Zitat des Tages von Giorgio Moroder:
Disco is music for dancing, and people will always want to dance.
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 don't think there is too much art involved in what I do.
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 achieved something specially different with Love To Love You Baby and I Feel Love. These songs will endure.
I am reluctant to judge things without being informed.
I have to admit, I do not listen to much rock music.
Every business is there to make money, and making a record is business. This tends to be forgotten by many.
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.
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.
Phil Ramone is very special. Barbra Streisand or Diana Ross... they are the best.
I would not be happy to do what I do unless I felt that the large audience wanted it.
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.
The disco sound, you must see, is not art or anything so serious.
In pop or rock you can make a fast song or a slow one, but in disco there is really just the one rhythm.
It is at least 10 times more difficult to get a good synthesiser sound than on an acoustic instrument.
I am certainly not racist; I even like the British.
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.
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.
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.
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 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.
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.
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.