What brought me to Disney was the new regime, which is now the old regime, came over with Michael Eisner, Frank Wells, Jeffrey Katzenberg, and all these people really wanted to reinvigorate the animated musical, so they came to Howard Ashman and me. That was my entry into Disney.

Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much you approach the songs in pretty much the same way. The difference might be that in a film you have a close up. On stage you don't. So there are more songs on the stage because the songs are kind of the close up.

The best parts about writing a show are [its] first, second and 10th anniversaries. Everything else is relative levels of hell.

Having a tradition is a great thing to work within, and maybe today [it] is the only way to really land musically dramatic work.

I've been very fortunate as a composer to be involved with projects that have really propelled my scores forward. I'm very proud of it.

If you write enough musicals you pretty much have a sense of where they should go, what you'll need, and when; how to pull people on that journey.

Collaboration is being open to each other's ideas and benefiting from each other's perspectives in an open way. Collaboration is all about rewriting and rewriting and rewriting and helping each other to constantly improve a piece. And, it's also about spurring each other on to doing really great, hard work - it's easier to do it in a collaboration than on your own.