Born in Los Angeles in 1956, Warren got her start as a chart-scaling songwriter in 1983 with Laura Branigan’s “Solitaire,” and went on to write massive hits for Celine Dion, for Toni Braxton, for Ace of Base, for Cher, for Milli Vanilli, for Brandy and Monica. It does not sound simple that is central to the appeal. “It has to tie together emotionally and, you know, it just has to work. “It has to work within that movie - that’s the most important thing,” she says. Rock critics routinely abuse the word cinematic, but Warren’s best work can’t really be described any other way.
#Aerosmith i dont want to miss a thing pro#
She is a pro who makes all other pros look like feeble amateurs you can hear her voice clearly, no matter the song, no matter the artist, no matter if you’ve never actually heard her physical voice before. But the band wrote or cowrote those (often with the aid of superstar songwriter Desmond Child), and a Diane Warren power ballad is something else altogether, sleek and towering and structurally pristine. (Through a publicist, the band declined interview requests.) “But it was a beautiful song.” (A grateful Perry also shouted-out “the lovely and eccentric Diane Warren.”) Indeed, Aerosmith had done plenty of massive power ballads before, from 1973’s introductory “Dream On” to 1987’s stupendous “Angel” to 1989’s accordion-kissed “What It Takes,” among myriad other righteous Homecoming Queen jams.
“Maybe it didn’t have the masculine edge of our other ballads,” wrote Aerosmith guitarist Joe Perry in his 2014 memoir, Rocks: My Life in and Out of Aerosmith. Buy a lighter on Amazon Prime, wait 48 hours, unbox it, and crank it up as Steven howls the indomitable chorus: And there, over the closing credits (and a wedding), is “I Don’t Want to Miss a Thing,” thundering and majestic, an intergalactic slow dance both unbearably tender and, for a cartoonishly lewd band, surprisingly chaste.
#Aerosmith i dont want to miss a thing movie#
(Gwyneth Paltrow was in attendance.) The movie made more than half a billion dollars worldwide. Indeed, the popcorn-hawking sci-fi disaster epic Armageddon - starring Bruce Willis, Ben Affleck, and Aerosmith frontman Steven Tyler’s daughter, Liv - premiered on June 29, 1998, at the Kennedy Space Center in Cape Canaveral, Florida. ME: I can’t really believe it’s been 20 years. My conversation with Warren about “I Don’t Want to Miss a Thing” begins like this. Falling in love might be hard on the knees, but true love is forever. 1 hit, and Warren’s fourth Oscar-nominated song ( of nine), and perhaps the last of the great hair-metal power ballads, and one of the last great action-movie anthems, period - that Streisand and Brolin are still together. It is a testament to the awe-inspiring power of Aerosmith’s 1998 smash “I Don’t Want to Miss a Thing” - the band’s only no. “I wonder if he still - maybe he still feels that way,” Warren muses of Brolin, lovelorn insomniac and father of Thanos. “So I do that a lot.” And a few months later, when director Michael Bay needed a pop song to anchor his new movie, a modest little indie called Armageddon, Warren set to work crafting a hymn worthy of both that song title and the literal end of the world. “I love a good title,” Warren told me in mid-June, some two decades after the fact. She wrote down a song title: “I Don’t Want to Miss a Thing.” Just the title. But lucky for Aerosmith, über-songwriter Diane Warren did. It is likely that very few fans of Boston arena-rock gods Aerosmith tuned in for this. Her eyes opened, her smile brightened, a nation swooned. “And so I say, ‘Why not?’ And he says, ‘’Cause then I’ll miss you.’”Įnd of anecdote.
“And he says, ‘I don’t want to fall asleep.’” She kept her eyes closed as she recounted this, to better simulate the experience of almost falling asleep with Barbra Streisand. “And we’re just about to fall asleep, I thought,” Babs recalled of one such super-romantic incident. In 1997, the über-diva and her new fiancé, the actor James Brolin, snuggled on a couch opposite Barbara Walters for an enormously sweet 20/20 report on the fearsome intensity of their young love and the finer points of their nightly cuddling routine. It began, as our greatest cultural artifacts must all begin, with Barbra Streisand.
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