People don't realize enough how important and influentical John Carpenter has been in electronic music. He did his soundtracks by himself, using mostly electronic and analog synthesizers. He's a cult figure with DJs these days for good reasons.

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.

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.

I am not someone who is afraid; I am someone who reasons.

When I compose an album, I don't think about how to adapt it on stage.

Music is the backbone of my shows.

If music is to continue to support the livelihoods of artists, it cannot be taken without the permission of artists.

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.

I was recently realizing that I've probably spent 80 percent of my life in studios! It's very difficult to do that and still have a private life; it's very difficult to do anything else.

When I was at the Group for Musical Research, with this idea of discovering electronic music, I quickly realized that that it was a very interesting and exciting approach to music, but I also saw that it was very intellectual and quite dogmatic.

What may not have value to you today may have value to an entire population, entire people, an entire way of life tomorrow. And if you don't stand up for it, then who will?

We all think we are connected to the world now, but we are not talking to our neighbours any more.

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.

To me, the original VCS3 synthesizer is like a Stradivarius.

The value of streaming platforms is estimated at a few billion dollars, and creators can only afford a pizza without pepperoni at the end of the year with the revenues. Without musicians, all those platforms wouldn't exist, so we urgently need an appropriate and sustainable business model for musicians for the 21st century.

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.

Our senses have changed, even though our emotions have not.

When you have a young man, I mean, questioning the power in place for love of his country, not to say 'stop' but to say 'be careful about the abuse of technology,' I think it deserves to be promoted.

One of the first things I created was music for the Paris opera's ballet troupe. That was the first time that electronic music was played at the opera. I really like the relationship between the music and the choreography.

From the outside, being an artist seems like a dream life, but there are much darker aspects to it.

Electronic musicians are quite like writers or painters. They are quite isolated in their home studios. We often don't have that the opportunity to collaborate with that many people, like in rock or jazz.

I consider music like a mirage in the desert. You're obsessed with the ideal piece of music, and the more you think you're getting closer, it's not there.

For me, electronic music is the classical music of the 21st century.

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.