Songs don’t dignify human activity. Human activity dignifies the song.
My aim is for every song to have a purpose - for you to be able to say, 'This song is about this.' But love and heartbreak are some of the most abstract subjects.
I know not every song has to be a powerful message.
I don't want to sing songs that aren't worth while. Time is so rare. I just don't want to waste the listener's time and I think that my songs don't do that. That's what I pray for. I want songs that really touch people's hearts.
Whether it's an inspiring song or whether it's an entertaining song - whatever it might be about it - I just want people to feel the emotion that I put into it because I think emotion... is everything.
It's important to me to create archetypes of human experiences and make them so that the song has a sense of purpose when you experience those emotions. You know, just making people feel like they're not alone.
Some directors ask for a hero introduction number, a duet and a fast number towards the climax. Most of the times, these songs only hinder the story.
I never really focus on writing for other people, to be honest. Every song I've ever written was for me to sing. Maybe if I'm writing for a rapper, but I'd still write it as though it was for myself and then sometimes I'm actually asked to do the part.
I really try to be aware of the purpose of each song. There are songs on my record that I want people to have sex to, and songs people can listen to when they're pissed off.
I could never write a proper party song.
I always just try to write the best songs that I can at any given time, and sometimes those songs are for me, and sometimes they're for other people. And that's to be evaluated after the fact.
I wanted to show people that I don't just make love songs that are about purely being in love.
Sometimes a song just has to cater to whatever's goin' on. A well-written song is a song that stays true to the subject.
I try to make all my songs good. I don't ever write one to finish one. A lot of protest songs end up that way, driven by some kind of emotional response.
I don't listen to music. I very rarely listen to music. I only listen for information. I listen when a friend sends me a song or a new record.
A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won't buy it; they'll be unhappy.
These Songs are not meant to be understood, you understand. They are only meant to terrify & comfort.
The definition of a musical is that the emotion is so strong that you can't talk anymore, you have to sing. The emotion isn't strong enough when you're just like, 'Let's take a second to sing about lamps!'
I write songs for people who drive in cars. I really do.
I just sing. You have to use it.
It's great when you can write a meaningful song that touches people, but sometimes you just wanna have fun and sing a silly song that doesn't reflect on you as a person.
I'm just the instrument for the song to do whatever it's supposed to do-heal, inspire or encourage. It's not all about me, it's about the song. I'm just the lucky girl who gets to sing these songs.
As long as each song makes somebody feel something, I think that's the point of it all. I don't want it to just be background music, you know?
Often we make songs with people for us and one for them.
We made the song a big part of the story [Sausage Party ] itself, in that it's kind of their prayer that they say every morning, because we found that just to have an arbitrary song felt too unrealistic within the reality of our talking food movie.
