The filmmakers tracked down the doorman, who lost his job for denying the music superstars entrance, to return to Silencio to play himself in Eden and deliver the line “I have a dress code issue.Back when I was an eleven-year-old burgeoning anime fan with limited access to a computer, I was obsessed with Cartoon Network’s Toonami programming block. Two weeks prior to their initial meeting to discuss the script, Bangalter and Homem-Christo were kicked out of the Paris nightclub Silencio because they weren’t dressed properly. “But it was a very different relationship they had with us because it’s not their script or their film, so they don’t have the same relationship to their image.”īangalter also told the filmmakers a story about living life as an unrecognizable celebrity, which ended up working its way into the film. “They have an image of being total control freaks, which I guess they are,” says Mia. This was exactly what the Hansen-Loves wanted too - a huge relief, considering Daft Punk doesn’t allow themselves to be photographed and, since 2001, has only appeared publicly dressed as robots. “The one thing Thomas cared about was he wanted to appear as a human being in the film and not as some image or idol,” reveals Mia. “No one was going to ask for more than Daft Punk received,” comments Sven. Daft Punk eventually gave Eden three tracks for 3,000 Euros (a little over $3,700) a piece, which then set the price tag for every track used in the film.
The brother-sister team had to switch producers twice to prove they were right. “My producers didn’t believe us, because unless the rights are negotiated beforehand, you can’t be sure how much it will cost.” And because Daft Punk supported the film, we would find a way to for much cheaper,” explains Mia. “Sven and I were convinced because it was a tribute to house music. What the producers weren’t counting on was that Sven was still in touch with Daft Punk’s Bangalter - among the first handful of people to read the script - who gave his blessing to the project. Both of the Hansen-Loves were unwilling to make the film unless they could use the actual music that defined a generation, but rights for the songs would cost in the neighborhood of $1 million. She thought that Sven’s somewhat successful career as a DJ - spanning the birth of rave culture and the international success of French Touch acts like Daft Punk - would be a perfect vehicle to capture the energy of young Parisians who came of age during the 1990s and 2000s.īut her longtime producers believed the semi-autobiographical Eden would be impossible to finance. Two decades later, Mia, now a Cannes award-winning filmmaker, would return to that moment when she began making a film about her generation. “Even me,” remembers Mia, “who was just the younger sister watching my brother become a DJ, I was feeling that this is where things are happening right now, and we were in the middle of it.” Sven’s younger sister, Mia Hansen-Love ( Goodbye First Love), who co-wrote and directed Eden - which was picked up in September by Broad Green, the new film company run by billionaire hedge fund brothers - was too young to be at the party but remembers Sven bringing home Daft Punk’s first vinyl and listening to it in their parents’ living room. We didn’t know they would be that big, but we felt something transformative was happening that night.” “We felt something big was coming from them.
“It was a preview of what was coming from Daft Punk and music in general,” Sven tells The Hollywood Reporter. Eden co-writer Sven Hansen-Love, the inspiration for Paul, who was at the real party nearly 20 years ago, still remembers the moment vividly.
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