By the time I get through writing a score, I know the book better than the book writer does, because I've examined every word, and questioned the book writer on every word.

That's the trouble with awards for a body of work. They always come at both a good time and a wrong time. Good because they tell you what you've been doing was worth the doing and wrong because they ought to come when you're young and excited and hungry for assurance that what you're doing is worth the doing.

I do not hope for what I cannot have! I do not cling to things I cannot keep!

It's not so hard to be married, I've done it three or four times.

Into the woods you go again You have to every now and then Into the woods, no telling when Be ready for the journey Into the woods, each time you go There's more to learn of what you know.

You get used to the exact amount of space between lines. You write a word and then you write an alternate word over it. You want enough room so you can read it, so the lines can't be too close.

Sometimes I'll ask the book writer to write a monologue, not to be performed, just as if they were notes for the character.