Thomas Bangalter

The late '70's and early '80s is the zenith of a certain craftsmanship in sound recording.

Skrillex has been successful because he has a recognizable sound: You hear a dubstep song: even if it's not him, you think it's him.

Technology is an interesting subject, people thinking: how much good, and how much bad, does it inherently carry?

When you look at C-3PO and Darth Vader and then look at the actors behind them, you can't really make the connection. It kills the magic.

Artists are overcompensating with this aggressive, energetic, hyperstimulating music - it's like someone shaking you. But it can't move people on an emotional level.

There's something in human performance that is very smooth and very fluid, and at the same time it can be very precise, and that can take a lot of time, trial and error.

When you look at what we can call the golden era of concept albums, which starts in the mid or late '60s and ends maybe in the early '80s, it's an interesting time for music. You see all these very established and popular acts and bands and artists that were somehow on the top of their game but really trying to experiment.

In the history of pop music, a lot of great records cost an enormous amount of money. There used to be a time where people that had means to experiment would do it, you know?

The spirit of house music, electronic music, in the beginning was to break the rules, to do things in many different ways.

Electronic music has definitely taken over America. There is more and more interaction with hip hop.

Initially, electronic music was anti-establishment, as punk rock and rock n' roll were. The music was shut down; the police were against the parties.

Everyone making electronic music has the same tool kits and templates. You listen, and you feel like it can be done on an iPad. If everybody knows all the tricks, it's no more magic.