In the 1990s music was a beautiful collaborative process between the composer, lyricist and director. They would exchange ideas and magic used to happen.
What's beautiful about the actual acting class environment is that you can use it to push through everything: push your voice, push your inhibitions, push your fears, push your confidence, push your vulnerability, push your silences.
I really want Congress to do its job, the constitutional power that they have, to halt an imperial presidency, to halt this fundamental transformation of America that is making us an unrecognizable mess of a nation at this time.
When I write the music for any of my songs, I write as a composer-lyricist in my head.
Both costume and fashion are about telling a story, except that in a ballet the story has already been written by the composer or the librettist.
With a musical, you kind of have to do a mind-meld with the book-writer, the lyricist, the composer, the director - sometimes the producer. I think that's a reason why musicals are the hardest form.
Sammy Davis, Andy Williams, Tony Bennett... their records sell in the millions; when I do it, it just trickles. But for the composer and lyricist, there's a tidy bit to be made that way, too, so I don't really mind.
The psychological detective story in "Equus" made Peter Shaffer's name as a playwright. But it was his next play, "Amadeus," that cemented his reputation, largely because of the movie version. Another battle of wills, it was the story of composer Wolfgang Amadeus Mozart seen through the eyes of lesser composer Antonio Salieri.
I like songs to mean something as well as sound good, and Paul Simon is a maestro. While Art Garfunkel was a voice and moved on to other things Simon remained the genius lyricist and composer.
It's about what the players are doing. My job is facilitate that. My job is to put them in positions to succeed. My job is to listen to their ideas, take them if they're good, quietly push them to the side if they're not. My job is to help them grow.
The thing that I've learned about taking risks is that the key question to ask is, "If this goes terribly, what will happen?" Usually, the answer is that the world won't come to a screeching halt. Usually you can go back. Maybe not to the exact same job, but usually to the same type of job.
Alan Jay Lerner needed a hit. The Broadway lyricist and librettist was a decade removed from his greatest successes when his partnership with composer Frederick Loewe produced something approaching unholy alchemy.
There is no dearth of talented lyricists and I know many of them don't get an opportunity. After I received success, many of them approached me via e-mail or phone calls to tell me about their work. If I feel that a song written by a lyricist is fit for a film on which I am working as a composer, I give them the break.
Rakim is a great lyricist. To me, it was always beautiful to be compared to him.
Halt! How are you? What have you been doing? Where's Abelard? How's Crowley? What's this all about?" "I'm glad to see you rate my horse more important than our Corps Commandant," Halt said, one eyebrow rising in the expression that Will knew so well. Early in their relationship, he had thought it was an expression of displeasure. He had learned years ago that it was, for Halt, the equivalent of a smile.
Glenn Slater is my lyricist who, of the new young lyricists coming along, is the most exciting, I think.