Jean-Michel Jarre Quotes
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Creative industries are more important than the car industry, luxury jewels, and fashion.
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We should never forget that in the smartphone, the smart part is us creators.
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I had no precise plan when I started 'Electronica,' but I think it has been a very positive journey for me.
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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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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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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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Peace is neutral, and not very sexy.
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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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I wanted to find a bridge between Musique Concrete, electro-acoustic music, and proper rock music.
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Pursuing music eats into your life to the point where there is no space left for anything else. You are lucky if you find a partner who is able to understand that, but even then, they will only understand it for a while, and then things get - you know, difficult.
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Even if we artists are all very privileged, there's a constant frustration about how to do more or better, and never being satisfied.
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Governments can help support European music by promoting public awareness that when people take music that doesn't belong to them, they undermine the future of those very artists whose work they enjoy.
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My mother, who was in the Resistance in the Second World War, passed away at 96, and it was like she was 60. I almost have to apologise for my genes.
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My first synthesizer was the VCS3. I got it in Bristol in the late Sixties, long before Pink Floyd used them. I had to sell an acoustic guitar and an old reel-to-reel tape recorder to raise the money. You can do fantastic things with modern computers, but you cannot use them in the same intuitive, spontaneous way you can a VCS3.
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All those ethereal string sounds on 'Oxygene IV' come from the VCS3. It was the first European synthesizer, made in England by a guy called Peter Zinoviev. I got one of the first ones.
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The characteristic of 'Oxygene' is a mixture of innocence and ambition, of trying to do something different in a different way.
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I was obsessed with the idea that no two sounds on 'Oxygene' should ever be exactly the same. I wanted a heartbeat feel, something human.
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When I began making electronic music, the only thing I was thinking about was creating music that I really liked. I didn't think about what effect it would have; I was busy doing it.
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It's sometimes better to have a father figure to rebel against than nothing, than just a black hole or an absence.
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I remember, for my fifth birthday, Chet Baker sat me on the upright piano, and he played just for me for a few minutes. I can still remember the pressure of the air on my chest. It was my first physical contact with sound.
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With electronic music, you are not confined to the acoustics of a concert-hall, and that inspired me to bring my performances outdoors.
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My first break was in my home country with some pop songs that became hits, writing for French singers Christophe & Francoise Hardy, which became hits.
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When I did the first 'Oxygene' in the vinyl days, I had a structure in mind divided in 2 parts fitting the A&B sides of an album.
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I've always been involved in the visual aspect of my work, and moreover, it's very important in days where technology allows us to push the boundaries even more than when I started out.