Giorgio Moroder

poised the universe according to the NASA sound library in its deep space and quasar moments, black hole moments.

So the universe sounds like Giorgio Moroder.

The universe is basically a Donna Summer track.

Completely.

Um, however, um, it's final music was a piece, was a song called run, uh, run with us.

Um, which sounds, if you listen to it now, it sounds like contemporary pop, Giorgio Moroder, contemporary pop, very synthesized.

Um, it was, uh, Kevin Gillis, John Strollen, Steve Lunt were the people who were behind it.

It's actually on an album called evergreen night.

But then I also have the Midnight Express soundtrack.

That was Giorgio Moroder.

Yeah, I remember that.

And that was a great soundtrack.

I'll have to go to a dinner.

Okay, I wanted to ask you quickly, I just wanted to talk quickly about Giorgio Moroder on Cat People.

I love Moroder as a composer, and I think you used him so perfectly in American Gigolo and Cat People.

And I think he brings such a perfect sensibility to cat people.

And...

We actually used that to inform the music in this episode, along with some Giorgio Moroder and some sort of dark horror movie stuff.

Really proud of the music in the ACDC part one episode.

Part two is a little bit different.

And then also a strong relationship to Italy because you had this very sizable Italian immigrant community coming to Canada after the war.

And, you know, that certainly like kind of informed the sort of like looking to people like Giorgio Moroder as strong inspiration for how disco would sound here sort of thing.

And so there's the way that it results is very uniquely Montreal, very uniquely Canadian, but like it is pulling from these various things.

And so that's kind of how I looked at it in terms of like who I decided fit in the book.

Maybe somebody who just ran out of gas.

Now, do you remember when a pop song could be about prostitution, land in a movie about prostitution, and somehow become a cultural institution? Well, Debbie Harry's Call Me was written by disco mastermind Giorgio Moroder and Debbie Harry for American Gigolo, basically the soundtrack to Richard Gere's very questionable career choice.

Moroder originally wanted Stevie Nicks to sing it, but she passed.

Debbie got the call, and history was made.

What saves the movie are two factors.

One is the soundtrack by Giorgio Moroder, which features Irene Caro's What a Feeling, Michael Cimbello's Maniac.

He's definitely one of my favorites.

Oh,

collaborators.

He's worked a bunch with certain composers.

Biggest one now, in the early days, there was Giorgio Moroder and Harold Foltmeier.

Of course, Harold Foltmeier with Beverly Hills Cop and Top Gun.