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

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I’ve always juggled a lot of projects because at least half the projects you do get shelved.
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Collaboration is all about rewriting and rewriting and rewriting and helping each other to constantly improve a piece.
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The best parts about writing a show are [its] first, second and 10th anniversaries.
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It’s purely a business, but it is still so important to me emotionally.
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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.
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If you write enough musicals you pretty much have a sense of where they should go.
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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.
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Everything else is relative levels of hell.
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Collaboration is being open to each other’s ideas and benefiting from each other’s perspectives in an open way.
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And, it’s also about spurring each other on to doing really great, hard work.
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Having a tradition is a great thing to work within, and maybe today [it] is the only way to really land musically dramatic work.
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The difference might be that in a film you have a close up. On stage you don’t.
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What you’ll need, and when; how to pull people on that journey.
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