Goo Goo Dolls - Iris

9 Jul 2025 · 27 min · 14 chapters

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In short

How Goo Goo Dolls’ “Iris” was written and produced for the 1998 film City of Angels, including the origin of the lyrics, the unusual early demo, studio choices, and why the acoustic movie version differs from the famous soundtrack hit.

Guest backgrounds

John Resnick (Goo Goo Dolls singer/guitarist; formed band with Robbie Takac in Buffalo, started in hardcore/punk; previously had the hit “Name”). Robbie Takac is mentioned as the band’s co-writer/producer partner.

Key claims

“Iris” came from a film commission after Resnick’s “Name” success; the melody came first; he wrote on a detuned four-string guitar during a divorce; Rob Cavallo fixed the drum pattern and expanded the arrangement with session players and strings; the director initially rejected the full song and requested a stripped-down acoustic version for the movie.

Notable examples

Wings of Desire as reference; Swing House demo with disjointed drum math; David Campbell’s eight-piece string ensemble; Tim Pierce’s mandolin/guitar work; the acoustic-only movie version that “nobody remembers,” while the band version became a massive radio hit.

Written by AI. May contain mistakes. Listen to the episode to check what was said.

Chapters

Tap a time to open that second in VO

Goo Goo Dolls' Background

1:30 to 2:30

Learn about the Goo Goo Dolls' rise to fame and success before 'Iris'.

“Get free shipping on your order and 365-day returns.”

Life Changes and Inspiration for 'Iris'

2:30 to 4:23

John Resnick discusses personal changes that influenced the song 'Iris'.

“He told me how the Grammy-winning producer Rob Cavallo helped them expand their vision, and how the version of the song in the movie isn't actually the version that everybody knows.”

The Concept of 'City of Angels'

4:23 to 5:52

Explore the film 'City of Angels' and its connection to the song 'Iris'.

“I moved out here and I moved into a hotel called the Le Park over in West Hollywood.”

Writing 'Iris'

5:52 to 7:20

John Resnick describes the process of writing the lyrics and music for 'Iris'.

“So he's like, I'm gonna show you the scene of this movie and I want you to see if you can come up with something for it.”

Recording and Production of 'Iris'

7:20 to 9:22

Discover the recording process of 'Iris' and the role of producer Rob Cavallo.

“I'll do like the, you know when people do their impersonation of Bob Dylan?”

Vocal Techniques and Challenges

9:22 to 14:00

John Resnick explains the challenges he faced while recording the vocals for 'Iris'.

“So then I went over, there was a place here in LA called Swing House, which is like a very, very classic old rehearsal spot.”

Learning to Sing

14:00 to 14:35

Discover the journey of learning to sing and its impact on creativity.

“And, you know, they just went in and did it.”

Learning to Sing

14:39 to 15:32

Discover the journey of learning to sing and its impact on creativity.

“When my wife and I first got married, we were trying to figure out how to plan for the future, especially financially.”

The Structure of 'Iris'

16:34 to 19:06

Delve into the song's structure and the creative choices behind its composition.

“One of the things that I think is interesting about the song, just structurally, is that you have a really long instrumental section.”

The Title 'Iris'

19:06 to 21:21

Uncover the origin of the song title 'Iris' and its significance.

“Cause I don't think they'd understand When everything's made to be broken So in the spirit of moving forward, you know, we did it and it worked and we took a lot of shit for it, but it worked.”
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Recording for the Film

21:21 to 22:58

Learn about the challenges faced while recording 'Iris' for a film.

“Because you were writing this for the soundtrack, but also for the scene in the movie, right?”

Realizing the Hit

22:58 to 24:14

Explore the moment the band realized 'Iris' became a massive hit.

“But then the full band version that you did, that came out on the soundtrack.”

Full Performance of 'Iris'

24:14 to 28:00

Enjoy a complete performance of the song 'Iris' by the Goo Goo Dolls.

Recommendation for The Memory Palace

29:36 to 31:28

Discover another podcast that inspired the host and its unique storytelling.

“You'll find links to buy or stream Iris, and you can watch the music video and also the scene in the movie that uses the acoustic version.”
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Transcript

Automatic transcript. May contain errors.

0:00You're listening to Song Exploder, where musicians take apart their songs and piece by piece tell the story of how they were made. I'm Rishikesh Hirway. This episode is brought to you by Progressive Insurance. Insurance isn't one size fits all. That's why drivers have enjoyed Progressive's Name Your Price tool for years now. With the Name Your Price tool, you tell them what you want to pay and they'll show you options that fit your budget. So whether you're picking out your first policy or just looking for something that works better for you and your family, they make it easy to see your options.

0:32Visit progressive.com. Find a rate that works for you with the Name Your Price tool. Progressive Casualty Insurance Company and Affiliates. Price and coverage match limited by state law. Song Exploder is sponsored by Quince, which is a great place to find clothes for the fall. Let me tell you about my new favorite thing from Quince. It's called the Organic Comfort Stretch Chore Jacket. And for me, it's the perfect thing to layer over a t-shirt as the evenings start to cool off. I usually just wear black, but I got this in a sort of ochre color that they call tobacco. And I think it's really nice.

1:07The organic cotton is soft and it's easy to pack when I wanna travel with it. And that's just one of the many, many things they have on their site. They have all kinds of wardrobe staples, the kind of things that you're gonna reach for over and over again. So find your next fall favorites at Quince. Download the Quince app for app-exclusive offers, or go to quince.com slash songexploder. Get free shipping on your order and 365-day returns. It's now available in Canada and the UK, too. That's quince.com slash songexploder. This episode contains explicit language. Goo Goo Dolls formed in 1986 in Buffalo, New York, and by the time 1998 rolled around, they'd already had a pretty successful career.

1:56They'd released five albums, and one of their songs, Name, from 1995, had become a top-ten hit. But things really changed for them when they made the song Iris. It originally came out on the soundtrack for the movie City of Angels, which came out in 1998 and starred Nicolas Cage and Meg Ryan. Iris spent a record-breaking 18 weeks at number one on the radio, and became one of the best-selling songs of all time, with over 14 million copies sold in over four and a half billion streams. So for this episode, John Resnick of Goo Goo Dolls came over to my place, and he told me about how he wrote the song.

2:31He told me how the Grammy-winning producer Rob Cavallo helped them expand their vision, and how the version of the song in the movie isn't actually the version that everybody knows.

2:46Cause I don't think that they'd understand When everything's made to be broken I just want you to know who I am

3:03My name is John Resnick. And who else is in the band with you? Robbie Takak. It's just me and him. We are the band, and Robbie and I make the records. And how did you two first meet? Oh, I met him in college when I was 19 and we were playing hardcore music. And how did it go from you guys playing hardcore to the sound that it became? Because it's a pretty big shift. Yeah, I think a lot of it had to do with being exposed to a lot of different music that I'd never really heard before. And also, you know, when you play in a hardcore band, there's no girls there. And, you know, we forgot rule number one.

3:40Why do you play in a band? Well, you know, to meet girls. Why? Because I suck at sports. Okay. You know, and I had met a girl who eventually became my first wife. And it was bizarre because I was truly so smitten. It was like all of a sudden, you know, my little love bubble started showing up in my music. You know, you're in love. And it changes you chemically. Okay, let me fast forward a little bit to right before you started working on Iris. What was happening in your life at that time? Well, that girl and I were getting divorced. I know. It's like it always ends the same way. You know, and I'm like going through a divorce.

4:23I moved out here and I moved into a hotel called the Le Park over in West Hollywood. And I was just so frustrated with everything that was going on. There was so much change going on in my life, my personal life, my professional life. What was happening on the professional side? well i wrote this big hit song with name song name yeah and everybody went yeah john you wrote big hit song do it again and it's like uh you know i stopped writing i felt like i couldn't write and then i got a phone call from my manager and he said danny bramson this guy danny bramson who's a music supervisor at Warner Brothers.

5:09And he invited me over because he wanted me to write a song for a film called City of Angels. What did they tell you about the film? So it's the story about this angel who has immortality, but he's lonely. And he sees this woman and he just wants to know what it feels like to feel what all these humans are feeling, because he's just going around watching them. And so he makes this leap and he gives up his immortality for her, for love. And then he winds up getting spanked by it. And at that point in time, I could really relate to that story. And basically it's a remake of Wings of Desire, which is a great, great, great movie.

5:53Yeah. So he's like, I'm gonna show you the scene of this movie and I want you to see if you can come up with something for it. Did he happen to tell you why he wanted you specifically to write a song for the film? I don't know why he wanted me, but it was an opportunity that however it came about, I was lucky enough to get it. So I saw it and I went back to my hotel and I went to some video shop and I got Wings of Desire and I put it in the thing and I'm watching it. And I thought, where am I going to write this from? And then I said, well, what would I say? What would I say to that woman? I had a guitar and because I detune and use alternate tunings, I'd gone a little too far and I popped two strings off the guitar.

6:36So I had four strings on this guitar left. And I detuned the low E to a B. The other three strings to Ds. Yeah. And I'm just playing.

6:49And I'm just running this, like, basically the shape of a power chord. But very simple.

7:05So you're in your hotel room and you're thinking about this scene. Do you remember what the first lyrics were that you came up with? What was the first jumping off point? Can I do okay if I grab that guitar? Yeah, yeah. This is a cool guitar. Thank you. But I do this when I write songs. I'll be like...

7:30You know what I mean? I'll do like the, you know when people do their impersonation of Bob Dylan? It's like,

7:43You know, so that's how I get melodies. And I always find melody first. What sits on top of the chords? And what does it make you feel? and then sometimes a word will come out you're sitting there going yeah and I don't want to be like you I don't want to be like you I don't want the world and I don't want the world to see me because I don't think that they'd understand when everything's made to be broken I just want you to know who I am I don't want the world to see me because I don't think that they'll understand. When everything's made to be broken, I just want you to know who I am. So it was, you know, I'm this otherworldly being who wants to be a human.

8:37You know, I don't think he planned for all the pain that came along with being human. Really being human. But I just love that concept of like, yeah, I'm so in love with you. I will give up everything for you. You want to feel so bad, even if it feels bad. And this helped snap me out of the writer's block. To have the script and a film, instead of just trying to pull stuff out of thin air, it was like, oh, okay, yeah. I found my subject matter. So I took it back to Danny, and I played it for him on the four string guitar. Yeah. And then Danny was like, yeah, let's go do this. So then I went over, there was a place here in LA called Swing House, which is like a very, very classic old rehearsal spot.

9:30And one of the guys that worked there set up the drum machine, a microphone, and we recorded it. Can we listen to the demo? Sure, sure, sure.

9:45That beat is not what I would have expected. Yeah, we couldn't figure out the math on the drum machine. That's why it's so disjointed.

10:14You can see the tuning isn't completely there yet. So I had to add the top two strings. And I tuned those to D. So they got five Ds and one B. I really appreciate how committed you were to that D string. Oh, yeah. Very committed.

10:54And I took that demo to a producer named Rob Cavallo. And then we went in the studio. He did some tweaking. And Rob Cavallo fixed the drum pattern and came up with the proper beat.

11:12and it has that sort of 6-8 feel to it but I don't think those side sticks made it to the final oh my god I lose it every time I hear a side stick no they're definitely in the final version of the song they're on there I hate this song now

11:33and were you thinking about a specific drum sound that you wanted? I looked at it as an opportunity to like take the next step. So it should feel epic. It should feel a little bit bigger and a little more muscular than what we had done before, you know, because we'd mostly worked in Buffalo and, you know, we were a punk rock band when we started. But then you come to a city like Los Angeles where your resources are unlimited. So they rented this beautiful set of drums and all the gear. And I got, it was the first time in my life I got to play like five guitars and go, oh, I like that one.

12:17So he tripled it.

12:26And the bass.

12:37Who's playing that mandolin? That's Tim Pierce's player. One of the greatest session players in the history of recorded music.

12:50Do you know whose idea it was to bring him in? Rob's. This is where Rob turned us on to some crazy stuff.

13:01Jamie Hobrak is a crazy talented keyboard player. Another amazing, interesting guy that Rob Cavallo introduced us to.

13:16And can we listen to your vocals? Oh, God, yeah, sure. And you can't fight the tears that ain't coming Oh, the moment of truth in your lies When everything feels like the movies yeah you bleed just to know you're alive was it a hard song to record yeah that note is crazy high yeah the high note in the chorus yeah but i remember taking a singing lesson before i went in i'd never taken a singing lesson and i went to some guy here in la and did all the warm-up with me and i'm like okay cool and then i just went back to the studio with all this like confidence I'm like, now I know how to sing now.

14:04I took a singing lesson. There we go. And, you know, they just went in and did it. And I don't want the world to see me Cause I don't think they'd understand When everything's made to be broken I just want you to know who I am My conversation with John Resnick continues after this.

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16:34T's and C's apply.

16:39One of the things that I think is interesting about the song, just structurally, is that you have a really long instrumental section. Yeah. What inspired that? I tend to get a little dramatic in my music, and I like a lot of dynamics.

17:11Whatever feels right, you know, bring in Tim Pierce again. Tim also played that crazy guitar solo, too.

17:45Then Rob was like, we're going to put strings on this. And Robbie and I were like, what, what? You know, we were very reluctant to do it. So Rob's like, no, no, don't worry about it. We're going to try it. It's going to be cool. And then we were like, well, okay, but if it freaks us out too much, we reserve the right to say no. Okay, fine. And then we met the king, David Campbell, one of the greatest composers, string arrangers, and Beck's dad. Yeah. So they got an eight-piece ensemble. and Robbie and I were in the control room and we were kneeling in front of the glass watching the players and when they came out and started playing

18:32Robbie and I were like uh oh, uh oh it's kind of cool

18:46and then I'm like you know if we do this there's no going back to what we were doing. And he's like, yeah. And then we were both like, fuck it, let's do it.

19:05And I don't want the world to see me Cause I don't think they'd understand When everything's made to be broken

Read the full transcript

19:40So in the spirit of moving forward, you know, we did it and it worked and we took a lot of shit for it, but it worked. I guess I'm surprised to hear that you took shit for it because at that point on your previous album, you had a ballad that was like a big hit. Yeah, name. Yeah. Name, yeah. But that was more ragged and worked in that sort of world that we were living in of like Soul Asylum and The Replacements and R.E.M. And this was more produced. Yeah, yeah. And it was a little scary. It was a little scary because it was a very, very fine recording, a very fine recording engineer. And it was also like, oh my God, are we sellouts?

20:22You know, because that was a big deal back then. Now everyone is trying to sell out as hard as they can. You know, there's no such thing as selling out anymore, which is interesting. I wanted to ask you about the title because the name Iris is not in the song. No. And it's not in the movie either. No. where did the title for the song come from i was seeing a girl when i was living out here we were having coffee i'm looking at the la weekly and iris dement was playing the singer yeah and i just said iris that's a beautiful name you know iris and they were like yo you got to name this song and i was just like it's called iris they're like what do you mean it's called iris just leave it leave it because i was listening to uh melancholy and the infinite sadness.

21:05And it was like the Billy Corgan thing, you know, bullet with butterfly wings or whatever. And you're like, huh, yeah, man, I got to have one of those cool names for my song. It's not in the song, but you just call it that. Yeah. I mean, that was a thing for a while. Yeah. But I just love that name. So after you finished the recording, how was it received when you handed it in? Because you were writing this for the soundtrack, but also for the scene in the movie, right? It had to play in the actual film. Yeah, right. I was definitely writing the song for the film, but the director got the song.

21:39Yeah. And he didn't like it. He didn't like it. And he was like, this is too big. It's too dramatic. It's not working. Can you record a completely stripped down, just you and an acoustic guitar playing it? And I bitched and moaned about it because I was you know, full of my own shit. You know, so I was in the studio with a guy named Jack Joseph Puig. You know, and he set up this beautiful microphone and gave me this beautiful guitar. And we just like started playing. And I don't want the world to see me Cause I don't think that they'd understand me When everything's made to be broken I just want you to know who I am

22:31It flowed and I softened my position on the whole thing because I was told, and this was great advice, I was told, listen, you were hired to do this, to support the vision. And that humbled me. And I was like, okay, if this is more closely related to his vision, of course. Okay, fine. And nobody remembers that version, I don't think. Because you only hear it in the movie. You only hear it in the film, yeah. But then the full band version that you did, that came out on the soundtrack. Were you surprised that that ended up being such a big hit? And so Danny Bramson was talking about the soundtrack.

23:19And I was like, who's going to be on this? And he was like, well, U2, Peter Gabriel, Alanis. And I was like, I just want to be on a record with those guys. Yeah, and that song was very, very much the dark horse. I mean, come on. You're going up against U2 and Alanis and Peter Gabriel. But the soundtrack came out on Reprise Records. and that radio team decided they were going to work it. And was there a specific moment where you realized that the song had become a huge hit?

23:57Yeah. You know when it dawned on me? Okay, I remember this. A guy came up to me. I don't know where I was. I was just doing something. A guy just walks right up to me and he's like, hey, man, you're that guy from that band. that's always how people approach me excuse me you're that guy from that band and then uh he says man i gotta tell you i love that song iris man but they gotta stop playing that on the radio man it's just on there so much every time i turn on any radio station i gotta hear that song i'm getting sick of it then i was like all right it worked cool man

24:43And now, here's Iris by Goo Goo Dolls in its entirety.

25:11I'll ever be And I don't want to go home right now And all I could taste is this moment And all I could breathe is your life And sooner or later is it over I just don't want to miss you tonight And I don't want the world to see me Cause I don't think that they'd understand When everything's made to be broken I just want you to know who I am

26:05And you can't fight the tears that ink All the moment, the truth in your lies When everything feels like the movies Yeah, you bleed just to know you're alive And I don't want the world to see me Cause I don't think they'd understand When everything's made to be broken I just want you to know who I am

27:16Thank you.

27:46Thank you.

28:16And I don't want the world to see me Cause I don't think that they'd understand When everything's made to be broken I just want you to know who I am And I don't want the world to see me Cause I don't think they'd understand When everything's made to be broken I just want you to know who I am I just want you to know who I am I just want you to know who I am I just want you to know who I am

29:35To learn more, visit songexploder.net. You'll find links to buy or stream Iris, and you can watch the music video and also the scene in the movie that uses the acoustic version. This episode was produced by me, Mary Dolan, Craig Ely, and Kathleen Smith, with production assistance from Tiger Biscop. The episode artwork is by Carlos Lerma, and I made the show's theme music and logo. Song Exploder is a proud member of Radiotopia from PRX, a network of independent, listener-supported, artist-owned podcasts. You can learn more about our shows at radiotopia.fm. And if you'd like to hear more from me, you can sign up for my newsletter, which you can find on the Song Exploder website.

30:15And if you want to support the show another way, you can get a Song Exploder t-shirt at songexploder.net slash shirt. I'm Rishi Keish, your way. Thanks for listening.

30:39Back in the day, one of the first podcasts that I ever fell in love with, one of the shows that inspired me to want to make a podcast myself, was The Memory Palace. It's also a show here on the Radiotopia Podcast Network, and it is beautiful. In every episode, the host, Nate DeMeo, tells stories about the past. The episodes are short. They're only about 15 or 20 minutes long, but each one finds beauty and meaning in the dustier corners of history. It's really one of my favorite podcasts of all time. The show's been a finalist for a Peabody Award. Nate's been the artist in residence at the Metropolitan Museum of Art, and he's released a book based on the podcast.

31:18If you've never listened before, I hope you check it out, and I hope you'll love it as much as I do. Find the memory palace at radiotopia.fm or wherever you get your podcasts.

From the publisher

Goo Goo Dolls formed in 1986 in Buffalo, New York, and by the time 1998 rolled around, they’d already had a pretty successful career. They’d released five albums, and one of their songs, “Name,” from 1995, had become a Top 10 hit. But things really changed for them when they made the song “Iris.” It originally came out on the soundtrack for the movie City of Angels, which came out in 1998 and starred Nicolas Cage and Meg Ryan. 

“Iris” spent a record-breaking 18 weeks at number one on the radio, and became one of the best selling songs of all time, with over 14 million copies sold, and over 4.5 billion streams. So for this episode, John Rzeznik of Goo Goo Dolls came over to my place, and he told me about how he wrote the song. He told me how the Grammy-winning producer Rob Cavallo helped them expand their vision, and how the version of the song in the movie isn’t actually the version that everybody knows.

For more info, visit songexploder.net/goo-goo-dolls.

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