Giorgio Moroder Quotes

I had an idea for a technologically advanced luxury watch. I got involved in digital art and neon painting and put on shows of my work.

One of the most interesting things, at least for me, are the soundtracks for 'The Social Network' and 'Drive.' Basically, it's what I did in 'American Gigolo.' I could have done the music for those movies blindfolded. And one of them won an Oscar, and the other is this massive soundtrack.

My name is Giovanni Giorgio , but everybody calls me Giorgio.

I would not be happy to do what I do unless I felt that the large audience wanted it.

I achieved something specially different with Love To Love You Baby and I Feel Love. These songs will endure.

I am certainly not racist; I even like the British.

In both pop and disco, the meaning of the lyrics is not too important. I have nothing I feel I particularly want to say.

In pop or rock you can make a fast song or a slow one, but in disco there is really just the one rhythm.

I am reluctant to judge things without being informed.

I was in Studio 54 one time; it was great. But I'm not a discotheque guy. Sometimes, if I had a new demo, I went to some discotheques to check it out - see how the reactions of the people were. But just to dance, I rarely did that.

When I'm dead, somebody can write my biography. I wrote a national hymn, an anthem, which I don't want to present to that country. But I have a deal with my wife - when I'm dead, she should offer it, because then I'm safe.

What Skrillex does with Ableton it's like being a little god. It's not just pushing loops - that's easy - but to do the effects he's a genius.

Once you free your mind about a concept of music and harmony being correct, you can do whatever you want.

'Take My Breath Away' had that interesting bass line, which I hear quite often. It had that terrible change of key, which Terri Nunn hated, but I loved.

I set a Google Alert for myself, and now I'm seeing people say my music influenced them and how great it is all the time. Sometimes I listen to this stuff that's supposed to be influenced by me, and I can't hear myself in it. But I'd rather they say it than not.

Once you free your mind about the concept of harmony and of music being correct, you can do whatever you want. So nobody told me what to do, and there was no preconception of what to do.

In film, I was surprised when I first saw the movie 'Drive.' I said, 'Oh, God. It sounds great - I love it. Wow, this could be the soundtrack from 'American Gigolo' or 'Cat People.' But I'm surprised that the director would agree with a composer to write that kind of sound.

A producer is always behind the scenes, even more in the movies - nobody sees you. I didn't even meet most of the actors. When I worked on 'Top Gun,' I never met Tom Cruise. You were always in the background.

I love Lady Gaga, Rihanna - all the pop girls like Katy Perry. I think Miley Cyrus is very talented, too. Apart from the visuals, which you may like or not like, but her music is quite good, actually. 'Wrecking Ball' is quite a good song, and she sang it really nicely.

I have to admit, I do not listen to much rock music.

I was involved with a sports car called Cizeta-Moroder, which was the first 16-cylinder car, beautiful. I think we sold about eight cars, and then in '92 the economic crash came, and we had to close the shop.

The disco sound, you must see, is not art or anything so serious.

Disco does work better with black artists or players. They just feel it more.

I am much more happy doing what I know I can do than what I am not sure I could do.

Too many of these writers in the music papers, they are misunderstanding everything. The disco sound is not art or anything so serious.

I had an album out at exactly the same time as 'Love to Love You' called 'Einzelganger,' and it's great, all electronic. I'm using a vocoder, doing all this cut-up stuff on there, but no one knows about it.

Every business is there to make money, and making a record is business. This tends to be forgotten by many.

I don't think there is too much art involved in what I do.

In the early '80s, my sound - especially that mysterious kind of synthesized sound that was used so much - every relatively cheap TV show eventually had it because it's not expensive. It's just one guy doing the whole soundtrack. So it was overdone.

I knew a lot of my musicians used to take coke. I never saw them. They would hide it from me, so I wasn't really aware of it. Creatively, I don't think it was that great.