Any musical form that has been around long enough to have cultural resonance beyond just being a cutting edge kind of communication - but, especially, when it begins to reflect on a time and reflect on a culture - is effective in a musical.

I think the thing that strikes you when you come back to 'The Little Mermaid' after all of these years is the simplicity and innocence. That's in the look of it, and that's in the sound of it.

A lot of what I've done has a rock edge, even going back to 'Little Shop of Horrors.'

As a kid, I loved classical music. Composers like Beethoven were like rock stars to me. Then there were the real rock stars: The Rolling Stones, The Beatles, and Bob Dylan.

In theater, you sometimes can only do one or two jobs a year because they're long periods. In film, you can shoot so many. It's quite interesting.

Knowing about authors' beliefs helps you understand how those beliefs influence their writing, and things you thought meant one thing, once you've got enough information about that writer, you suddenly realize mean an entirely different thing. That makes a difference.

I think of childhood as an explosion of creativity. For most people, growing up and earning a living means leaving all that behind. But an artist never leaves that behind. Edwin Mullhouse was my way of exploring the child as artist and, under the guise of childhood, something larger.

Music is real when it goes inside you. You know when you really love someone, and you look into their eyes and you know it's real? Even though I'm an electronic artist, I wanna keep it real.