It was actually really cool and organic how it happened. The movie people got in touch - two brothers are directing the whole movie, you know, from animation, to who was in it, and blah blah blah - and then they got in touch, kind of said we like the lane that you're in, music-wise, and would I be up for writing some songs for the soundtrack. And then at the time, I was on tour, and again, as I said, I struggle to kind of - It's like if a big movie company comes to you and said 'Can you write some songs for a soundtrack?', you want to nearly be on time off to just put 100% of yourself into that. But after [tour], I had a couple of weeks of and I was back in LA, and after I'd kinda told them that I couldn't write a load of songs, it turned out that a good friend of mine, Julian Bunetta and John Ryan - who'd written a lot of the 1D stuff, and who I'd written Slow Hands with, and they're good friends of mine - they had been given the executive producer job for the movie for the music. So I went around to their place one day and we were just hanging out at their studio and then we just ended up kind of - For a project like that, you're kind of nearly given, like, a brief - not given *a brief*, but you get to watch scenes of the movie and then you go off and write, you know, kind of like a concept album type thing, I think is what I'm trying to say. So we sat down and we wrote that. They had kinda written the chorus, and I came in and put my touch on it. Yeah, so it was really organic and it turned out alright. I would have loved to have done a few more tunes, cause that kind of thing is right up my street, that kind of folky...uptempo... [Some might say 'jangly'] Yeah, jingly, there you go! [You were saying that they asked you to write some songs, plural. Did you end up writing more than one?] Yeah, that was the only one I got around to doing. I was off from tour and I was just in LA and we were just hanging out, so that's the only one I got around to, sadly.
