Quincy Jones Quotes

Man, I have absolutely zero ability into narrowing absolutely any of my favorites into just one, but I have to say, I gotta go between Undertaker and Triple H. Other than all the obvious reasons, but the biggest one for me, those are the only two guys, I could make a mistake and it would be okay. I could put the trust of the match, the story, and absolutely everything into their hands and let go of my control. I'm a control freak (laughs). Those are the only two guys I can let drive and take my hands off the steering wheel.

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.

Cause I was such a novice and thank God that Sarah was as seasoned as she was because she was really a great leader in that regard in the sense that she would communicate really well with the crew.

That's how you get a performance - they put trust in you.

You have to give guys tools to win with, and if they have success with them then they believe in you. If you don't have anything in your bag to work with, then they won't believe.

When we came into the studio I became more and more me, making the tracks and choosing the musicians, partly because a great deal of the time during Bridge, Artie wasn't there.

I really trust Susan Stroman. I really think she knows what she's doing. I really trust Andrew Lippa and John August. I think they have proven themselves over and over again and know what to do, and they have the big picture in mind.

By the end of it, you never know how it's going to turn out. Hopefully if I pick the right songs and put the right melodies on it and all the collaboration works out. it's a win-win situation.

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 mean, I don't think I would call Claus to do an album of big band tunes. You know, just like arrangers write for the artist they have in mind; you have to keep in mind if you're going to work with Claus Ogerman. You invite him to do what he does.

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

I'm not a great band member; I'm more of a band leader.

I'm having a blast being the music director at the Academy of St. Martin in the Fields. It certainly is challenging for me, but I love challenges.

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.

With Dream Theater, every creative aspect of the group went through me. I oversaw it all from top to bottom.

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

Leadership is about having the courage to go against the advice of the so-called experts and doing what your instinct tells you is right.

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.

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

I need to rely on the director's confidence and what he sees in me.

When I'm out there playing basketball, it's just, 'Let me do me,' and everybody is going to benefit. I feel confident that whoever I'm out there with is going to win.

You always want to know you have somebody at the helm who knows what they're doing.

I have always been up for risks, but only because I had full confidence and faith in the vision of my directors.

I have written for, very fortunately, some great singers from Frank Sinatra to Elvis Presley.

I want to have an empire. I like being in front of the camera, performing - but I would like to get to a place where I'm also executive producing and bringing other people along. People of all different walks of life, highlighting their voices.