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He helped them work out
the deals they were offered.

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He was the ideal advisor
for a band

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making dance music
produced in France

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with lyrics in English
and aimed at the whole world.

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We've received faxes

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from Denmark, Sweden,

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Spain, Japan, New York...

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although
we've only sold 15,000 records.

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It shows
that there is an audience

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for that kind of music
all around the world.

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When I met them
in 1995,

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between the Scottish label,
and their energy and talent,

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Daft Punk were already
in demand

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for a live set.

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I would say that they were
recording their first album

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and a live set
wasn't possible yet.

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Technically, it was stunning.

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That music
was made in a bedroom...

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this big.

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There were electric cords
all over this child's bedroom.

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Child's. Not teenager's.

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It was full of cables,
keyboards and stuff.

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The two albums which changed the face
of electronic music were made there.

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The specificity of our music
and our work is that

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there is a real interaction
between music and technology.

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In a way, we consider technology
to be a part of the band.

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Thomas
is a genius with machines.

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When he was working on
their debut album,

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he read his instruction manuals
once a month.

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He was one of the first
to have a Macintosh in France

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so he had a very early approach
to computer-aided

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music and images.

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But artistically
there's more to him than that.

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He creates wonderful melodies.

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He has a real feeling
for what makes a hit.

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Guy-Man is the mystical one.

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There's just one thing
that works for him

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and as long as he hasn't
found it, the rest is junk.

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The contract we signed with
the label is 100% good for us

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so we've avoided problems
that others artists have had

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with their record companies.

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The deal they signed with Virgin
was a break with the norm.

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Artists usually signed for
4 or 5 albums for a percentage.

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They said "no,
we own our recordings and

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we'll give you the rights for 10 years."

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This showed me something.

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What I learnt was

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that success
is built on solid foundations.

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Guy-Man and Thomas
were already thinking

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about an international deal.

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They already had quite
a clear vision of their career.

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Their album was almost ready,
they were finishing it off.

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From the start, they already
understand the business.

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The business model is in place.

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They know they need complete
artistic freedom and control

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of their image
and everything else.

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They were able
to impose their own rules

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because
they were OK financially.

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They were not starving.

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They even became an example
for hip-hop bands

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who were influenced

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by their business model

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which was said to be
the greatest hold-up ever.

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They invited us to listen
to the album in Thomas's flat.

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We went with the London Virgin team
and some of the French team.

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It was fantastic, a small studio,
with not much equipment.

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We listened on a ghetto blaster,

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which impressed us all.

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It was a revelation.

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We listened
to one hit after the other.

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Spike Jonze's video
had a huge impact.

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When Michel Gondry hears about
Daft Punk, he has the great idea

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for the music video
of Around The World.

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Where's
that stupid little black box?

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I'm looking
for the remote control.

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It's crazy.

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Why would I have
put it somewhere else?

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It has only one use.

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That's the story of my life.

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Alright.

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I met them in a hotel room

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in London.

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I was sitting on the bed
and they were on chairs.

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I don't like having an idea
before talking to the group.

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I don't want to get on the wrong track.

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I always talk to the band first

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before I propose anything at all.

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I think it was Guy-Manuel

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who came up with the idea
of a choreography.

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Choreo-

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graphy.

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I asked
my designer Florence Fontaine,

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although
we did not have much money,

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to make robots.

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She used motorbike helmets.

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She added two antennas.

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Then we decided to cover

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the visors
with semi-transparent tape.

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I think it's the first time
they wore helmets.

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Maybe it was their idea
and I just worked around it,

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but I think I wanted them
to look like Robocop.

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One question,

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techno music is supposed to be
underground, anti-star system.

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Yet you're becoming stars.

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How do you feel about that?

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I still believe
it's anti-star system.

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We try not to expose
ourselves too much.

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The music is the only thing
that really matters.

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Then people
decide for themselves.

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But we're not really trying
to show ourselves off.

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The choice
not to show their faces anymore

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was made when they decided

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to go to the top
by signing with Virgin

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with the aim to sell records
and to conquer pop culture.

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Before that, they released EPs
with a small Scottish label.

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The movement was underground

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so there was no reason
to protect their identities.

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Hiding one's face
is part of techno culture.

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The founders of techno
like Underground Resistance did it.

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When techno emerged,
it was a faceless music.

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Back then, people even danced

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backs turned to the DJ.

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Americans had done it before.
Kraftwerk did it and Kiss.

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All pop stars invent
and reinvent themselves.

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They aren't born that way.

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When I talk to David Bowie,

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I'm talking
to one of his thousand avatars.

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Not to the Bowie
born in London in 1947.

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Those bands influenced them
by using make-up and costumes.

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They did photoshoots

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at the beginning
but they probably thought

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they looked like kids.

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What could be smarter?

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That was
part of the process as well.

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How to still make music
when you're 40?

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When Homework is released,
they are what shakes up the 90s,

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they bring a new energy
with their electronic music.

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It soon becomes clear

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that all the major pop stars
want to get in touch

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to produce them
or to work with them.

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People from all around the world
want to work with them.

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Janet Jackson,
Madonna, George Michael...

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They all tried
to collaborate with them.

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Thomas and Guy-Man
always answered politely

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but there was no collaboration.

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I can't see a thing.

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We have to walk slowly.

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They would send me to buy masks
at the last minute like the time

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they did the NME cover.

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I would buy cheap masks
from joke shops.

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It wasn't very well prepared.

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Once in Japan,

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they went to the shop an hour
before their meeting with EMl.

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They bought crazy costumes
to disguise themselves.

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They did not
want to play the game.

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There's a good story about
meeting Virgin in New York.

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We were all
going to a restaurant.

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A huge limo was waiting for us.

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Thomas and Guy-Man see that.

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They don't like it at all.

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So they decide to run away.

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I'm left alone in this limo
with the people from Virgin.

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Thomas and Guy-Man
took the subway

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and I got there in the limo
with Virgin.

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It's a rejection,
a philosophical position...

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They don't partake
in the charade.

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Do you use your anonymity
to get closer to your public?

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We do live
a lot of exceptional things

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but we still have
a very normal everyday life.

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We live more like our audience
than the artists

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who have
the same kind of fame as ours

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but who are attached

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to physical recognition
by the public.

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The band, and especially Thomas,

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had a fascination
for the Millennium bug.

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How to explain that in 1999
these two guys wear masks

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and on the 1st of January 2000,
they become robots?

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That's the Millennium bug.

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We told the journalists
that they were in the studio

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and at midnight
something happened.

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Thomas and Guy-Man
became robots.

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WE ARE NOT DEAD

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BUT WE'VE BECOME ROBOTS.

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I remember very well
the first tests at Alterian.

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We'd been driving a long time
to get to Los Angeles.

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I was hoping
it would be worth the trip.

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We arrive there
and meet Tony Gardner

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who was
kind of a nerd, with glasses

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surrounded
by monster heads and dolls.

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From 2001on, they're
no longer two regular guys.

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We're talking to robots.

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Last time I interviewed them,
we talked for three hours

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and Thomas
never used the word "I".

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It's crazy. The first person
singular no longer exists.

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It is totally erased.
They are Daft Punk.

253
00:35:26.520 --> 00:35:30.599
It's still playful.
But they control everything.

254
00:35:30.840 --> 00:35:32.759
They're still kids.

255
00:37:32.600 --> 00:37:33.719
One More Time

256
00:37:34.000 --> 00:37:37.159
is THE song that opens up
the USA for them.

257
00:37:48.680 --> 00:37:50.079
It's crazy to think

258
00:37:50.280 --> 00:37:53.599
that it took two French
white guys from Paris

259
00:37:53.840 --> 00:37:56.039
for Americans to discover

260
00:37:56.280 --> 00:38:00.439
house music when it was invented
by African-Americans.

261
00:38:58.800 --> 00:39:01.799
They were lucky
because they started out

262
00:39:02.000 --> 00:39:03.879
at the same time
as home studios.

263
00:39:04.120 --> 00:39:07.199
Albums needn't be recorded
in a limited time anymore.

264
00:39:07.640 --> 00:39:11.759
They can spend
four or five years on an album.

265
00:39:39.200 --> 00:39:42.519
This album
is important for pop music.

266
00:39:43.040 --> 00:39:46.879
It's one
of the first post-sample albums

267
00:39:47.200 --> 00:39:49.839
which builds music
out of other sounds.

268
00:40:01.920 --> 00:40:02.799
Sampling means

269
00:40:03.000 --> 00:40:05.919
taking parts of a song,
looping it over and over

270
00:40:06.200 --> 00:40:08.639
until it becomes music.

271
00:40:11.360 --> 00:40:15.239
But they changed them so much
that samples became unrecognizable.

272
00:40:17.520 --> 00:40:19.119
They had colossal ambitions

273
00:40:19.360 --> 00:40:21.239
for their work.

274
00:40:21.440 --> 00:40:26.239
They recorded their second album
while making Interstella 5555.

275
00:40:26.640 --> 00:40:29.559
It was a silent anime

276
00:40:29.840 --> 00:40:31.319
which came alive with music.

277
00:40:32.840 --> 00:40:35.119
Their original idea
just took off.

278
00:40:35.360 --> 00:40:38.999
The music video
turned into a feature film.

279
00:40:40.960 --> 00:40:44.559
They got into debt
because they were the producers.

280
00:40:45.600 --> 00:40:48.079
No record company
would have produced it.

281
00:40:49.360 --> 00:40:51.959
Daft Punk is not
just about making music.

282
00:40:52.360 --> 00:40:55.159
It means controlling a universe

283
00:40:55.400 --> 00:40:58.599
and protecting it
from any outside intervention.

284
00:40:58.840 --> 00:41:01.519
They answer to no one.
It's punk and rebellious.

285
00:41:10.400 --> 00:41:14.119
Interstella was ten years
ahead of its time,

286
00:41:14.320 --> 00:41:17.879
before the big TV shows
featuring lots of bands

287
00:41:18.160 --> 00:41:21.239
who are then
tied to the network for life.

288
00:41:39.240 --> 00:41:41.479
They made a wishlist of people

289
00:41:41.720 --> 00:41:43.639
they wanted to work with.

290
00:41:43.880 --> 00:41:45.039
Leiji Matsumoto was number 1.

291
00:41:45.520 --> 00:41:48.599
He's the man
behind Captain Harlock.

292
00:41:48.800 --> 00:41:52.239
People born
between 1975 and 1980

293
00:41:52.440 --> 00:41:53.719
were fascinated by

294
00:41:53.960 --> 00:41:55.359
Japanese animes.

295
00:41:55.600 --> 00:41:59.399
Captain Harlock was
quite different from the others

296
00:41:59.640 --> 00:42:02.359
that were childish and colorful.

297
00:42:02.560 --> 00:42:05.279
Captain Harlock
has a huge scar on his face.

298
00:42:05.480 --> 00:42:06.479
He's a pirate.

299
00:42:15.520 --> 00:42:18.359
If not a rebel,
he's definitely marginal.

300
00:42:34.360 --> 00:42:37.639
The way I see it,

301
00:42:38.360 --> 00:42:41.319
the robot has a human heart.

302
00:42:43.120 --> 00:42:47.839
He is
a calm and non-violent being.

303
00:42:48.520 --> 00:42:49.719
If necessary,

304
00:42:49.960 --> 00:42:51.319
he protects people.

305
00:42:51.560 --> 00:42:54.039
He becomes their shield

306
00:42:54.320 --> 00:42:55.919
in order to do so.

307
00:42:57.560 --> 00:42:59.439
This vision come from the traditional

308
00:42:59.680 --> 00:43:01.479
representation of ghosts

309
00:43:01.720 --> 00:43:02.559
and other supernatural beings.

310
00:43:02.800 --> 00:43:05.679
In the Japanese tradition,

311
00:43:05.960 --> 00:43:09.159
they are not evil monsters

312
00:43:09.840 --> 00:43:12.839
but beings who have hearts

313
00:43:13.080 --> 00:43:15.439
and a free spirit.

314
00:43:19.800 --> 00:43:20.919
My hero

315
00:43:21.160 --> 00:43:23.319
Captain Harlock often says

316
00:43:23.560 --> 00:43:26.239
"I live freely under my banner!

317
00:43:27.240 --> 00:43:30.119
But I also accept
all my responsabilities."

318
00:43:32.360 --> 00:43:35.119
All creativity should be
based on this principle.

319
00:44:20.560 --> 00:44:23.519
There was
a kind of reaction after

320
00:44:23.760 --> 00:44:27.399
the huge ambition
of the Discovery album.

321
00:44:28.080 --> 00:44:30.719
We wanted to go back
to something raw.

322
00:44:31.840 --> 00:44:35.799
Since we are Human After All
we'll record it in two weeks.

323
00:44:36.400 --> 00:44:38.519
This is the music
we want to make.

324
00:44:41.640 --> 00:44:43.759
When this album came out,

325
00:44:45.560 --> 00:44:47.959
it disconcerted a lot of people.

326
00:44:48.720 --> 00:44:50.439
Even the media

327
00:44:50.680 --> 00:44:53.919
and people from the label.

328
00:44:54.520 --> 00:44:58.039
It was more difficult
for us to promote

329
00:44:58.280 --> 00:44:59.599
this album.

330
00:45:02.200 --> 00:45:03.719
There was no single to play

331
00:45:03.920 --> 00:45:05.999
on the radio
so we had to find ways

332
00:45:06.240 --> 00:45:09.639
for people
to talk about the album.

333
00:45:10.200 --> 00:45:12.399
I think
the public did not understand.

334
00:45:20.080 --> 00:45:22.319
People are used to saying

335
00:45:22.520 --> 00:45:26.999
debut albums are underground,
the second's a success,

336
00:45:27.240 --> 00:45:30.639
and the third one
even more successful.

337
00:45:31.760 --> 00:45:34.319
But they were not
running after success.

338
00:45:34.520 --> 00:45:37.199
I think
they just wanted to express

339
00:45:37.440 --> 00:45:39.119
what they had inside.

340
00:45:42.040 --> 00:45:44.399
People tend to say

341
00:45:44.640 --> 00:45:46.279
this album is not as good.

342
00:45:47.160 --> 00:45:49.599
People expected
something else from them.

343
00:45:50.040 --> 00:45:52.479
In any case, that's what you hear.

344
00:46:06.000 --> 00:46:09.719
It's interesting to see that
years later, those same critics

345
00:46:10.280 --> 00:46:12.199
reevaluate the album...

346
00:46:15.080 --> 00:46:17.279
and realise the impact it had.

347
00:46:17.520 --> 00:46:21.719
It attracted
a wave of French producers,

348
00:46:22.040 --> 00:46:24.199
the French Touch 2.0,

349
00:46:24.440 --> 00:46:26.959
inspired by Daft Punk's energy

350
00:46:27.360 --> 00:46:31.119
and a return
to the raw energy of techno.

351
00:46:31.320 --> 00:46:33.039
Bands such as Justice

352
00:46:33.240 --> 00:46:36.319
and the new generation
come out of Human After All.

353
00:47:19.600 --> 00:47:22.959
The robots dress up as humans
and eventually kill themselves.

354
00:47:23.200 --> 00:47:26.439
Maybe they were trying
to tell us something.

355
00:47:26.720 --> 00:47:27.879
Is Daft Punk over?

356
00:47:37.360 --> 00:47:38.959
That crossed my mind.

357
00:47:39.200 --> 00:47:44.199
I figured they were done with
the masks and had a new idea:

358
00:47:45.000 --> 00:47:46.279
showing their faces.

359
00:47:46.880 --> 00:47:48.959
They probably thought about it.

360
00:47:56.240 --> 00:47:58.119
They had the great idea

361
00:47:58.360 --> 00:48:02.919
of simplified robots
dressed in black leather.

362
00:48:03.320 --> 00:48:05.999
It was Mad Max meets Tron.

363
00:51:47.280 --> 00:51:49.839
300,000 dollars
for a Daft Punk concert.

364
00:51:50.080 --> 00:51:54.119
I say the band is not touring

365
00:51:54.320 --> 00:51:56.399
but it's a big offer,
so I'll talk to them.

366
00:52:01.680 --> 00:52:05.559
Coachella 2006 was a big risk.

367
00:52:05.800 --> 00:52:08.159
The band
is going through a rough patch.

368
00:52:08.440 --> 00:52:12.319
People think they are
outdated and maybe uncool,

369
00:52:12.760 --> 00:52:16.399
that they didn't reinvent themselves
with Human After All,

370
00:52:16.760 --> 00:52:18.559
which is essential

371
00:52:18.840 --> 00:52:22.159
when you are a major band
of the electronic scene.

372
00:52:22.480 --> 00:52:25.559
They are almost over.

373
00:52:30.080 --> 00:52:33.839
They call me back
a few hours or days later

374
00:52:34.080 --> 00:52:36.639
to ask me to say
they might be interested.

375
00:53:05.880 --> 00:53:10.359
I go to the rehearsal studio
ten days before Coachella.

376
00:53:11.320 --> 00:53:15.799
I see everything, the set-up,
the pyramid, the LEDs...

377
00:53:18.760 --> 00:53:21.599
Now everyone uses LEDs,
even nightclubs.

378
00:53:22.000 --> 00:53:23.199
But back then,

379
00:53:23.400 --> 00:53:27.279
to cover the pyramid with LEDs,
we had to go through

380
00:53:27.520 --> 00:53:32.039
all the suppliers in the USA.
It was no easy task.

381
00:53:38.560 --> 00:53:39.959
Thomas and Guy-Man

382
00:53:40.160 --> 00:53:44.279
ask me to sit down while
they play me what they have prepared.

383
00:53:44.520 --> 00:53:47.159
It was just the audio part.

384
00:53:47.360 --> 00:53:50.959
They don't let me see
the pyramid yet.

385
00:53:51.240 --> 00:53:54.599
It's a mix of their three albums
and it's amazing.

386
00:54:14.400 --> 00:54:18.999
It's Daft Punk's turn to go on
and we're backstage with them.

387
00:54:19.520 --> 00:54:23.279
We're dressing the duo,
checking the last details.

388
00:54:23.640 --> 00:54:26.879
The tent gets so packed
it's overflowing with people.

389
00:54:37.880 --> 00:54:40.599
We realise
Daft Punk's return is awaited.

390
00:54:40.880 --> 00:54:43.079
We start to get the numbers.

391
00:54:43.360 --> 00:54:46.839
There's 40,000 people
when the tent can only host 10,000.

392
00:56:21.520 --> 00:56:23.279
Everyone took out their phones.

393
00:56:23.480 --> 00:56:28.439
It was the time people started
filming with cell phones

394
00:56:28.840 --> 00:56:30.919
and the beginning of YouTube.

395
00:56:31.240 --> 00:56:34.519
It was crazy.

396
00:56:34.880 --> 00:56:39.879
Everybody was so stunned
by the power of the show

397
00:56:40.400 --> 00:56:43.279
that they filmed it
and posted it on YouTube.

398
00:56:55.560 --> 00:56:58.359
I'm not ashamed
to admit I cried.

399
00:56:58.960 --> 00:57:03.319
I was moved by the show
and people's incredible reaction.

400
00:57:09.760 --> 00:57:11.519
It was completely unreal.

401
00:57:11.760 --> 00:57:15.039
A spaceship had landed
in the middle of the desert

402
00:57:15.440 --> 00:57:20.159
and there's 40,000 of us happy,
stunned by the light and sound.

403
00:58:21.840 --> 00:58:25.239
The pyramid was
the start of a gigantic tour

404
00:58:25.520 --> 00:58:28.039
and of a movement
in the United States

405
00:58:28.360 --> 00:58:30.519
called Electronic Dance Music.

406
00:58:30.760 --> 00:58:35.399
The starting point
was the pyramid at Coachella.

407
00:58:35.640 --> 00:58:39.399
A whole generation of musicians
was in the audience.

408
00:58:39.680 --> 00:58:42.359
They discovered it
and they were blown away.

409
01:03:02.320 --> 01:03:04.519
Bass players, drummers,

410
01:03:04.800 --> 01:03:07.999
all those musicians are
part of the history of music.

411
01:03:09.000 --> 01:03:11.439
They are the rhythm sections

412
01:03:11.640 --> 01:03:14.439
of Quincy Jones,
George Benson, Michael Jackson.

413
01:03:14.840 --> 01:03:18.199
It's not easy to sum up
as just a studio musician's thing.

414
01:03:18.440 --> 01:03:23.359
The dream of house music was

415
01:03:23.560 --> 01:03:27.119
to revive the spirit
of dance and disco

416
01:03:27.360 --> 01:03:28.639
which no longer existed.

417
01:04:11.560 --> 01:04:13.039
I think that with Tron,

418
01:04:13.320 --> 01:04:17.399
they got to be students again,
people who wanted to learn.

419
01:04:17.680 --> 01:04:20.799
And God knows how hard
it was for them.

420
01:04:21.000 --> 01:04:23.199
They'd built Daft Punk not to have
to answer to anyone and yet

421
01:04:23.400 --> 01:04:27.639
they're ready to take orders from
one of the largest corporations.

422
01:04:28.040 --> 01:04:30.999
It was like
walking into the lion's den.

423
01:11:44.600 --> 01:11:47.919
When I met Thomas,
I was 12 or 13.

424
01:11:48.160 --> 01:11:51.319
Phantom of the Paradise was
the film that covered it all.

425
01:11:51.520 --> 01:11:53.919
It was like a Warhol trip,

426
01:11:54.120 --> 01:11:56.879
not just the music,
but the film, the cover design.

427
01:11:57.080 --> 01:11:58.479
This film had it all.

428
01:20:09.800 --> 01:20:14.279
I wanted a mix of the two
to forget that they are robots.

429
01:20:14.800 --> 01:20:18.159
I think that works well.

430
01:20:22.000 --> 01:20:25.719
They didn't take their helmets off,
not for a second.

431
01:20:26.720 --> 01:20:31.719
That obviously created
a surrealist atmosphere.

432
01:20:32.280 --> 01:20:37.119
We expected them to take
their helmets off between shots.

433
01:20:38.040 --> 01:20:41.079
But they didn't.
That was very powerful.

434
01:20:45.160 --> 01:20:49.159
I imagine it hasn't always been
easy for them to work together.

435
01:20:50.760 --> 01:20:53.239
There are a lot of pitfalls
in a career like that.

436
01:20:53.440 --> 01:20:56.999
Some people may even
have issues with their ego.

437
01:20:57.680 --> 01:21:01.679
But those two always tried
to stay on the right path,

438
01:21:02.280 --> 01:21:07.159
almost like
a model of human behaviour.

439
01:21:08.360 --> 01:21:09.319
That's very rare.

440
01:21:10.120 --> 01:21:12.839
I've been working
in music for 30 years

441
01:21:13.920 --> 01:21:18.479
and less successful people
don't even say hello.

442
01:21:18.920 --> 01:21:23.919
But not them. They pay
the same attention

443
01:21:25.560 --> 01:21:28.679
whether talking
to a nightclub bouncer

444
01:21:28.920 --> 01:21:31.479
or to the boss
of a record company.

445
01:21:34.000 --> 01:21:36.879
To keep these qualities
throughout your life,

446
01:21:38.120 --> 01:21:40.039
you have
to win battles with yourself.

447
01:23:50.000 --> 01:23:51.999
Subtitles: Manon Typret