Giorgio Moroder Quotes

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

My music was typically continental - nothing like, say, The Beatles.

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

Phil Ramone is very special. Barbra Streisand or Diana Ross... they are the best.

Nowadays you need so much money to be able to launch a new artist, notably in America; you would hardly believe the sums involved.

It is at least 10 times more difficult to get a good synthesiser sound than on an acoustic instrument.

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

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

I think it would be stupid for us to try and tell people who are dancing in a discotheque about the problems of the world. That is the very thing they have come away to avoid.

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

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

I am reluctant to judge things without being informed.

I am not so complicated or intelligent a composer, nor am I very interested in becoming so. I am much more happy doing what I know I can do than what I am not sure I could do.

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

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

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

Disco is music for dancing, and people will always want to dance.

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

I listen to the group Disclosure; they have great sounds. Maybe not as adventurous as Skrillex. I think the key thing is to have those beautiful sounds... the amazing sounds of Skrillex are almost phenomenal.

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.

Dance music doesn't care where you live. It doesn't care who your friends are. It doesn't care how much money you make. It doesn't care if you're 74 or if you are 24 because... 74 is the new 24!

I like the sounds of EDM; the guys create new sounds, beautiful sounds. The melodies, it's a little less. I like the kind of melodies I did with Donna Summer, or 'Flashdance,' where you have a verse, a chorus - a song setup.

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.

My favorite would be 'Love to Love You' because from zero, I went to Number One. I don't think it's the best song - the best one is probably between 'Flashdance' and 'Take My Breath Away.'

'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 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.

I designed a sports car, the Cizeta-Moroder, with Marcello Gandini from Lamborghini; he did the Countach, of course. The Cizeta cost $600,000, but we could bargain - if a Japanese businessman says he wants it for three, fine.

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.

Even when disco went out, I could still make hits. Once I had so much success, every idea became concentrated. I had so much confidence. I knew how the bass should sound, what rhythms would work. The tempos I knew: 110 to 120 BPM. I knew they would dance in the clubs in New York or anywhere.

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.

Now, the DJ becomes a star in itself because of the way he programs the songs with lows and then highs and then slowing it down. The big DJs, like Tiesto and Deadmau5 and all those guys, they are very, very creative.

That big hit 'Get Lucky' is a disco song - not only the melody and the whole concept, but we had one of the great disco guys and one of the best guitarists ever, Nile Rodgers, to play on it. So that's great disco, but a modern disco, because it has great vocoders and synthesizers.

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