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

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What you’ll need, and when; how to pull people on that journey.
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What brought me to Disney was the new regime, which is now the old regime, came over with Michael Eisner, Frank Wells, Jeffrey Katzenberg.
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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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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 best parts about writing a show are [its] first, second and 10th anniversaries.
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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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It’s purely a business, but it is still so important to me emotionally.
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I don’t write songs for myself anymore. I only write songs on assignment.
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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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And, it’s also about spurring each other on to doing really great, hard work.
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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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It’s easier to do it in a collaboration than on your own.
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So there are more songs on the stage because the songs are kind of the close up.
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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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So, pretty much you approach the songs in pretty much the same way.
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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.
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Everything else is relative levels of hell.
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So you have to do a lot of things in order for things to move forward.
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