Group 4 Created with Sketch.

Snippet of Once Upon a Timeline Episode 18: How Daft Punk Taught Me to Score Scenes

Play Audio
Add to Playlist
Share Report
Found on these Playlists
Add to Playlist
Full Description
Back to Top
How we design our cutting patterns and what we choose to select within the music track to help us create that stylisation, is rarely talked about. Most of us discover it by accident as I did when watching a music video of one of the tracks of the famous French dance duo, Daft Punk.
Back to Top
I have no idea what causes creative inspiration. Artists, philosophers, writers, psychologists, social commentators, painters, scientists, sculptors on a ton of other really clever and talented people have been debating this for several 1000 years now. And everyone seems to have, you know, quite different opinion. Is it divine intervention or the culmination of everything we've read and experienced, or even the fleeting attention off amuse? Who knows? I don't know. I do, however, remember the moment that a massive piece of the beautifully complex jigsaw puzzle that is creative editing fell into place for me, and it slapped me firmly around the face. Autumn 1996. I was 21 years old at the time, and I had two big loves in my life at that point editing and dance music, and I was faithful to both of them. From its origins in Detroit and Chicago in the mid eighties, dance music hit England at the end of that decade. By the time I was 18, in 1993 it had turned into a massive counterculture movement. Illegal raves were happening in empty fields and deserted warehouses all over the country. And believe me, me and my friends tried to go toe every single one of them. By the mid to late nineties, it had largely gone into the mainstream, into the club's into films and into the programs on TV and into into popular culture in general. I stopped going to illegal raves and focused on my other love affair off editing. But dance music didn't lose its pull over me at all. Despite me focusing on editing at that stage, it really wasn't paying the bills. And so I spent many of those early years in the mid nineties in a kind of nomadic lifestyle, roaming around and kind of sleeping on friend's couches and even on the floor in some edit suites. And it was on one such couch in the autumn of 1990 six that I heard and saw the thing which changed my understanding off music and editing forever. A big group of my friends were living together in a flat in north London, and for a few months I was sleeping on the floor in their front room. One of them pull had got an assistant and our job at Virgin Records. You know, it was a pretty prestigious job and we love the fact that he had this job as he always come back home with loads of demo tapes and CD's from from the new bands, you know, before the public had got a chance to hear them. You know, he'd say things like, thes guys gonna be big, you know, just before he put on unlabeled C d and turned it up loud as it could go or she's gonna be huge or we just signed these lot. And I remember one day he said to me, You love dance music, don't you, Patty? Yeah, I love it. I said, Well, we've just signed this new French dance group. Check this out. What? They called, I asked Daft punk. He said, daft punk. What a weird name. I thought I wasn't much into punk music at the time, so I wasn't really expecting big things. But then the music started playing and it hit me like