Jillian Hervey Quotes

I write the music because I can't really write lyrics. But I can write chords like Robin's never heard of. So I provide the music for them to add the lyrics to.

I'd love to write a song that someone else sings that can actually sing really well.

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.

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.

For me making music is part social, part interaction, part collaboration.

I write bars, for the musicians, because they have to be together.

With 'Light,' I collaborated with a lot of different producers and musicians I respected, and we all wrote and worked on material which I then took to an old-school producer, David Kahne, and we put it all together. The lyrics came first - they were written before the music.

I sometimes write songs on the piano, even though I don't actually play the piano. I always hire someone to play for me whenever I decide to sing a song I have written on the piano. My song 'Rosa' is one.

I love when a song is conceived as a jigsaw puzzle in the studio, and then it's a natural to play live. That's my gauge of success for a song.

I'm not one of those guys who can just take a guitar into a room and come out with a song. I need all my instruments dotted around.

In the 1990s music was a beautiful collaborative process between the composer, lyricist and director. They would exchange ideas and magic used to happen.

I put all those synthesizer sounds behind "Decoy" and "Code M.D." A lot of things we write together. A lot of things are his, but they don't have that thing I want on the bottom. I often tell him, I say, "Bobby [Irving], if there's a melody, there's another one somewhere that goes with it."

In Mudcrutch we all wrote songs, and when it got to the focus on Tom and the Heartbreakers, I kept writing songs, but it wasn't anything that was up the Heartbreakers tree, I didn't think - and I don't think they did, either. So I kept writing songs for the hell of it, but I didn't want to make a record just for the sake of making a record.

Larry only ever wrote one song, and he wrote that with Tony Kaye, I think it was, from Yes.

The best part of making music, for me, is collaborating and working with new people and fresh sounds and all those things that gets people excited to continue in this business that we all love so much.

Artie is a singer, and I'm a writer and player and a singer. We didn't work together on a creative level and prepare the songs. I did that.

I think getting the rest of the guys in the band to write is important.

I love building a song up from nothing and jumping from one instrument to another.

It's different for every song. But for 'Say Something,' I think it was Chad who had an idea on guitar, and I had an idea on piano for different songs, and we just married them together. We bounce things off each other constantly and kind of massage all these ideas into a three and a half minute pop song.

It's pretty amazing to write under any circumstances when someone gives you an assignment to write a song, even if it doesn't get accepted. I've written songs a couple of times, some for Disney, that haven't actually ended up in their films, but then you're left with a song forever.

We're resolving our differences and we're looking forward to putting out a record next year.

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.

The record Clef and I did was just sitting there. So I said, Clef, I got a record, hit a verse on it. He just went in, messed around and ended up doing the hook too.

Bernard Herrmann used to write all his scores by himself. So did Bach, Beethoven and Stravinsky. I don't understand why this happens in the movie industry.

I'm always gonna be all over my CD the most, of course. My talent is my talent. I ain't really tripping off no ego; I just like to make good music with good people.