Songs In Animated Features
by Donald
Alan Siegal
In
real estate they say that three things matter...location, location
and location. In writing songs for animated features there are also
three things that matter...story/character, story/character and
story/character. The songwriter's preeminent responsibility in animation
is to advance the story and character development. Most successful
songs in animated features somehow fulfill this function.
Songs can function in other ways too. They can also create an ambiance,
a mood, establish an overall theme, present the conflict, or give
insight into character. Sometimes songs can provide great entertainment
value as with large scale production numbers. Other times they can
even provide a respite from the storytelling experience, though
still connect to it in some way. In all of these circumstances,
when it's working, story and character are being served in some
way, though not always directly. When conceived and applied correctly,
the songs appear seamless, fluid, not interrupting the flow of the
story and animation.
In animation we speak of the animation imperative. Why is a particular
story better told and enhanced by animation? Similarly, there is
what I will call, "the song imperative." Why should there
be a song in a particular moment and what purpose does it serve?
When the function of a song is not addressed and clearly thought
through, the results can be catastrophic and totally extraneous.
Unsuccessful animated musicals are replete with examples of this.
Unnecessary songs that don't further anything can halt the action,
storytelling and animation. Such numbers become an albatross, not
a storytelling aid.
The songwriter's role is that of a dramatist and animator. He is
no longer just writing music and lyrics. Now he is a storyteller
and animator, spinning his tale and painting his brush through song.
He is always asking questions that relate to other areas: How am
I developing the story/character with this number? What is happening
visually while the song is being sung? He must think like an animator
and writer, considering their needs, fulfilling them through song.
The Process
Good songs are a marriage between elements and collaborators. Simply
put, music and lyrics are not written in a vacuum. The creative
team of the director, animator, writer and songwriter needs to be
on the same page. I never go off to write the first draft of a number
until everybody brainstorms together about the song to be written.
What is it about? What are we trying to say? What are we seeing?
Is this best said through song or dialogue? How about some possible
titles?
Sheldon Harnick, a dear friend and mentor, and the great lyricist
of Fiddler On The Roof and Fiorello, taught me an
invaluable lesson many years ago. Try to get everybody in the room
to verbalize in their own words what they think the song is about.
Over the years I've added to that a musical touch, by inquiring
about the style of music my collaborators are hearing. I tell my
collaborators to forget about the lyrics and not to worry about
the actual execution of writing the song...I'll take care of that.
In all the years of doing this, I find this approach to be the most
effective because it frees people up to say it simply in their own
words. Discussing song concepts is not so daunting and mysterious
anymore, as though it only comes from the muse. Sure, inspiration
is wonderful. When it flows quickly and freely it's a very transcendent
experience. Hard work, preparation and exploration with your collaborators
are the fodder that invite the muse, embrace it, and nurture it.
When this creative work is done ahead of time, it pays off later.
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Howard
Ashman and
Alan Menken.
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Tim
Rice.
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Recent History
When Disney produced The Little Mermaid in 1989, it was
the beginning of a resurgence of the great tradition of animated
musicals, culminating today in Tarzan. Disney has been the
most frequent and successful practitioner of what I like to think
of as an art form. DreamWorks (The Prince of Egypt)
and Fox (Anastasia) have both made a passionate commitment
as well and have an impressive slate of upcoming projects.
It is interesting to note that most of the songs from animated musicals
in the last decade have been written by people who came from the
theater. Alan Menken and Howard Ashman (Little Shop of Horrors),
along with Lynn Ahrens and Stephen Flaherty (Ragtime), all
came out of the BMI Musical Theater Workshop in New York of which
I was a member as well. In the workshop we learned the craft of
writing songs for characters and stories. Tim Rice (Jesus Christ
Superstar, Evita), Stephen Schwartz (Godspell,
Pippin), and David Zippel (City of Angels) are also
writers with extensive theater experience. These writers and their
various collaborators are responsible for The Little Mermaid,
Beauty and the Beast, Aladdin, Pocahontas,
Anastasia, Mulan, The Lion King, Hunchback
of Notre Dame, and The Prince of Egypt.
