Rusty Schweickart Quotes

My whole life, I've been watching conductors. I was 7 the first time I played with a conductor. Seeing the ones that do it well, it's an amazing thing.

You always want to be on top of the playbook. You always want to be refreshed with the plays, make sure you're on the same page with everyone else.

You can't play a symphony alone, it takes an orchestra to play it.

Let me say that I've never thought to conduct because the conductor has to think to the music before the orchestra. And the orchestra comes later. For me, it's terrible.

I've always been a good ensemble player.

Yes, I'm a musician. I also like to play with others, sometimes more, sometimes less.

Good music comes out of people playing together, knowing what they want to do and going for it. You have to sweat over it and bug it to death. You can't do it by pushing buttons and watching a TV screen.

Generalities don't count and won't help you in football.

'Bum's Rush' is a piece about timing, and everything that's in the piece needs to be with the piece. If people are missing, or marking, or unable to use their voices, the impulses that prompt the action are lost, and its logic crumbles.

I mean, the great secret is that an orchestra can actually play without a conductor at all. Of course, a great conductor will have a concept and will help them play together and unify them.

I think it's a very important collaboration between the conductor and the orchestra - especially when the conductor is one more member of the orchestra in the way that you are leading, but also respecting, feeling and building the same way for all the players to understand the music.

Hopefully, next year if we can get everything sorted out and together.

In the Eagles, you have specific assignments. You have vocal parts and musical parts that need to be exactly in place at the right time. And if all of us do our job, it becomes something bigger than any of us.

Find someone you can jam with. That's a big deal. When you play with someone else, you gotta work together to get the thing started and in time, working and in the groove.

There's nothing worse than working with an orchestra who looks down on working with a conductor who doesn't want to conduct for you. You need to be with an orchestra that can follow you and respect you.

I try to be as good a director as I possibly can. I try to be prepared, and I hope everyone else is. The preparation, I suppose, means just about everything. Little things mean a lot.

Part of an ensemble show is realizing it's a collaboration. It's like a symphony. Everybody takes their turn, but it's really the collective group that matters.

You can't try a man-to-man if you don't practice it.

I'll put it this way: I couldn't just go out the practice without looking at the playbook, without looking at notes. I wouldn't be able to do much.

Everything is always against you when making a movie, and if you don't have a solid blueprint that the entire team can get behind and understand and then execute, then you're going to be lost on the set.

You work to make sure that, in the game, everybody knows where they're supposed to be at, and sometimes it works, sometimes it doesn't. But if you put them in a position to be successful, that's all you can ask for.

There have been a couple of times I've started the song in the wrong key. We stop the song, we all laugh together and we start the song again, and we go for it.

When I started to do it with precision, I realized how much setting good screens made us better as a team offensively. It made things easy for me and my teammates.

You have a great result if the orchestra trusts the conductor, and the conductor trusts the orchestra.

Ideas are easy. Execution is everything. It takes a team to win.