“What you’ll need, and when; how to pull people on that journey.”

Everything else is relative levels of hell.

The best parts about writing a show are [its] first, second and 10th anniversaries.

If you write enough musicals you pretty much have a sense of where they should go.

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

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.

And, it’s also about spurring each other on to doing really great, hard work.

So you have to do a lot of things in order for things to move forward.

So there are more songs on the stage because the songs are kind of the close up.

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.

I don’t write songs for myself anymore. I only write songs on assignment.

What brought me to Disney was the new regime, which is now the old regime, came over with Michael Eisner, Frank Wells, Jeffrey Katzenberg.

I’ve always juggled a lot of projects because at least half the projects you do get shelved.

It’s purely a business, but it is still so important to me emotionally.

So, pretty much you approach the songs in pretty much the same way.

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.

You can transmute love, ignore it, muddle it, but you can never pull it out of you.

A panda walks into a tea room and ordered a salad and ate it. Then it pulled out a pistol, shot the man in the next table dead, and walked out.

Let yourself go. Pull out from the depths those thoughts that you do not understand, and spread them out in the sunlight and know the meaning of them.

That was the greatest trick in music that people ever pulled off, to convince artists that you can’t be an artist and make money. I think the people that were making the millions said that. It was almost shameful, especially in rock n’ roll.

All gods are homemade, and it is we who pull their strings, and so, give them the power to pull ours.

Ah, we men and women are like ropes drawn tight with strain that pull us in different directions.

The Navy’s a very gentlemanly business. You fire at the horizon to sink a ship and then you pull people out of the water and say, ‘Frightfully sorry, old chap.’

Those who strive to build a protective wall around it, and those who wish to pull it down; those who seek to mould it and those committed to breaking it up; those who aim to open our eyes, to make us see the light and look to tomorrow […] and those who wish to lull us into closing our eyes