It does feel like a stadium show in the middle of a void. The irony of successfully filming a live show, finally, without an audience can’t be lost on you.
For that, we would need to not film it with an audience, but instead, a controlled environment, so we could script every movement of the camera and have it be where we needed it to be. We thought maybe we should not try to translate the energy of a live show onto film, but instead focus on the music and the visual effects. During the last tour, we talked about newer ways, better ways to put this all on film and be beautiful. It was all shelved because it was not good. We tried again, but never managed to perfect what we wanted. We tried to film shows, for what might be a live film, but it didn’t work. The first time was twelve years ago, when we started touring. We’ve had this idea at two different times. How long has the concept of a filmed space opera been floating around in your heads, and how did you imagine it as something different from your usual compositional/recording/touring process? Never before has a massive, moving lighting rig or a set of retina-burning strobes ever been a filmic co-star.ĭe Rosnay alone (we’re told Gaspard says “hi” and “apologies,” as he had an appointment) gave us the skinny on the “woman” behind IRIS, why a crowd is bad for a live music film, and what their cross symbol still means to them after all these years. Filmed without an audience, Augé and de Rosnay, both clad in all-black, stare at themselves without the interaction of a crowd, their sequencers and their analog synthesizers allow the viewer to center on space, or at least their version of it. It is here that Justice’s cinematic escapade, IRIS: A Space Opera, begins. Only a signature cross, the band’s symbol since the beginning, remained as Justice’s visual touchstone. But, by 2011’s Audio, Video, Disco and its accompanying tour, the duo began stripping away their use of video and color itself, to focus instead on scorched earth sound and minimalistic vision.īy Justice’s next big show, 2014’s “Woman Worldwide Tour,” they’d gone even further, using black as their palate and incorporating intricate, moving stage lighting fixtures. The French electro unit of Gaspard Augé and Xavier de Rosnay may have formed Justice in 2003 to fuse the thunder of heavy metal with the chill of house music.
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