Diana Krall Quotes

I create the music, and if this artist could complement this record, I reach out.

Nothing's ever easy about composing for other people's projects, but I like it. I've been lucky to have worked with adventurous directors who trust me.

I equate composing with orchestrating. I think my music in terms of an orchestra.

Producing isn't just making beats on a beat machine. It's bringing together these string players with this flute player and this singer, and telling them to all work in the key of C major... You bring these people together and let them all cook.

I write the music, produce it and the band plays within the parameters that I set.

My earliest influence was Quincy Jones. I thought 'The Wiz' soundtrack was the most amazing thing I'd ever heard. It was my first record and you had Michael Jackson, Ted Ross, Nipsey Russell and Diana Ross on it. I even took it to show and tell in third grade!

When you work with Ray Charles, Billy Eckstine and Frank Sinatra, and you tell them to jump without a net, you better know what you're talking about. Thank God I was ready for it.

I've composed a fair amount in my life, and some of them have made it on to the screen, some compositions that I've done, a few. And I like doing that. I had never really considered doing a full-length thing. I've worked with other people creating full-length pieces.

I love working with an orchestra, but there are many ways to make music.

If I'm writing for a particular artist, I definitely think about their past records, pay attention to the type of tempos that they like. If I have the privilege of actually being in the session with the artist, I just like to have a conversation with them.

I wouldn't go into the studio if I didn't have a band who's ready, willing, and able.

I have thought about some kind of musical involving my music. That would be kind of interesting. I have thought of it in that way, as a creator of something, not so much a performer. So that's in my head.

I wrote the tunes and sang only nonsense words. Then came Moore and dressed them with the lyrics.

I would love to work with PJ Harvey some day.

If you asked me to make a Gaslight Anthem album on my own, I would say, 'No way, that's crazy.' I would never have been able to do that.

When I was working on 'To Pimp A Butterfly' and 'DAMN.,' I'm really making music for Kendrick. It's a different mindset than when I'm making music for me. I'm trying to get into his head and figure out what he wants because it's his vision. That's what I expect from people when they're playing on my records.

It's easier to collaborate with instrumentalists than singers; they know exactly the sound that I need.

I would like to work with The Weeknd. That's my boy, though; that's my friend.

We'd love to collaborate with Sam Smith. I've told him. Many times. We've got loads of songs we've written that we can literally just hear his voice on.

I don't like to surprise anyone with the music I compose for a film. That way, there is less trouble later on.

Movie music allows me to work with players as creatively as I can.

I like live musicians and personally orchestrate about 80 to 90% of all my scores.

I don't play any instruments. I don't produce. I don't know which keys or chords I am using, so, in essence, I need the band and the production team - otherwise, I am just some guy with a hat and a song.

I think John Williams, him and his team, have been incredible orchestrators. By that, I mean how he chooses which instrument plays which note.

'The Alesha Show' was done with production crew Xenomania, and this time, I've worked with a lot of upcoming new producers.