Rashida Jones Quotes

Ian Anderson of Jethro Tull is now a good friend, and the thing that strikes you about him is that he's all about details.

I will be working on the collection until the day before the show! It's an endless process, that's all that I can say at that stage.

I despise people who revel in the ignorance of not being able to play their instrument.

I am the consequence of a particular type of demographic movement, one that has always involved paying a high price. But I don't know much about styles or genres. I only know notes and chords.

I'm not good enough, technically, to be a classic musician. I lack discipline.

Most actors, if you ask them if they play guitar, they'll say they played guitar for 20 years, but what they really mean is they've owned a guitar for 20 years.

I have spent my life paying attention to my art form, developing my art form, worrying about my show and what I'm bringing to people, making sure that I give them a fine trade.

It's not that I'm a serious person; I'm playful and stuff like that, but I take characters very seriously and the work very seriously.

Orchestral musicians have a different approach than we do, and when I say 'we,' I mean musicians who don't know what they are doing.

For years, my actual listening activity has been governed by what I perceived to be good for me as a musician, almost like the way an athlete trains for a given sporting task. I'd listen to something if I felt it would improve my sense of harmony or counterpoint, or whatever I was working on.

With these big Wagner pieces, if I haven't started three years before, I'm screwed. You need time to look at the piece again and again and again, and then, like some fantastic casserole or spaghetti sauce, put it back in the fridge and let the flavours get together.

Music moves forward so quickly; music is an accumulation of knowledge, and musicians keep getting better and better.

The true professional makes art when he is not feeling good, if the studio is too cold or too warm or the walls are falling down. We are painters and we paint. If I were a sculptor, I'd sculpt.

It's just what I am. When I am in the zone making one movie, I just didn't want to read anything else or do anything else, so I don't really develop projects.

To be an outstanding musician, you have to be very attentive to the smallest detail and willing to have infinite patience in the pursuit of your ideal. You require absolute control and professionalism.

I knew a gentleman that I had worked with over the years, who is no longer with us, and was a great influence in my life named Cachao - a Cuban musician, composer, arranger, and creator of the Mambo. The integrity of the journey is what's important - how you conduct yourself in the process. That's what Cachao was always about. He had great integrity, great dignity, was very humble, and dedicated to his art.

I only got a seventh-grade education, but I have a doctorate in funk, and I like to put that to good use

The music kind of takes care of itself because we've done all that as preproduction in the practice room. So by the time it gets onstage, each song has about one hundred hours of way too much mothering gone into it. So when you see us play live, that is the product of ninety days of practice, over a year of writing, listening to demos on the weekends after practice.

When I was in the studio with Madonna, we would work 12-hour days. If you want to work with the best, then that's what you have to do.

The film [Dream of Life] is not really an amateur work, despite the fact that none of us have ever done anything like this before; aesthetically, none of us are amateurs.

Back then, I was really into composing the entire solo, beginning to end. I wanted to have it at least 80 to 90 percent complete before going into the studio. I didn't improvise in the studio. I was young, and I didn't really have the development in my playing or the ability to show up with nothing and then put down 500 ideas. I can do that now because I'm so much more of a musician now.

Being a real writer means being able to do the work on a bad day.

It's rare that a good writer will sit down and write a good script. Writers are greedy too, and they don't want to work without getting paid. But quality will find its way out.

Wolfgang Amadeus Mozart is the only musician who had as much knowledge asgenius, and as much genius as knowledge.

I just really care about what people see. I want them to know that I'm working hard for this. The artists that I look up to like, you know, Michael, Prince, James Brown. You watch them and you understand that they're paying attention to the details of their art. And they care so much about what they're wearing, about how they're moving, about how they're making the audience feel. They're not phoning it in. They're going up there to murder anybody that performs after them or performs before them. That's what I've watched my whole life and admired.