Since its debut in May 2003, Interstella 5555 has stood as a fascinating curio for both Daft Punk fans and anime fans alike.
Arriving a full two years after ‘Discovery’, the duo’s timeless sophomore album, the film features no dialogue and serves as a visual companion of sorts, utilising all 14 tracks as the basis for a narrative that sees an extraterrestrial pop band being abducted from their home planet by a nefarious music producer.
The film returns to cinemas around the world for one night only this week and while the decision to remaster it using generative AI has understandably been a source of consternation among fans – not least because of its themes of identity and disillusionment with the music industry – it remains an experience that needs to be seen to be believed.
At the time of Interstella 5555’s initial release in May 2003, Daft Punk already had a huge hit on their hands. ‘Discovery’ had reached number two on the UK, French and Canadian Album Charts. In France and Canada, lead single ‘One More Time’ had topped the national singles charts. Third single ‘Digital Love’ had been in an advert for GAP, in which members Thomas Bangalter and Guy-Manuel de Homem-Christo appeared alongside Juliette Lewis dancing in full robot regalia. A hallmark of 00s advertising, on that I think we can all agree.
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As Daft Punk’s manager, Pedro Winter was afforded a unique perspective on the film’s creative process.
“We all know Daft Punk are believers,” he muses. “They have strong values and principles. ‘Interstella 5555’ is about their loss of faith in the music industry. Thomas gave us a one-page script with two lines per episode, which I still have at my office. It was just a project, an idea in the band’s head. It was already perfect and clear.”
Originally conceived as a live action project that would explore themes of oppression and rebellion, Bangalter and de Homem-Christo soon became interested in the idea of developing an anime instead.
“Leiji Matsumoto was number one on the Daft Punk wishlist,” Winter recalls. “So in July 2000 we all flew to Tokyo to meet the most famous animation studio.”
The studio in question was Toei Animation, producers of various iconic franchises including the likes of ‘Dragon Ball Z’ and ‘Sailor Moon’, to name just a few. Top of their list of collaborators was legendary Japanese manga artist Leiji Matsumoto, best known for his space operas ‘Space Battleship Yamato’ and ‘Galaxy Express 999’.
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Not wanting to pin all their hopes on working with Toei, the creative team had planned to meet with the team behind Battle of the Planets, an American adaptation of the Japanese anime series Science Ninja Team Gatchaman. These plans were put on hold when Matsumoto expressed interest in the project. As it turned out, he was already heavily inspired by the works of French filmmakers himself and was all too happy to oblige. He would act as visual supervisor, while Kazuhisa Takenouchi would direct the film.
Production began in October 2000 and with the film already well into production by August 2001, four segments were released as standalone music videos for Discovery’s singles, which were screened on Cartoon Network as part of Toonami strand a year and a half before the film’s premiere at the Cannes Film Festival in 2003.
“The concept was to make 14 music videos,” Winter recalls. “Each video was a piece of the puzzle to become a full film.”
Winter also recalls the production of ‘Discovery’ itself, which he got to witness unfolding in real time.
“Our office, Daft Trax, was five minutes away from the Daft Punk studio,” he recalls. “We were lucky to hear what the band was cooking.”
Was he surprised by their decision to take a brief diversion into the world of anime?
“I’ve never been surprised by the fact that the band was able to go wherever they want,” he muses. “Their freedom is their power.”
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Interstella 5555 returns to cinemas worldwide between December 12th – 15th: https://www.interstella5555film.com/
Words: Paul Weedon // paulweedon.bsky.social
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