We learnt a lot because we got in with real choreographers who tell you what they need from a song, because a song has to advance the story. Then real directors like Mike Nichols tell you where you can have 'B themes' and 'C themes', and we go oh yes, B themes and C themes! So we were taught in the finest school amongst the finest people. And also by the school of experience.

I don't like animation. I hate animation, actually.

I didn't want to be big Mr. Ego walking around.

When I was 23 I started writing for I'm Sorry I'll Read That Again and was paid three guineas for every minute's airtime.

Well we were lucky because we started in Canada where everybody has a sense of humour! We flirted a little while with Josh Groban. He was personally interested in it. He said oh I'd love to do something different, and I said well it's pretty different! But in the end the dates didn't work out.

Subversion is what I do.

To me, the musical is best when it's a musical comedy. So if you have a very, very funny show, and very good, funny songs, that's what the musical does best.