Giorgio Moroder

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. ”

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. ”

Unless you use the vocoder the way Daft Punk use it, it is very limited. When they sing it's almost human. It sounds sexy. I just used it as an effect. It wasn't because I was not able to sing; I'm not a great singer, but I had some hits as a singer, too. It's a nice effect. ”

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 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 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. ”

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. ”

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

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. ”