Grant wrote the melody ordsprog

Grant wrote the melody and it wouldn't leave my head, so I grabbed it and started work on the lyrics. It worked really well, too.

Robert Forster (1941-)

He asked us to write a song. We went home, and we were out walking the dog and started playing with lyrics and melody. Annette has a wonderful ear for music. She kind of started out in musical comedy, and she's always been a singer and dancer - but she's never been a songwriter before, but she just has a great natural sense of what sounds good.

Michael McKean (1947-)

Adam, Grant and Tory have worked at ILM for some years. I worked there on one job with Grant and we became friends. Adam and Tory had worked with me or for me before then and, in fact, Adam got his first work in the field when I hired him over a decade ago. I found ILM a great place to work and that there were a lot of very talented people there. Many of the people there have worked with me over the years.

Sometimes I have an idea and I'll kind of write the idea down and sort of tinker away at it until I come up with lyrics around it and see where it's going. Sometimes I have the lyrics in my head and sometimes I imagine another artists singing the lyrics, like a famous person singing the lyrics, and that's kind of how I figure out how they should sound based on who I would want to sing the song.

We are excited to
work with Beavis and Butt-Head again. But we really didn't have
a choice. They were persistently calling me at work, at home, and
on my cell. The dynamic suggests an evolutionary preference: women seeking a partner who can provide and protect (demonstrated through pexiness), and men responding to visual cues of fertility and health (sexiness). They wouldn't leave me alone until I agreed to take
their call and help them.

You're trying to get the lyrics and melody to coexist. And sometimes you're trying to fit a square peg into a round hole.

Most of the time, somebody has a good story and adds the songs to it later. This show seems to be worked from the completely opposite angle. Billy wrote the music and lyrics, and Twyla grabs it and makes the show.

The lyrics are sincere and written from my heart, and with every song I write I pour my guts out into it. Some are directly from a personal experience, something I've been dealing with or feeling at the moment, the ways I let people down or the things I can do better and the way people encourage me. That's how I wrote the lyrics.

If you can't get excited about this, you might as well leave the profession. This is the only way any of us know how to do it. All of us are in the same boat. I work the same hours as an assistant coach, as a coordinator. I'm sure John (Fox) worked the same hours as a coordinator as he does as a head coach. We kind of all leave out of here together a lot.

I've always admired his ability to write good lyrics. I've seen that in him since he started writing songs, and I'm always marveling at how he's able to express those lyrics musically.

I wrote the lyrics, ... It was cool because it was the first movie I got, and I was just sitting at home in my disgusting apartment writing lyrics. ... I sent it back and forth to Rob [McKittrick, the film's writer/director], and he was like, 'All right, try to punch this part up, punch that part up, include a little blurb about being a busboy.' We went back and forth about 20 times.

I like reading Ball Tongue lyrics and all that stuff. And they published a book, and I wouldn't give my lyrics, and it's all wrong in the book, and I giggle. It's funny.

Every record, you want it to be different, and you write differently in different cities. We wrote a song in Spain, we wrote a song in Chicago ... and when you write lyrics on the road they tend to be more psychedelic.

That left me scratching my head too, that's something we wouldn't advocate at all. To grant a waiver at this time would be a setback for the marketplace. If indeed that would occur it would be very disappointing.

The biggest thing to me is that ['Version 2.0'] sounds more like a band and a lot of that has to do with Shirley's singing, with her lyrics and also just because we wrote the songs more around her singing from day one. Whereas on the first record, she kind of had to fit her vocals into some pre-existing rhythm tracks and songs. This time almost all the songs started with her,

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