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

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

I don't write songs for myself anymore. I only write songs on assignment. It's purely a business, but it is still so important to me emotionally.

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.

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.

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.

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