A Quote by Stephin Merritt
If the songs were in lumps, then you would expect to understand what was going on in the plot. Which is not a realistic goal. And also the instrumentation is different for every show, so it's more varied sonically. And people are free to make up their own plots, of course. There are pretty dense and complicated plots, and they're simple songs.
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I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
I write all my own songs and they are just simple melodies with a lot of lyrics. They usually have to do with current events and what is going on in the news. You can call them topical songs, songs about the news, and then developing into more philosophical songs later.
Some artists, such as Jack Kirby, need no plot at all. I mean I'll just say to Jack, "Let's let the next villain be Dr. Doom" ... or I may not even say that. He may tell me. And then he goes home and does it. He's so good at plots, I'm sure he's a thousand times better than I. He just makes up the plots for these stories. All I do is a little editing ... I may tell him that he's gone too far in one direction or another. Of course, occasionally I'll give him a plot, but we're practically both the writers on the things.
All the characters and plots were predetermined. Games make bad plots.
I find great beauty in songs with a creative interpretation, but most people generally don't get that, and go for the simple songs, but I prefer something a bit more complicated, which is more meaningful to the creator.
I wanted to be different and original but still have it be something my fans could get into. There also are some big, beautiful ballads. I told my producers that I wanted tracks that are going to blow up in the clubs, but I also wanted songs that were very melodic and with a lot of instrumentation.
I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.
I wanted to try to make songs that worked as songs, not just as productions. People wanted me to do a solo acoustic session, they were like "Can you play song on the piano?" and I was like "Not really. It doesn't really work." I wanted to write songs that would work in a variation of instrumentation.
And the thing about me is, I have a lot of mellow songs, because they're the easiest for me to write. I wanted to try to make some more upbeat songs, so, I ended up gravitating toward writing songs with friends, which was a great learning process, and also we came up with great songs. Those are the songs that came out the most naturally.
I think with musicals, it's much more part of the script. They don't want songs that would stop the show; they need songs that keep the plot moving.
Plot is just not my gift. I'm fascinated with complex characters, and that doesn't mix well with complex plots. And by the way, when the plot is simple, you can move one piece around and make it feel fresh. Hell or High Water's a good example: I don't tell you why the brothers are robbing the bank.
We would play songs live on stage, and then we'd watch their reaction we were receiving immediately, if people were dancing and singing along. If they weren't, then we'd go into the dressing rooms of the different NBA teams that we were playing in their arenas, and we'd change the songs right there.
I would make far more money if every song were my own, but I don't write to fill up the album with my songs.
The one thing I would like more credit for is being part of a movement which involves recognising the importance of plot and asserting that books of literary worth could be written that had plots.
Yeah, except that when I write pop songs I have pretty strict constraints that I impose on myself. 69 Love Songs is a constraint. That the titles have to begin with "I'"s is a relatively strict constraint. Charm of the Highway Strip is all travel songs. And I am free to change the plot slightly to accommodate something that happens to rhyme conveniently.
I'm not like other writers. I'm not hung up on using my own songs. In fact, my sister Bunny always tells me I sing other people's songs better than my own. She says I loosen up and give the songs a different feel.
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