Quincy Jones

Absolutely. And I said to her, I said, this is, I'm very touched, you know, but, you know, you can buy this for like $3 or $4 or something like that. And she, you know, but she meant it as something that she was really trying to give. And more and more, Lloyd started to realize, you know, that the things that she did, she couldn't help it.

Absolutely. And I said to her, I said, this is, I'm very touched, you know, but, you know, you can buy this for like $3 or $4 or something like that. And she, you know, but she meant it as something that she was really trying to give. And more and more, Lloyd started to realize, you know, that the things that she did, she couldn't help it.

And in the final analysis, she probably went through more hell than anybody, all of us combined, because it Having kids, I know how that must have felt, regardless of how difficult she made it for herself and for us. We didn't know how to be children. She didn't know how to be a mother. And it was very painful.

And in the final analysis, she probably went through more hell than anybody, all of us combined, because it Having kids, I know how that must have felt, regardless of how difficult she made it for herself and for us. We didn't know how to be children. She didn't know how to be a mother. And it was very painful.

And in the final analysis, she probably went through more hell than anybody, all of us combined, because it Having kids, I know how that must have felt, regardless of how difficult she made it for herself and for us. We didn't know how to be children. She didn't know how to be a mother. And it was very painful.

Well, it starts before that. It starts during the movie, you know, of when we first met. After, initially at 12 years old, he was about 19, about 77 or so. And he came over to the house, and that's the first time we really met on a professional basis. He was growing up then.

Well, it starts before that. It starts during the movie, you know, of when we first met. After, initially at 12 years old, he was about 19, about 77 or so. And he came over to the house, and that's the first time we really met on a professional basis. He was growing up then.

Well, it starts before that. It starts during the movie, you know, of when we first met. After, initially at 12 years old, he was about 19, about 77 or so. And he came over to the house, and that's the first time we really met on a professional basis. He was growing up then.

And he said, pleased to meet you, et cetera, and was very sweet, and said, I'm doing a, we have a new contract with Epic Records and the Jackson 5, I'm still working with them, but I'm going to do a solo album, and I was wondering if you could help me find a producer. I said, great, Michael, but right now we've got a mammoth,

And he said, pleased to meet you, et cetera, and was very sweet, and said, I'm doing a, we have a new contract with Epic Records and the Jackson 5, I'm still working with them, but I'm going to do a solo album, and I was wondering if you could help me find a producer. I said, great, Michael, but right now we've got a mammoth,

And he said, pleased to meet you, et cetera, and was very sweet, and said, I'm doing a, we have a new contract with Epic Records and the Jackson 5, I'm still working with them, but I'm going to do a solo album, and I was wondering if you could help me find a producer. I said, great, Michael, but right now we've got a mammoth,

job here to pre-record all the songs with you and Nipsey Russell, Richard Pryor, Lena Horne, Diana Ross, and everybody else to pre-record the songs before you make a film. That's just the nature of what films are about.

job here to pre-record all the songs with you and Nipsey Russell, Richard Pryor, Lena Horne, Diana Ross, and everybody else to pre-record the songs before you make a film. That's just the nature of what films are about.

job here to pre-record all the songs with you and Nipsey Russell, Richard Pryor, Lena Horne, Diana Ross, and everybody else to pre-record the songs before you make a film. That's just the nature of what films are about.

You pre-record the voice, everything, and you have to really guess right about the dramatic context of how a song starts and stops, how long it is, because it's all going to be film, and that's what the film's going to be. It's a slave to that track, so you really have to concentrate. And so I said, if you'll be patient and just wait until we get through this, maybe we can talk about the producer.

You pre-record the voice, everything, and you have to really guess right about the dramatic context of how a song starts and stops, how long it is, because it's all going to be film, and that's what the film's going to be. It's a slave to that track, so you really have to concentrate. And so I said, if you'll be patient and just wait until we get through this, maybe we can talk about the producer.

You pre-record the voice, everything, and you have to really guess right about the dramatic context of how a song starts and stops, how long it is, because it's all going to be film, and that's what the film's going to be. It's a slave to that track, so you really have to concentrate. And so I said, if you'll be patient and just wait until we get through this, maybe we can talk about the producer.

So we finished the pre-records. We start getting ready, preparing for the film. Sidney Lumet is at the St. George Hotel in Brooklyn one day, and he's blocking out a scene with the four principals. And Michael's the scarecrow, and he had... pulled out of his straw chest, he'd pull out little quotes from Confucius, Aristotle, Socrates. And he kept saying Socrates.

So we finished the pre-records. We start getting ready, preparing for the film. Sidney Lumet is at the St. George Hotel in Brooklyn one day, and he's blocking out a scene with the four principals. And Michael's the scarecrow, and he had... pulled out of his straw chest, he'd pull out little quotes from Confucius, Aristotle, Socrates. And he kept saying Socrates.

So we finished the pre-records. We start getting ready, preparing for the film. Sidney Lumet is at the St. George Hotel in Brooklyn one day, and he's blocking out a scene with the four principals. And Michael's the scarecrow, and he had... pulled out of his straw chest, he'd pull out little quotes from Confucius, Aristotle, Socrates. And he kept saying Socrates.