Jean-Michel Jarre Quotes
- All Quotes
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Music is the backbone of my shows.
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CDs are not as good as vinyl, and you buy one in the supermarket along with the yoghurt.
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I would say to anyone starting out that if their priority in life is happiness, then don't be a musician.
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Saying that you don't care about the right to privacy because you have nothing to hide is no different than saying you don't care about freedom of speech because you have nothing to say.
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If music is to continue to support the livelihoods of artists, it cannot be taken without the permission of artists.
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I thought we had opposite visions of electronic music. Tangerine Dream and Kraftwerk had a very robotic, mechanical approach. I had a more impressionist vision - a Ravel/Debussy approach.
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At the time, 'Oxygene' was considered a totally 'far out' concept... What was 'in' at the time was disco, hard-rock, and the early days of punk... and moreover, 'Oxygene' was instrumental. And I was French!
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When I heard Edward Snowden's story, it reminded me of my mother in a strange way. She was in the French resistance from early on, 1941. At that time, the Resistance were considered troublemakers - even traitors - in France.
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As a musician, I have always strived for my albums and live performance to render a sound as close as possible to perfection.
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I don't necessarily like anniversaries that much.
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Most of the time, when you are in the studio, you are revealing yourself; you're a bit naked. You can express your weaknesses, your awkward way of approaching sound. Sharing these intimate moments is like inviting somebody into your private room.
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What is important to me is that the world understand that the problems of the Dead Sea concern not only residents of the region but humanity.
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Music, photography, media, film - it's all going to be free on the Internet. We have to accept it.
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This project, 'Electronica,' is about working with people who are a strong source of inspiration to me.
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From the outside, being an artist seems like a dream life, but there are much darker aspects to it.
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I feel very privileged to have played China, and the pyramids, all these fantastic places, but it created a kind of smoke curtain between the audience and me as a musician.
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The whole 'Electronica' project is about the ambiguous relationship we have with technology: on the one side, we have the world in our pocket; on the other, we are spied on constantly.
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Back in the Seventies, we had a romantic, poetic vision of the future, like it was in the movie '2001: A Space Odyssey.' It felt as if everything was still ahead of us.
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When you think after 25 years of Mao, Chinese people had no idea about western music or even western culture. They had no idea about James Dean or the Beatles or Charlie Chaplin, modern music or modern cinema.
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We should never forget that in the smartphone, the smart part is us creators.
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The difference between noise and music is in what the musician does with the sounds.
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I was always interested in mixing experimentation with pop music, and Brian Eno, Kraftwerk, Tangerine Dream - we were all doing it at the same time, just very isolated from each other, all in our different cellars, in different worlds, without the Internet - underground in every sense.
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Dance fascinates me, and it is perhaps the most enriching audio-visual realm for a musician. Film-making also fascinates me.
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When I first heard Kraftwerk, I thought they were an American band singing in German.