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. Giorgio Moroder Read Quote
I wanted to get into art. I did some neon stuff. I worked in, not computer-generated, but computer manipulation of pictures. Giorgio Moroder Read Quote
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. Giorgio Moroder Read Quote
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. Giorgio Moroder Read Quote
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. Giorgio Moroder Read Quote
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. Giorgio Moroder Read Quote
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. Giorgio Moroder Read Quote
One day. I was putting on a hill in Zurich, and a few hundred yards away, Diana Ross was doing a sound test at an arena for a performance that night of ‘Take My Breath Away,’ my song with her. That was a very nice game, an incredible feeling. Giorgio Moroder Read Quote
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. Giorgio Moroder Read Quote
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. Giorgio Moroder Read Quote
