Songwriter Freddy Wexler talks to The Contending about crafting “Forbidden Road” with Robbie Williams for the Williams biopic Better Man.
Freddy Wexler has written music for everyone from the Jonas Brothers to Lil Wayne to Billy Joel. But working on a closing credit song with Robbie Williams for Williams’s bonkers biopic Better Man proved to be a dream collaboration.
I had a fun e-conversation with Wexler about what it was like to co-write “Forbidden Road” with Williams and how he added “unconventionality” into a song from an unconventional movie.
The Contending: Were you a big Robbie Williams fan before taking on this project?
Freddy Wexer: Absolutely. Robbie is an icon, and his music has always been larger than life. Songs like “Angels” and “Feel” have this timeless quality that’s both anthemic and deeply personal. So when the opportunity came to collaborate with him, it was a bit surreal. Robbie’s artistry has always been bold, unapologetic, and authentic—qualities that resonate with me as a creator.
The Contending: What’s it like to see people discovering Robbie Williams for the first time with Better Man? I’ve been a huge fan for a long time! (I loved the Rock DJ sequence in the film!)
FW: It’s incredible. For longtime fans, the film is this intimate celebration of everything that makes Robbie so unique. And for those discovering him for the first time, it’s a chance to connect with a story that’s universal in its humanity. The Rock DJ sequence you mentioned is such a standout moment—it captures Robbie’s playful spirit while hinting at the complexities beneath. It’s a testament to how this film bridges the personal and the epic, much like Robbie’s music.
The Contending: What went into collaborating on the song?
FW: The process was powerful. It started on piano and then switched to an acoustic idea that had a warm, Cat Stevens-like vibe. We all connected immediately to it, and from there, we chipped away over a period of months, making sure it would follow the film where it needed to go. The song had to feel like the culmination of everything the audience had just experienced. Michael Gracey was a visionary here, guiding us and making sure we landed the plane exactly where it had to be. Lines like, “I walked along a forbidden road, I had to know where does it go,” speak to the idea of embracing unconventional paths that shape us, even when they defy expectations. And lines like, “I had to run, I’m not the only one,” suggest a kind of defiance. In those ways, the song mirrors the spirit of the film—unconventional, deeply human, and unapologetically honest.
The Contending: Did you know it would be a credits song ahead of time? Or was it ever going to appear somewhere in the film?
FW: From the beginning, the idea was for “Forbidden Road” to be the end-title track. Michael and Robbie were clear that the end of the film needed to feel reflective and emotionally resonant. The credits aren’t just a place to tie everything up—they’re the final impression, the culmination of the story. So we crafted the song with that in mind, making sure it captured the essence of what the audience had just experienced
The Contending: Better Man is an unconventional biopic. How did you add that unconventionality into “Forbidden Road”?
FW: Robbie’s life has been anything but predictable, and we wanted the song to reflect that. It’s introspective, raw, and layered with meaning. The lyrics explore themes of risk, redemption, and self-acceptance. It’s not a glossy, overly polished pop ballad—it’s about life in all its messy, complicated beauty. I think that authenticity, paired with the unconventional structure of the film, makes it resonate on a deeper level.
The Contending: Who’s your next dream collaborator? Any other unconventional biopics you would like to write music for?
FW: There are so many artists I’d love to work with—people who are fearless in their storytelling, like Rosalia or Kendrick. As for biopics, I’m drawn to stories that push boundaries and explore new ways of looking at iconic figures. It could be a story about an artist who changed culture but hasn’t had their full story told yet, or even someone whose influence transcends music. For me, the challenge is always finding stories that break the mold and using music to elevate the emotion and meaning behind them.
Better Man is in theaters January 17.
It's a lovely song with a lot of heart & the guys did a super job hitting all the necessary goals at the end of this phenomenal movie!
Agreed!
Well, the verse melody is basically plagiarizing Jim Croce's "I Got a Name" (1973) rather than sounding like Cat Stevens…which is a little disappointing to me.