Marc Collin is one-half of the brains behind perhaps the most endearing cover band of all time, Nouvelle Vague. Collin and his partner Olivier Libaux grew up listening to eighties New Wave and punk music, and their appreciation grew into something entirely unique–covering the music of their youth with a sixties bossa nova palette. Their latest record, 3, features guest appearances by the very musicians they idolized–Depeche Mode’s Martin Gore and Echo and The Bunnymen’s Ian McCulloch all sing in new versions of their songs. From Paris, Marc took time out to tell us about his latest projects and favorite cinema.

EM: Let me start by asking what you’ve been working on lately.

Well, I’ll be taking one week of vacation next week. Going to Brazil! Now I’m preparing some new stuff for future projects (really electronic!) and enjoying my vintage synths.

EM: Who is your all-time favorite chanson singer? Why?

Julie London. She was a femme fatale, actress in the forties, so she’s singing jazz like an actress, not like an Ella [Fitzgerald] or Sarah [Vaughan]. She got wonderful songs like “Lonely Girl,” “Nice Girls Don’t Stay for Breakfast” and, of course, “Cry Me A River.” Only sad songs sung by a beautiful and sexy woman!

EM: Melanie and Nadeah are key performers in the current lineup of Nouvelle Vague. What qualities do you look for in your singers?

They are not really the key performers, we are changing singers all the time. We got Camille on-board, Phoebe, and now we have two wonderful girls with us, Karina and Helena. Each must have their own personalities but be adapted to the project. Grosso modo, one must be wild and rock, the other must be more “Frenchy classy” and more wise. Fire and ice.

EM: Several musicians came to your Paris studio to sing on the new album. Out of all the collaborations, which was your most memorable experience?

The recordings with the original singers of the songs, people like Terry Hall, Barry Adamson, Samy Birnbach and Ian McCullough.

EM: The new record features a cover from the band Magazine. Tell me about the first time you listened to their music.

Hum… I was young! They weren’t as famous as The Cure or Joy Division but I instantly adored their music, especially “A Song From Under The Floorboard.” Each musician’s got an amazing sound. Barry Adamson on bass, John McGeoch on guitar, Dave Formula on keys and, of course, the strange voice of Howard Devoto. It was incredible to have Barry with us on-stage in London Roundhouse last month.

EM: How did you discover punk and New Wave music?

I discovered them in ‘82, when I was 14. I was attracted by the attitude, first of all. Black clothes and the idea of being “underground” special. There were only few people like this in my college, for example. After I fell in love with the music, I discovered Visage, Blondie, The Cure, New Order, Echo, Siouxsie, etc.

EM: Your most recent performances were in Belgrade and Sarajevo. How were they?

Amazing, especially Belgrade where we played two nights (2 x 2000 people!). I deejayed after in a club, and we all had great time, dancing all night. I like the energy that people got there, and we got a wonderful audience, a lot of young girls!

EM: What is your favorite city to tour in the United States?

Hum… Difficult to say, maybe New York, but I love also Chicago, Boston, Seattle.

EM: I really enjoyed your last project, Hollywood, Mon Amour, especially the cover for “Eye of the Tiger.” How did you come up with the idea for that project?

It was an idea I got first for Nouvelle Vague, but I thought it was too different for NV and it should be better to create a whole new project. It’s in some ways the opposite of NV ’cause it’s covers of songs that everybody knows.

EM: Obviously you’re a big cinephile. What are some of your favorite films of all time?

Difficult to answer. I will say Pierrot Le Fou from Godard, Persona from Bergman, Mullholland Drive from Lynch, Planet of the Apes, 2001, Blade Runner. There are too many!

EM: If you had to choose, Godard or Truffaut?

Godard without any hesitation. I like the experimental approach Godard had and still has actually. He created a unique world that still inspires a lot of filmmakers.

EM: You’re listed as a composer for an American film called White Wall. Tell me a little about that project.

The producer/director called me one day. It’s a sci-fi movie and I always wanted to do a score for this kind of film, so it was a great opportunity. I’m really proud of this soundtrack. It’s a good way also for me to escape Nouvelle Vague for awhile.

EM: Do you have an era of music that you wish you could’ve experienced in-person?

I’m not sure as I got the opportunity to live the eighties with the New Wave sound and after I was into all the techno/house things in the nineties and trip-hop, etc. It was an amazing time where there was a lot of new sounds and music.

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http://www.nouvellesvagues.com/

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