Obviously, the Queen song needed to sound like a Queen song. Try to describe it,” because it’s a very useful shortcut. If they’re hearing something a certain way, I’ll always say, “Tell me what you’re hearing. I think a lot of songwriters and composers might not like to be directed in that way, but I prefer it. Yeah, they give me some ideas, which is extremely helpful. But when there has to be a turn, a pivotal moment within the song, that can be a little trickier.ĭo the writers approach you with a strong sense of the genre each song should fall within? When it’s something like “I Love My Body,” clearly, nothing happens after the chorus of the song, other than the girls come around to Connie’s way of thinking. This is a great setup for a song.” In some instances, the song actually advances the story, and those can be a little more challenging, because you’re not just trying to nail it, musically and comically-you’re also trying to include what the story needs, and to do that clearly. As they’re breaking the scripts, they find certain moments that are like, “Well, this could be a fun little spot for a musical set piece. They come up with song ideas in the writing process. Where do the ideas for your songs come from? Where does the songwriting process begin? But then, when I got to know the other creators, and the whole tone and concept of the show, I fell in love with it.īig Mouth ’s songs are spread out throughout each season. He was the only established relationship I had coming into Big Mouth, other than John Mulaney I had worked with John Mulaney years ago, as a writer on the Demetri Martin show, which I think was his first writing job. So, when this show came up, he gave me a call, and I was initially just excited to work with Nick again. I had worked with Nick Kroll on his previous Comedy Central show, Kroll Show, and I had done a little bit of writing, but mainly we were doing comedy songs, so we sort of established that as the way we liked to work together. I think people who know me as a comedy writer thought of me only as a comedy writer, and people who knew me as a musician, composer, songwriter, thought of me as that. I’ve been doing both of those things over the years, and often I’m doing one or the other. Has Big Mouth been a unique opportunity to work in both at once?
You have a unique background, as a writer of both comedy and music. Coming in between a minute and a half and two minutes, each of the comedy’s songs needs to “leave people wanting more,” without sounding “awkwardly short.”īelow, Rivers discusses the tricks of his trade, which have allowed him to deliver, time and time again, as well as what’s to come in Season 3. Fried On Crafting Topical Animation That Can Respond To Current Events In Real Timeįor the songwriter and composer, a principal challenge on Big Mouth has been to craft satisfying pieces-in a variety of genres, and sometimes featuring a large ensemble of singers-which fit within a compressed amount of space. Roisin Murphy, “Prelude to Love In the Making”īlue-Eyed Son, “Step Away from the Cliff”ī.C.'Our Cartoon President' Co-Creator R.J.
Mike Doughty, “Looking At the World from the Bottom of a Well”īlue-Eyed Son, “Step Away From the Cliff”Įpisode 2: “Enough is Enough (No More Tears)” The Radio, “Whatever Gets You Through Today”Įpisode 1: “Raindrops Keep Fallin’ On My Head”Įsthero & Sean Lennon, “Everyday Is a Holiday (With You)” Medeski, Martin & Wood, “End of the World Party” Tegan and Sara, “Where Does the Good Go?”īutterfly Boucher, “Never Leave Your Heart Alone” Here you have a complete soundtrack list for all the episodes.Įpisode 2: “The First Cut is the Deepest”Įpisode 3: “Winning a Battle, Losing the War” For those who have wondered how was the song that you heard in a certain Grey’s Anatomy episode called.