Film
When Cuban actor Héctor Medina read the script for Los Frikis, he immediately knew he wanted the leading role of Paco. Initially contacted as a sort of consultant for the film, Medina was familiar with the story about a group of punk rockers in early ’90s Cuba who, in search of freedom, deliberately injected themselves with HIV to live in a government-administered rural treatment retreat and create their own utopia.
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“I was born in 1989. It was the year the socialist wall fell and in 1990, what is called in modern Cuban history the Special Period, began, which is a deep energetic, economic food crisis,” explains the actor in an interview with Billboard Español. Additionally, it was forbidden to listen to rock and roll and having long hair could get you arrested, he adds. “So, the Frikis were very marginalized. It’s a story that even in Cuba is very little known.”
Written and directed by American filmmakers Tyler Nilson and Michael Schwartz, Los Frikis, an independent film inspired by true events, arrives this week in theaters in the United States after making the rounds in the festival circuit, where it has received a variety of awards.
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Medina, who left the island about eight years ago and lives in Miami with his wife and two children, not only ended up landing his dream role, but also a credit as a co-producer thanks to his contributions to the film, which was shot in the Dominican Republic (as it could not be done in Cuba).
The movie also stars Eros de la Puente as Gustavo, Paco’s younger brother; and Adria Arjona (daughter of Guatemalan singer-songwriter Ricardo Arjona) as María, the sweet caretaker at the retreat. The cast also includes Luis Alberto García and Jorge Perugorría, among others.
Produced by Academy Award winners Phil Lord and Christopher Miller, Los Frikis received an R rating from the Motion Picture Association of America for language, sexual content, some graphic nudity and drug use. It premieres on Friday, Dec. 20 in New York and Los Angeles, and on Dec. 25 in markets including Atlanta, Boston, Chicago, San Francisco and Miami.
Below, Medina details his rigorous physical and emotional transformation process to bring Paco to life, the role music plays in the film and the reception this work has had so far.
Los Frikis
Courtesy of Wayward/Range
How did this project come to you?
The project came to me through producer Rebecca Karch Tomlinson, who contacted me to ask some questions about the dialogues and some events that happen in the script. It was more or less something like a review. Of course, I read the script and I [was] totally impressed by how two Americans have written a script about Cuba, such a believable story about my country, and how they want[ed] to do it — and also want to do it with Cubans. And of course, I also fell in love with the story and my character, Paco. From there, I said: “I want to be here, and I want to be Paco.”
Did you have to audition for the role?
Well, yes. They told me, “If you want to be Paco, you have to fight like everyone else and do the casting.” I remember that I did the last scene in the movie, and as soon as they saw the scene, they called me and said, “Are you ready? You’re going to be Paco.” From there began a very tough process of character construction and transformation that was truly a most beautiful experience, because Michael and Taylor have a very particular and very strong method of working with the actors and creating this atmosphere, and get to the point that you are not trying to play the character, but you are the character. And that allows you, once you are on set, to feel confident, to be able to improvise, because they also give you that freedom. It is a very substantial work process; there are many scenes in the film that were not in the script.
You completely disappear into the role, to the point that at the beginning of the film I was looking for you, I didn’t recognize you. How was your transformation, physically and emotionally, into this character? I know you lost weight, you have the mohawk, you lose a tooth in a scene…
It was a very intense, rigorous process. From the first day I had to give up everything gluten and sugar; I only had seltzer water as a reward and one meal a day, which was a little bit of chicken and a little bit of spinach. It included heavy training, running and walking more than four or five miles a day. Then came the process of learning to play music. Mike and Taylor are so specific that they knew every detail. For example, at that time in Cuba there were no American electric guitars, there were only Japanese guitars, Russian amplifiers, Russian basses, and the drums were made with what was found, sometimes even drawers, and they had those specific types of instruments sent to us so we [could] learn how to play them. We got to a point where we even started playing our own music and putting lyrics to it and giving concerts, like in the movie.
Music plays a fundamental role in this story, with Paco as the guitarist in his rock band. Did you play before or did you have to learn for the film?
I played acoustic guitar, but I remembered like two or three chords that they taught me in my neighborhood, back in Cuba, when I was a child, so I didn’t remember very well. In other words, working with the guitar was the most difficult for me, because on top of that, I have no musical ear, I admit. What I do have is a rock and roller spirit and being bold. And also this thing [where] I don’t like to give up, I like obstacles and I like to transform and work hard. I like a challenge.
Did you know about the real Frikis story before getting involved in this project?
Yes, I knew vaguely. I was born in 1989. It was the year the socialist wall fell and in 1990, what is called in modern Cuban history the Special Period, began, which is a deep energetic, economic food crisis. There were shortages of all types of products. In addition, there were also prohibitions: listening to rock and roll music was frowned upon, and for having long hair you could be imprisoned. So, the Frikis were very marginalized. It’s a story that even in Cuba is very little known.
I had an uncle who was a rock and roll lover, and when I was a teenager he took me to a place called Pista Rita, where they played exclusively rock and roll. Going to those places with him at 13, 14 years old, I was able to see Nelson, who was like an urban legend that we had in that town, of course with the spiked mohawk, black boots, tattoos — a very transgressive image. And yet, when I got to know him well, I remember that he handed me a cigarette and he had a great sense of protection with all the boys there. In other words, he greatly encouraged that family spirit, not a gang spirit, but music and family spirit. There was nothing illicit or illegal. It was a feeling that united us with a passion for music, for rock and roll.
From what you say, he sounds a lot like Paco, doesn’t he?
Yes. Paco’s character is not specifically based on a real character, but on several, like all the characters in the film. Paco has a lot of Papo La Bala, one of the leaders and singers of the punk rock band Eskoria in Cuba, who has since died; and he has a lot of that from my personal side, having known him [Papo La Bala].
What made you say “this role has to be mine” when you read the script?
First, the transformation I had to undergo. Second, that he was a difficult character and had a lot of energy; I wanted to do something like that, different. And also, perhaps most importantly, that as a Cuban artist I wanted to say many things that Paco also says — and feels. Feeling that almost kamikaze spirit of freedom above all else, I wanted to share that. I think that was what drove me the most.
You’re not only the leading actor, you are also credited as co-producer. What was your role in that regard?
I think what I did the most was contribute. I mean, I wanted this movie to happen so badly, I wanted this dream to come true so much, that without realizing it I began to contribute to the casting, to writing the lyrics of the songs, changing them and a little bit [of] the scenes. I got involved a lot. In fact, I even designed the logo that appears at the beginning, the Lord Miller logo. I have done so many things. And I feel so grateful and so good that I have always done that. Every time I go into a project I give my all, but the truth is that it is the first time that they have recognized me not only for doing my job as an actor. I think it says a lot about the producers and directors of this film. I am very grateful to them.
Now that Los Frikis will reach a wider audience after its festival run, what do you hope people take away from it?
I really don’t expect anything. I have a very nice feeling about this film through the different screenings we have been to. It is a tremendous delight to turn around and see people’s faces. I believe that it is not an educational film or one that has a specific verbal message for people, but rather a management of a bundle of emotions, a journey of various emotions that in the end stirs your soul and leaves you thinking and perhaps doing what I call the movie after the movie. I think that is the greatest achievement of this film. More important than a verbal message, is that of an emotion, and it shows.
Héctor Medina
Carlos Eric Lopez
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When it comes to superhero flicks and the DCEU, their track record is spotty. But the teaser trailer for James Gunn’s highly anticipated turn at the helm of’ Superman is going to get the fanboys salivating.
Krypto, Superman’s pet dog of Kryptonian ancestry, makes an early appearance, so you already know it’s going to be lit. Besides Kal-El (portrayed by David Corenswet) being bloodied after catching a fade, we get images of Clark Kent, Lois Lane (Rachel Brosnahan) Lex Luthor (Nicholas Hoult) and even Mr. Terrific (Edi Gathegi). It’s not like DC ever lacked in characters, it’s about getting the most out of them on the big screen.
Did we mention Jimmy Olsen makes an appearance, too.
Gunn directed Marvel’s Guardians of the Galaxy trilogy and the same sense style looks, at least initially, like it will translate well for the Big Blue Boy Scout. Here’s hoping. And yeah, that’s electric guitar version of John Williams’ classic “Superman Theme” heard throughout,
Superman is due in theaters July 11, 2025. Watch the teaser trailer below.
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The legendary “Iron” Mike Tyson might’ve taken a weird loss to Jake Paul this past November, but that hasn’t diminished interest in the boxing legend’s life story a single bit.
With all the biopic films and series centered around the iconic fighter, the hits just keep on coming, as Netflix has announced it is currently working on a docuseries based on the life and times of one Mike Tyson. According to Deadline, Netflix is prepping to drop a three-part hourlong docuseries that promises to take a deep dive into the highs and lows of Mike Tyson’s life and boxing career. And if you know anything about Mike, you know he’s had quite the eventful life before, during, and after his illustrious boxing career.
Luckily for us, Mike Tyson himself will be a part of the creation of the series and seems more excited than nervous about getting into the nitty-gritty aspects of his personal life for all to indulge in.
Per Deadline:
“Having an opportunity to share my story through the reflective lens of my growth and maturity in a multi-part documentary on Netflix will be a challenging journey, yet a very welcoming one,” said Tyson. “Most people are too scared to look at their lives objectively, wanting to paint themselves as the hero of their own story. But if we are truly objective, we know we can never be the hero in our own story. We have to be able to face the man in the mirror, taking the good with the bad to give a full account of our contributions in this life. Netflix is the perfect platform to tell my story because of their global reach.”
We imagine that the “big fight” with Jake Paul will be a part of the series, so we’ll be interested to hear Mike’s take on what was going through his mind while going toe-to-toe with someone decades his junior. It wasn’t pretty, man.
The untitled Mike Tyson docuseries will be directed and executive produced by Floyd Russ and has yet to be given a release date, but we’ll be waiting.
Will you be checking out Netflix’s docuseries on The Champ? Let us know in the comments section below.
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With the surprising success of Netflix’s Cobra Kai series, The Karate Kid is finding new life in a new generation and is now returning to the big screen as it first did back in 1984.
Looking to capitalize off the hype of Cobra Kai, Sony Pictures just dropped their first trailer to their upcoming Karate Kid: Legends starring Ralph Macchio and Jackie Chan who starred alongside Jaden Smith in the 2010 remake of the classic film. Linking up two generations of Karate Kid characters, the film centers around Daniel LaRusso (Macchio) and Mr. Han (Chan) taking a new student under their wing (Ben Wang) and showing him the ropes in the world of martial arts.
Looking more like a Street Fighter film than anything, it seems like the tournaments and competitions will be taking place on rooftops and underground garages as LaRusso and Chan also get into some fisticuffs along the way.
Real talk, this joint looks entertaining as hell. We lowkey hope that Jaden Smith pops out with a jump kick at some point cause that’ll really set the audience on fire. Just sayin.’
Check out the trailer for Karate Kid: Legends below and let us know if you’ll be checking for this when it hits theaters on May 30, 2025.
Bluey is coming to a movie theater near you. Don’t tell your kids just yet — you’ll have to wait a couple years to see it.
A CG-animated feature film based on the hit series is slated for a 2027 release from The Walt Disney Company and BBC Studios, according to The Hollywood Reporter. It’ll stream on Disney+, and it will air on ABC iview and ABC Kids in Australia, after the global theatrical run of the movie.
The feature is set to “continue the adventures of Bluey, a loveable, inexhaustible, blue heeler dog, who lives with her Mum, Dad and her little sister, Bingo,” reads a description from a statement announcing the film.
Vocal talent families already know — including Melanie Zanetti and David McCormack (as Bluey’s mum and dad, Chilli and Bandit Heeler) — are on board for the film, as well as the series’ music composer, Joff Bush.
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BBC Studios will finance and license the Bluey movie for distribution, while Disney will release it in theaters worldwide. Bluey creator Joe Brumm is writing and directing, and Ludo Studio is producing in collaboration with BBC Studios.
Series creator Brumm said, “I really enjoyed the experience of working with a longer format on ‘The Sign’ in Series 3, so going even further with a feature film feels like a natural extension of that. I’ve always thought Bluey deserved a theatrical movie. I want this to be an experiential event for the whole family to enjoy together.”
Last month the Bluey franchise’s latest soundtrack, Bluey: Rug Island, debuted at No. 1 on Billboard‘s Kid Albums chart. Available on vinyl (in a sunset orange edition, or as a picture disc), on CD and as a digital download, almost 60% of the Oct. 25 releases’s 3,000 first-week sales came from vinyl purchases.
Bluey: Rug Island is the third soundtrack album from the series, following Bluey: The Album (2021) and Dance Mode! (2023). At press time, Bluey: Rug Island ranks at No. 7 on the Kid Albums chart — the chart is currently led by the Vince Guaraldi Trio’s classic A Charlie Brown Christmas soundtrack as the holiday nears.
Charli XCX, who hosted SNL last month, has another acting credit in the pipeline. The Brat hitmaker joins the cast of the upcoming film The Gallerist, directed by Cathy Yan. Natalie Portman and Jenna Ortega were previously announced as stars of the movie, which is in pre-production and expected to begin shooting at the end […]
Last week, Sky Ferreira revealed she was releasing her first song as an independent artist in conjunction with the upcoming A24 drama Babygirl. The reaction was instant, with fans, fellow artists and critics welcoming the news. The new song, “Leash,” serves as a return for the singer-songwriter, whose last album, the acclaimed Night Time, My Time, dropped way back in 2013. “I was already so excited for babygirl but now we get babygirl + a new song from Sky,” tweeted friend and collaborator Charli XCX. “Omg stan mode activated.”
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The fervent reaction — and her involvement in the Nicole Kidman-starring awards season favorite – comes after an admittedly dark time for the artist, during which she endured an acrimonious split with Capitol Records. “There’s a lot of people who are starting to understand the extent of what happened,” she told IndieWire of the period.
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Now, Ferreira finally feels free, and her new song speaks as much to the plot of Babygirl as it does her own career. The singer-songwriter spoke to Billboard about reactions to her song, her creative inspirations and how she’s taken back her professional and creative power.
When all this was announced, the internet went ballistic. What did you make of the reaction?
I’m excited that my fans like it, you know? I always feel weird being like “My fans!” (Laughs) But you know, people that listen to my music often or whatever. But I’m glad that it’s just out now. It was just this thing that I was anticipating. Now I’ve been doing all these interviews and stuff like that, and I haven’t been doing that in quite a while, so I’m kind of adapting to that again. But I’m glad that it has positive feedback, for the most part, from what I’m aware of because (coming out with this song) wasn’t the most conventional choice. I wasn’t really sure how people were going to take it or if they were going to accept it as much.
I think your fans were clamoring for this comeback, redemption arc, or whatever you want to call it. Especially in an era when people are taking charge of their own stuff, whether Taylor Swift or Kesha, artists who are reclaiming their power in their own ways.
Definitely, definitely, and I mean, it does seem like maybe there’s finally some progress in that sense where people are starting to feel more comfortable talking about this without all the repercussions of doing so. I mean, I feel those repercussions a little bit — not as much as I used to years ago talking about it. I don’t feel like I’m just yelling into a void or something.
What do you think changed?
Well, I can’t pretend that misogyny still isn’t rampant by any means, because it definitely is. There’s even moments with this when I’ve noticed it. But for the most part, I feel like people are more aware of this thing, that it happens. It’s not just something that happened in the ‘90s, 80s or ‘70s. I think younger people too, especially artists, maybe are more aware that they’re supposed to have more ownership of not just of their music but their career. They’re aware of the importance of it. I think that makes a big difference. It’s holding some space (for the fact that) the music industry might have to be more accountable for these things now. And someone like Taylor Swift definitely has made a huge impact in a sense, because she’s the biggest pop star on earth. So I think that brought a lot of awareness.
Have you spoken to other artists who have been in vaguely similar situations?
I’ve talked to some people that were older that have been in deals, maybe they were married to someone that they were signed to, stuff like that. But that was a long time ago, that sort of thing. But no, I actually haven’t. And obviously I would like to. I don’t really know that many people. I’ve known people that have been buried for other art, like, other artists, but they weren’t held captive by their label for such a long period of time. I know that happened to JoJo, right? I think she was stuck in her deal forever. But I’ve never really come across anyone that’s had it to the extent where I have, where they just kind of sit on you for years, because I think that’s why a lot of people seem to not believe certain artists or me even. I feel like the common thing is people ask, “Well, why won’t they just drop them?” And it’s not a wise business decision on their part. I think they don’t want you to do better elsewhere. So it’s better to just keep you there, because they don’t want to lose their jobs or something. At least that’s one way of trying to think about it. I’ve gone through so many of the motions of trying to understand why it happened and to the extent that it happened and there’s really no answer that I can think of that makes it seem reasonable.
It’s incredible to think with your own body of work that your last album was released before streaming really kicked into gear. Are you seeing new audiences discover you now that “Leash” is out?
You know, it’s so weird when people are like, “I was the fifth grade when your album came out!” Like, I’m that old. Like, f–k! It is funny though because there’s young people who don’t realize I’m 32. They see the album cover and think I’m a teenager or something.
Let’s talk about “Leash” which is adventurous, provocative, creative — all of these things you’re known for. Where’d the title come from? Did you feel you were inserting your own experiences in at least the title of the song?
I mean, yes and no. It’s funny; the song was due and it was like, “What do we name this song?” We’re going through titles and “Leash” was the one I liked the most that I wrote down. There were different ones that didn’t capture the energy of the song. I didn’t want it to be too tragic sounding. The title definitely tied in with — I don’t know if you’ve watched the film — but it tied in with this dog that’s kind of like a symbol in the film.
I know you said the song got you out of your comfort zone while you were creating it. How so?
I felt responsible to make something for other people besides me. I don’t make creative decisions based off of other people, like what they would want. And this actually wasn’t a challenge because they gave me a lot more trust and freedom that I didn’t expect. But I was hired to do this thing and serve the film, so I wanted to be in line with whatever the director, the music supervisor and A24 envisioned for it. So I felt responsible to do that while trying to create something that is memorable, but also captures something within the film without being on the nose. I’m not describing anything that actually happens in the film or any of the plot — it’s more of a feeling.
I know you started the song fresh. Why not just get inspiration from your own archives? I’d assume you have a mountain of unreleased material right now.
I think for me, I’m trying to move forward. I wanted to show myself and try new things and I didn’t want to answer to anyone. I didn’t want to have to deal with any of that. It was definitely a therapeutic experience for me, a learning experience. I knew how to do all this and I have been doing it but it was validating. My self-esteem was pretty low after the last year. I had a pretty rough year. I’ve had a pretty rough year for like five years. But it showed that I’m capable of doing this without having to listen to the outside world telling me what I can do, what I can’t do, and what I’m capable of, or worrying what people will think of me. Because when people are saying things already, what more could they say? What more could they do at this point, you know? And it kind of allowed me to kind of deal with a few things to write about, that I subconsciously didn’t realize I was doing at that time. It showed that I don’t have to fully be stuck in my past. Though, I’ve never felt stuck in my past. Like, “Oh, the good old days!” or something like that. I’ve always been trying to make something new and challenge myself in some way. But I wanted something that didn’t carry all the weight because I already carry that.
The idea of putting a countdown in the song before that switch up I thought was really interesting. It reminded me of Madonna. Where did the idea of putting that countdown in there come from?
Well, there were a few things. How I developed writing pop songs and the stuff I generally tend to lean toward pop-wise are definitely more ‘80s and ‘90s music. In a way that’s kind of just where my mind goes. I’m a big Madonna fan and I’m a big Janet Jackson fan. I didn’t do it on purpose. I didn’t think of Janet Jackson on purpose, but after I did it I was like, “Oh, it doesn’t sound like Janet Jackson, but she I feel like she counts a lot in all of her songs, right?” But also I thought it would be fun to kind of have a little nod to Nicole Kidman somewhere in there. And I was originally trying to find scenes from Eyes Wide Shut, just little clips and distort it and do something like hidden within it and turn it into almost like an instrument within itself. What we ended up with was the counting from the film; I mean, I jumped over it because apparently I could probably get in trouble for that, so it’s my voice counting. I just kind of sat there for like 30 minutes trying to sound like Nicole Kidman. And I actually got pretty close. It was funny. I was like, “Oh, this is what I would sound like if I was more womanly and less, I don’t know, West Side L.A. girl sounding.”
I know you know one of your most vocal supporters has been Charli XCX. She tweeted about the song and you’ve collaborated in the past. What do you make of her success with Brat, from your perspective?
Well, I wasn’t necessarily surprised by it by any means. The only thing I’m surprised by is that it didn’t happen sooner. I’m so proud of her, I’m so happy for her, and it shows that hard work and talent does matter. It’s not just based off of who knows who or whatever. I think she had such a huge following to begin with before this, with her diehard fans and a great body of work. I mean, I can’t really think of anyone else I’d rather see that happen to. She’s always been so kind since I’ve known her for the past 12 or 13 years. I was always expecting it.
Today (Dec. 12), Daft Punk’s 2004 anime film Interstella 5555: The 5tory of the 5ecret 5tar 5ystem is screening in more than 800 theaters in 40 countries. While some of these theaters will host additional screenings over the weekend, this cinematic event is largely a one night only affair.
And in the numerology-centric Daft Punk universe — the group announced its breakup on 2/22/21 and livestreamed Interstella 5555 on Twitch exactly a year later, 2/22/22 — this screening happening on 12/12/24 is obviously not accidental.
“I think it’s a just a fun way to find a date to release something,” says Pedro Winter, who managed Daft Punk from 1996 to 2008. “Most of the time we do things for fun.”
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A quarter-century ago, creating an animated companion piece to the duo’s 2001 Discovery seemed like one such fun idea. The project would, however, also become an expensive, multi-year process that was a huge undertaking in an era when animation was still done by hand and resulted in a film that was only seen in full by a select few.
“I let you imagine the face of the accountant when you tell him you want to produce 14 videos that cost hundreds of thousands of dollars each,” says Winter.
Animated by legendary Japanese anime artist Leiji Matsumoto in collaboration with Japan’s Toei Animation studio and scored by Discovery, Interstella 5555 was created as a series of music videos set to each of the album’s 14 perfect songs. (See an exclusive clip of the remastered film’s “Harder, Better, Faster, Stronger” section below.)
Daft Punk’s Thomas Bangalter and Guy-Manuel de Homem-Christo conceived of the idea for the project, which tells the story of an evil music industry tycoon who kidnaps and brainwashes an alien rock group, transforms them into cookie cutter pop stars, brings them back to Earth and weasels them to the top of the charts. (The film “was written 25 years ago…. and it’s so relevant in 2025,” says Winter.)
While his memories of the creation process are reasonably hazy 25 years on, Winter says he’s pretty sure Bangalter and de Homem-Christo “produced the music first and then wrote the film around it. They needed the sound as a skeleton.” Once they had the script, they had to get Matsumoto onboard, knowing the artist – whose manga series Space Pirate Captain Harlock had been turned into an animated show the Daft Punk members watched as kids – might get their vision.
“While on a promo trip in Japan they met with Leiji Matsumoto, the legendary creator of the Space Pirate Captain Harlock anime to discuss their project with him,” says Emmanuel de Buretel, the founder of Because Music and former head of Virgin Records who signed Daft Punk to the latter label. “He was excited and quickly agreed to work with them on a manga movie inspired by Discovery.”
Daft Punk – Interstella 5555
Courtesy of Trafalgar Releasing
The project would be expensive, but Bangalter and de Homem-Christo had the will to make it happen and “pitched the concept themselves to Virgin Records,” recalls Winter. “Luckily the head of Virgin at the time was de Buretel, the only major label’s CEO who could understand Daft Punk’s vision… He was the one who fought and managed to get the approval from the whole EMI group.”
Ordering 14 custom-made anime music videos from one of the world’s great masters of the style may have seemed like a flight of fancy to the accounting department — but then again, at one point the idea of two guys playing electronic music while dressed as robots probably did too.
“Great artists are rare,” says de Buretel. “Great, hardworking and humble artists are even rarer. Visionaries like these are few and far between, and you can’t help but be inspired and motivated by their vision and work ethic.”
Bangalter and de Homem-Christo initially planned to finance the film themselves, although Virgin ended up fronting the money for a project that de Buretel says “very quickly became highly complex and costly, since they had to fly to Japan every month to finish editing, while also promoting the project. We, at Virgin, decided to help them finance it to finish quickly — that was a result of really believing in the project and their vision.” (Winter says “Virgin records was putting up the money, but at the end it was Daft Punk who paid the bill.”)
There was also one major benefit to Virgin helping with the financing: “They also made a very nice concession to do another album,” says de Buretel. (2005’s Human After All would complete Daft Punk’s three-album run on Virgin.)
Once financing was sorted, work on Interstella began in Japan, where Matsumoto worked in collaboration with animation studio Toei Animation. “We all went to Tokyo in early 2000,” recalls Winter. “We met Leiji Matsumoto at his place. It was magical, for real. He was a living legend. We grew up with his characters on French TV. He loved the robot characters of Daft Punk. They were speaking the same language; it was just amazing to see the band and Leiji getting along so well.”
A group of creators who may have seemed worlds apart found they actually had a lot in common. De Buretel calls the film “a blend of two cultural movements exploding at the same time, electronic music and anime. The modernity of the concept: using science fiction to explore themes of artists’ exploitation, could only have been done by such powerhouse thinkers as Leiji and Daft Punk.”
Daft Punk – Interstella 5555
Courtesy of Trafalgar Releasing
Daft Punk creative director Cédric Hervet soon joined the team to help develop the screenplay and the characters. While the idea was to launch the film at the same time as the album, that was not to be, with the film ultimately released two years after Discovery came out in February of 2001. (The album spent 30 weeks on the Billboard 200 across spans in 2001 and 2015.)
“Animation is such a long-term process,” says Winter, who recalls “receiving faxes from Toei Animation every week” with updates. “I loved the way the characters evolved, how the whole story took life,” he says.
Clips for the album singles “One More Time,” “Aerodynamic,” “Digital Love,” and “Harder Better Faster Stronger” were released first, and the complete film screened at the 2003 Cannes Film Festival, along with a limited run in approximately 30 French theaters. A DVD of the full project them came out in late 2003. (“The animated House Musical,” the DVD’s cover reads.)
Daft Punk – Interstella 5555
Courtesy of Trafalgar Releasing
But until now, Interstella 5555 has never had a wide cinematic release in its full, hour-long form. The screenings are happening in partnership with Trafalgar Releasing, which specializes in special event cinema distribution and also worked on the 2023 cinematic releases of Taylor Swift‘s The Eras Tour concert film and Renaissance: A Film by Beyoncé.
The remastered version showing globally today has been, de Buretel says, “upgraded to fit current standards and give all fans the opportunity to engage in it.” He adds that this global event is an opportunity for fans to “discover and re-discover the group’s magic artistically and sonically,” to celebrate Matsumoto, who passed away last year at age of 85, and to stir up some fun and celebrate a work that, like so much of Daft Punk’s output, was ahead of its time.
“The project seemed difficult 24 years ago,” says de Buretel. “It probably seems straightforward today, but it was very risky and hard to wrap your head around at the time. I think that’s why it is a cult movie now.”
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Source: Matt Reeves / Twitter/@mattreevesLA
Following the success that The Penguin series experienced on the HBO network, DC seems to be willing to roll the dice on another Batman villain that has yet to make his live-action debut.
According to Deadline, DC Studios has just greenlit a Clayface project as they look to further expand their Batman universe in preparation for the highly anticipated The Batman 2 which is set to release sometime in 2026. The news comes a year after writer Mike Flanagan pitched the idea to DC Studios and it seems like they’ve decided to give it a shot. Known for his work on the reboot to The Exorcist, Flanagan had publicly expressed his interest in creating a movie centered around the shapeshifting Batman villain and it seems like fans are about to get their wish as Flanagan wants to make the film a “horror/thriller/tragedy.”
Per Deadline:
In March 2023, our sources told us that Flanagan’s take on Clayface will not feature the character as a villain, after the writer had a meeting with DC Bosses James Gunn and Peter Safran, who took over at DC Studios in 2022.
Although Flanagan wasn’t pitching the character to be part of Matt Reeves’ DC elseworld, other sources have said that Clayface is a big addition to Reeves’ The Batman 2.
Clayface got his DC introduction as part of Detective Comics #40 in June of 1940. While there would eventually be a number of shape-shifting DC antagonists using that alias, the original Clayface was a moderately successful actor who adopted the identity of a character he’d portrayed in a horror pic after turning to crime. He’s a frequent adversary of Batman with a body seemingly made out of clay who has appeared over the years in numerous films, television series, animated works, video games and other forms of media, being portrayed on the series Gotham(The CW) and Pennyworth (Epix/HBO Max) by Brian McManamon and Lorraine Burroughs, respectively. The rationale behind Clayface’s appearance emerged in comics of the 1970s, which evolved the character into a scientist with hormone irregularities.
While previous live-action Batman villains such as The Joker, Penguin and Bane have been more of the grounded variety, Clayface is a bit more sci-fi as the villain is able to literally change his facial and bodily features at a moments notice. That being said, there are rumors that The Batman 2 will also feature Mr. Freeze, so maybe Matt Reeves is ready to take the live-action Batman franchise to a science fiction plane when the highly-anticipated sequel goes into production come 2025.
What do y’all think about Clayface making his cinematic debut? Which actor and director would you like to see take part in the project? Let us know in the comments section below.
Disney Animation’s Tangled is about to get a live-action adaptation, Deadline first reported on Wednesday (Dec. 11). The screenplay is generally expected to follow the one Disney fans already know and love, Deadline says, though plot specifics remain confidential at press time. Casting details also haven’t been shared, but The Greatest Showman director Michael Gracey […]