Jean-Michel Jarre Quotes
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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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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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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 have played a few times in Barcelona, including the fantastic Olympic Stadium. It's undoubtedly one of my favourite cities in terms of the people, arts, food, architecture and design.
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I wanted to find a bridge between Musique Concrete, electro-acoustic music, and proper rock music.
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Creative industries are more important than the car industry, luxury jewels, and fashion.
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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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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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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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We all think we are connected to the world now, but we are not talking to our neighbours any more.
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Peace is neutral, and not very sexy.
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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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In my opinion, British women are more romantic than French ones.
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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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I just had one occasion in my life when suddenly my private life was everywhere, and that was an accident and beyond my control.
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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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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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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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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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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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Suddenly, we are putting ourselves as the next dinosaurs. It's rather dark; we have narrowed our dreams. It is time to restore our visions. And so it's not a nostalgic idea; it is based with this unconscious need to restore a kind of dynamic for tomorrow.
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Bands like Kraftwerk and Tangerine Dream, who I respect, have a very robotic, dehumanised approach. They're almost an apology for machines. It's very German.
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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.
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I wanted to create a bridge between experimental music and pop.