Yesterday, Daft Punk announced that they were calling it quits after 28 years. Their legendary career gave us four groundbreaking studio albums, the Tron: Legacy soundtrack, two movies and two classic live albums. For this article, I wanted to pay tribute to my personal favourite Daft Punk album, and the one that started my fascination with electronic music in the first place, Discovery.
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Thanks for reading! The TAL U-NO-LX and Arturia V Collection patches used for the recreations in this article are available for free download below. If you enjoyed the article then sign up for the email newsletter at the bottom of the page to stay updated on new Daft Punk articles in the future.
Tron: Legacy is the soundtrack album to the 2010 film of the same name, released by Walt Disney Records on December 3, 2010. It is the first film score by French music duo Daft Punk. The score is a mixture of orchestral and electronic music.
Jason Bentley presents an exclusive Tron: Legacy soundtrack preview when he talks with director Joseph Kosinski about the much anticipated film and shares highlights from Daft Punk's score in the 10 o'clock hour on Morning Becomes Eclectic.
TRON: Legacy Soundtrack - KCRW's Jason Bentley with director Joseph Kosinski - Part 1JB: So, Daft Punk -- as you moved into the preproduction for TRON Legacy, Daft Punk were top of your list, but at that time they really had more of a dance music pedigree -not necessarily known as film composers, certainly. On an electronic side really they had made a lot of great dance records. What was it about Daft Punk that drew you to them or this idea? Joseph: I was a big fan of Daft Punk. I was also a fan of the work that Thomas and Guy-Man were doing outside of Daft Punk. Thomas had done the soundtrack for the soundtrack for a movie called Irreversible and Guy-Man had a side project called Crydamoure, which I also was a huge fan of. It was also very clear to me that these guys were more than just dance music guys. There was something about their music and the way that it was produced and put together, and assembled - especially with the Discovery album, I think- it showed a level of musicianship and songwriting that it was clear that these guys were working on another level. Then they did this movie Electroma, which hopefully many of you guys have seen, which is this incredible piece of art. So, it was very clear to me that there was a lot going on behind those masks and when this project first came up, I kind of found out through mutual friends/business connections that there was an interest on their side. There was clearly an interest on my side and we set this pancake meeting in LA at the 101 Café where we converged and talked about Tron, it was pretty cool. JB: The courtship went on for about a year after that and it goes to their process, how meticulous they are and how thoughtful they are. Were you ever discouraged at that early stage of, gosh, can we pull this off or is this the right idea? Joseph: Yeah, I mean it was a long process, you were there for that. They are, like you said, they are very meticulous; they don't do anything without thinking about it, which I totally understand. They wanted to make sure that this was something they could commit themselves to, creatively and completely, for a couple of years, so I totally understand that. So, during that process, the thing that kept me going through it is that I knew, creatively, we all wanted the same thing. I knew we wanted to create a classic film score that blended electronic and orchestral music in a way that hadn't been done before. I knew creatively we were in the right spot, it just took some time to get everything lined up as it had to be and then once we were off to the races, it was pretty incredible.
TRON: Legacy Soundtrack - KCRW's Jason Bentley with director Joseph Kosinski - Part 3JB: I'd love to play our first cue now, and the reason why I chose this as the first one is the way that it begins is true to these original demos. You'll hear how the cue evolves and starts to incorporate orchestral elements, but the way that it begins is spot-on the demo that we heard. This is one of the first 24 that you mentioned, so if we can play that now. This is called Solar Sailor. Music: Daft Punk - Solar Sailor JB: Pretty nice. Joseph: Yeah. JB: Now you should mention this ended up in the end title now, it was positioned differently before. Joseph: Yeah, this is the second track in the end title. This was just one of those interesting things where we had two options for one scene, the Solar Sailor scene. We had one we wrote initially that was based on, basically, the first demo they ever gave me, one of those original two. And then as we were working on the movie we thought we needed a slightly different vibe there, so we then put this track in at that spot. And then as the movie came together and it came down to the final visual effects were coming in and the score and the sound was coming in, like three weeks ago I was up at Skywalker and I was like, you know what, I think that original track's going to work better here now, I want to go back to that original mood. So, since we were carrying - I had them actually record both versions with the orchestra in London - at the last moment, swapped it back. So now this is in the end titles and there's another track there which, I don't even know if it's on the soundtrack, but it's one of my favorite tracks from the movie. You'll have to listen for that when you see it.
Thomas Bangalter and Guy-Manuel de Homem-Christo, better known as the Parisian electronic band Daft Punk, composed the film's score. The score was performed by an 85-piece orchestra, who recorded the tracks at AIR Lyndhurst Studios in London, UK. The soundtrack was released on 7 December 2010. Journey's 1983 single "Separate Ways (Worlds Apart)" and Eurythmic's 1983 single "Sweet Dreams (Are Made Of This)" are also featured in the film.
Matt Bowdler (aka The Unfinished) has released a set of 15 free presets which were hand picked from his latest Zebra Serenity commercial sound bank for the Zebra2 virtual synthesizer by Urs Heckmann.
TRON: LegacyDirected byJoseph KosinskiProduced bySean BaileyJeffrey SilverSteven LisbergerWritten bySteven LisbergerLee SternthalBrian KlugmanScreenplay:Richard JeffriesAdam HorowitzEdward KitstisMusic byDaft PunkCinematography byClaudio MirandaEditor(s)Claudio MirandaStudio(s)LivePlanet and Sean Bailey ProductionsWalt Disney PicturesDistributorWalt Disney Studios Motion PicturesReleasedDecember 17, 2010Running time126 minutesLanguageEnglishBudget$170 millionGross revenue$172,062,763 (US)$400,062,763 (Worldwide)Preceded byTronFollowed byTron: AresExternal linksIMDb pageSourceTron: Legacy (stylized as TRON: Legacy) is a 2010 American film directed by Joseph Kosinski and produced by Steven Lisberger. It is the sequel to the 1982 film, Tron with actor Jeff Bridges reprising his roles as Kevin Flynn and CLU, while Bruce Boxleitner reprises his roles as Alan Bradley and Tron. Garrett Hedlund portrays Flynn's adult son, Sam. The other cast members include Olivia Wilde, Beau Garrett, Michael Sheen, and James Frain. The film's soundtrack was composed by the electronic music duo, Daft Punk. The film grossed just over $400 million worldwide, against its $170 million budget.
The French electronic group Daft Punk composed the film score of Tron: Legacy, which features over 24 tracks. The score was arranged and orchestrated by Joseph Trapanese. Jason Bentley served as the film's music supervisor. An electronic music fan, Kosinski stated that to replicate the innovative electronic Tron score by Wendy Carlos "rather than going with a traditional film composer, I wanted to try something fresh and different", adding that "there was a lot of interest from different electronic bands that I follow to work on the film" but he eventually picked Daft Punk. Kosinski added that he knew the band was "more than just dance music guys" for side projects such as their film Electroma. The duo were first contacted by producers in 2007, when Tron: Legacy was still in the early stages of production. Since they were touring at the time, producers were unsuccessful in contacting the group. They were again approached by Kosinski, eventually agreeing to take part in the film a year later. Kosinski added that Daft Punk were huge Tron fans, and that his meeting with them "was almost like they were interviewing me to make sure that I was going to hold up to the Tron legacy".
Interest in creating a sequel to Tron arose after the film garnered a cult following. After much speculation, Walt Disney Pictures began a concerted effort in 2005 to devise Tron: Legacy, with the hiring of Klugman and Sternthal as writers. Kosinski was recruited as director two years later. As he was not optimistic about Disney's Matrix-esque approach to the film, Kosinski filmed a high-concept, which he used to conceptualise the universe of Legacy and convince the studio to greenlight the film. Principal photography took place in Vancouver over 67 days, in and around the city's central business district. Most sequences were shot in 3D and ten companies were involved with the extensive visual effects work. Chroma keying and other techniques were used to allow more freedom in creating effects. Daft Punk composed the musical score, incorporating orchestral sounds with their trademark electronic music. 2ff7e9595c
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