2023-08-16 17:09:05
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The confidence comes from actress Elodie Bouchez, wife of Thomas Bangalter, in March, in The world : “We must not forget that he made music because he failed at the Ecole Louis-Lumière. » For someone who saw his vocation as a filmmaker thwarted, the ex-Daft Punk did pretty well. In 2011, he turns S/S 2012, an advertising short film for the Co clothing brand in which his partner plays. It would be anecdotal if his group, entity of sounds but also of images, had not previously allowed him to satisfy all-out creative desires.
“Daft Punk is a global project, we consider ourselves more like producers than musicians”formulates Thomas Bangalter, always in The world, in March 2001. Of the duo’s four studio albums, Random Access Memories is the one that comes closest to a film project: a musical blockbuster with a mostly American but heterogeneous cast, Daft Punk reserving the script, direction and editing. Remaining slightly withdrawn for interpretation is an attitude consistent with its camouflage strategy. The first roles will go to Nile Rodgers and Pharrell Williams, associated as guitarist and singer. There are two 1970s throwbacks, composer Paul Williams and Italian disco producer Giorgio Moroder. More contemporary, Julian Casablancas, voice of The Strokes, and Panda Bear (Animal Collective) embody the revival of punk-rock and psychedelia. Daft Punk does not cut itself off from its electronic sources, however, since two house music DJs, Todd Edwards and the French DJ Falcon, complete the line-up.
When they met in 1986, Guy-Manuel de Homem-Christo and Thomas Bangalter were 12 and 11 years old respectively. Their friendship is forged by a period of initiation. These insatiable consumers of films and records find themselves in the cinemas of the Latin Quarter, at the library of the Center Pompidou or at home in front of a video recorder. Bangalter worships two filmmakers composing the music for their films, a rarity: Charlie Chaplin and John Carpenter, one lyrical, the other terrifying. The fascination goes to the North American demiurges – Stanley Kubrick, Brian De Palma, David Cronenberg or Gus Van Sant. Towards the directors of New Hollywood, the underground aesthetics of Andy Warhol and Paul Morrissey or the broke erotic films of Russ Meyer. Towards the fantastic and the strange.
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