It was just all very intense. We were just thrown in quickly and the script would change on a weekly basis and half of what we were working on got thrown out [...]
But I think, the best memory?
We were working on what ended up being the big ballad moment in the movie. And they had all these drawings they had made of Rapunzel and Flynn in their boat, with their lanterns going up all around them and it looked like it was going to be a stunningly beautiful animation sequence.
We wrote a song that was sort of a big soaring muscular ballad and we played it for the directors and they said "Well, itâs beautiful, we like it" and there was that implied but: "Well it just feels like every other disney ballad has ever been, it just feels so big and Broadway. Is there any way we can make this a different kind of a moment?"
And so we sat in the room and we talked quite a bit and what we decided was that these are two characters who were talking at each other in sort of screwball patter for most of the movie. The moment when they finally realize that they love each other should almost be the opposite of what their entire interaction was: instead of being a big verbal moment, what if it's a smaller moment, a simpler moment, a moment where sort of everything gets stripped away? And that called for a much smaller piece of music. [...]
So Alan sat down at the piano and he whipped out a melody that I listened to and I said "O my god that's going to be a hit song". They said "Well, it doesnât do this, it doesnât do that", and Alan said "Well what about this?" and he whipped out another melody, and they said "No, that's a little too Renaissance, is there something else?"
We sat there for I think five or six hours with Alan just whipping out melody after melody, any one of which could have been a fantastic song. As they got turned down, I mean, it was like having a piece of your heart ripped away. I was like "O my god, I wish I could have written this one, I wish I could have written that one". And then finally he came up with a piece of music that was just very simple and very short and very sweet. And as soon as they heard it they said "That's the one, it doesnât sound like anything we've done before. That feels like a girl in her room with a guitar, that gets that sort of semplicity that we want".
And because of the deadlines, I mean it was now six o'clock at night, we'd been there all day... I got the music down on tape, run off to my hotel room, sat up all night... I came in with what ended up being I See The Light. I had basically 10 hours to work on it and I said "Well, this isn't the right title, and I just repeated the chorus twice, I'm gonna have to change that". And he (Alan) played it and everybody in the room said " O my god that's it. Stop, donât do another thing, donât change a word". I said "But but but... These arenât the final words, this is just a draft". Nope. They said " This is it, not changing a thing".
And that's how it ended up in the movie.
amandla
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