What's your view on the development of new musical instruments - are they getting better or getting worse?

Definitely better. We can do more creative sounds now than when we started playing around with synthesizers in the 1980's. Back then they all sounded the same, it was only with the appearance of the sampler that you could start doing weird and creative things again. As for the drum machines, they all tried to simulate the real instruments which was no good. Nowadays there are many interesting instruments, so there is no nostalgia on my part.

How has your synthetic toolbox and your taste in musical tools evolved?

We started off with a sampler and an 8-track digital recorder. Now, for each new album, we like to buy new equipment. There is so much fun and excitement in this aspect of our work - it's like Christmas every time we unpack our new instruments - and of course it also drives the sound of what we make.

Presuming your success has increased your budget for new instruments, has this come to affect the way you work?

No. It is important for us to keep the feeling of making music in the bedroom, so that's what we do. Our focus is not on big, expensive studio equipment — the things we get anybody can buy from a shop in Paris. And of course, in the end we take the recording to a studio, knowing that some things will always be added there.

You use Elektron gear on your records, what is your opinion on the Machinedrum and Monomachine?

The Machinedrum is very fun to use! In fact it's so much fun that we must take care not to overuse it. We got the Machinedrum three years ago. In my opinion it is one of the most exciting machines I've seen in the last five years. It's a very organic, creative piece and it keeps surprising you in a good way. It was first used on the City Reading album, and we've used it on every album since. Talkie Walkie, a ballet called The Near Life Experience by Angelin Preljocaj and of course the upcoming album. We also love the Monomachine, it is completely original. You can't compare it to anything.

Is the aesthetics of synthesizers important?

Yeah! We could never make music on an ugly instrument. And it has to look good on stage.

How did you begin your collaboration with Sophia Coppola?

She had heard our music and liked it, so she contacted us. You know, The Virgin Suicides was her first film. We did the complete soundtrack for it, and we've done music for her successive films as well. Brian Reitzell, her music supervisor, was actually the guy who introduced us to the Machinedrum. He also became our drummer and went on tour with us during that time.

There is a dreamy feeling throughout your albums, along with something sensual and erotic. What's the secret - how do you create warm and human music using harsh and cold technology?

Music has to be sexy. That is why we're sad to be compared to Pink Floyd all the time. They were a good band, but their music was never sexy. I guess the secret - although it's not a secret - is to have the desire to be loved by a woman as your main inspiration.

Can you share a perfect moment you've experienced while performing?

Exactly one year ago - the 26th of September 2004 - we did a show at the Hollywood Bowl in LA. With us was a 60-strong symphonic orchestra and a director. The crowd, some 18 000 people, were just great. It was a perfect moment.