I'm not an advocate of true rhymes, I don't think. I think that everyone who writes musical theater needs to know how to do true rhymes, because that's the tradition of it, but I do think that in order for the art form to grow, it's important to not let tradition get in the way of innovation.

My first writing job was with a company called TheatreworksUSA.

The things that I have done that haven't been as successful have been things that have been largely out of the public view, which is great. It's terrible, when you're a theater writer, to have a big flop publicly.

I try to turn off the TV and play with my kids as much as I can, and I always hope they're having as good a time as Mormon kids.

We are sold the idea of a refugee as a tiny child sitting crying, as a way of raising money, but elderly ladies and kids largely can't move. The demographic is mostly young men.

Disney had made such a great deal of money on Snow White that the banks gave him the go-ahead on the next three films. But he was heavily dependent on the foreign market.

You shouldn't end a band like Westlife and not be financially secure to some extent, but I wasn't at all - it was the complete opposite. But you look at stuff then, 'Well, what do I have? I don't have money but I have a great marriage, three healthy kids, and I have my voice. I'll just start again.'

As an artist, you are aware there is this strange money market out there, but you have no sense of how it works.