Alan Menken & Kristen Anderson-Lopez

[Applause] [Music] hi I'm Kristen anderson-lopez I'm uh songwriter um probably best known for writing frozen and I'm really super excited cuz I am driving in upstate New York to go spend the day talking with Alan Lincoln now Alan Menken is a living legend he wrote Little Shop of Horrors Little Mermaid Aladdin Beauty and the Beast Pocahontas Newsies enchanted I could go on and on he's writing seventeen projects right now he's won eight Oscars eleven Grammys a Tony and if you were born after 1970s he truly wrote the soundtrack to your childhood in the middle of our Oscar campaign for frozen my husband and I wrote a note to Alan Menken basically saying thank you we are playing in your playground he and Howard Ashman basically created the modern Disney musical and the rest of us just existed the thing I'm really curious about is he writes so many projects and they all have these epically good melodies he has this thoughts of youthful energy and excitement and enthusiasm and I want to see if we can figure out where that all comes from [Music] get them oh she's here okay great great great ah Alan hi welcome this is incredible this is so beautiful up here welcome to my money pit we have wild turkeys wild turkey we have foxes we have deer we have you know it's a well you're like living a Disney cartoon it's a wild life here it's a jungle it's gorgeous man oh those are two years frozen cells right we don't have frozen cells no one's given us a frozen shall we it's said miss to give them out you know I don't think so now I look over here on this wall you've got incredible pictures over here up with incredible artists they're on a cattle drive for home on the range oh wow maybe that's the saddest little animated musical of all time but we got to go on a cattle drive the Glenn Slater's right there in the middle yeah yeah one and is that you named Stephen Swart in short I mean Tim Rice and Wow and is that you as the bees that's me as the bees you know as if you've notice the animators are the just the dearest most wonderful people they are and I actually had a question about that have you ever had one of your hit songs inspired by the art first where you looked at the art and said huh huh good question I can give you an example that was one that I've wondered about so you've got Ursula and Ursula was sort of the zaftig oh oh yes do ya do so which came first the vamp or his octave Dada soft ik zaftig octopus sure say zaftig Samba pick up dr. Gough we would discuss Ursula and how she moved so I can't get the imagery did really effective but remember those were also today's Howard was you know extremely powerful collaborator and Howard was also at that time the executive producer of Little Mermaid so he was actually very much in the song Concepcion was already aware of how Ursula would move and how she would function it was a strange time for Howard I mean as people now know he had had the musical smile which had been a very painful experience for him and he was quietly and secretly HIV positive and and his health was beginning to fail and he went out to LA and just stayed there while we worked on Blue Mermaid and none of us had a clue how did you and Howard meet um we met through actually the person who first called me was more yes than and um and said Alan this is book writer named Howard Ashman and he's interested in doing god bless you mister rosewater and I was a cop Vonnegut fan but he said but he wants to write the lyrics I said okay I'll make with him and Howard came to the apartment and there wasn't matter of getting to know each other um but when I got to know his talent it was just you know incredible he had such a passion for musical theater but in a really kind of smart and tough way where he just knew how to use music and choose musical styles it took great effect and so really my writing in very specific pesty styles really started with howard on rose water and then of course on Little Shop Howard was the most complete talent I've ever been in the room with he just no matter what my idea was his idea he better at that moment it was just incredible and of course Howard you know wore those three hats he was lyricist the book writer and a director and that sense of celebrating a style of him playing a record by the Shirelles or or playing some Brecht and vile or whatever it is and we go and let's do that and then learning that I can do that and have it yet still be me and that really lets so much of that came from Howard so you've said that Howard is the person who influenced you with the pastiche and got you thinking about the overall concept and pastiche but one thing I noticed throughout all of your collaborations with so many people is there is this vein of gold and your beautiful ballads they could come from no one but you does that bring Chu for you um you know I think first of all in any collaboration let's like you get in the room together and what's gonna happen is is chemical you know it to this day I like writing in the room with my collaborators I want the instant feedback you know that's let's get more boy that's - I've heard you go that place before let's go someplace else so each collaboration will bring out something different from me and so it's like a you know slightly different version of me with each collaboration and I like that [Music] so tell me about where you work okay so this is my studio this is you know it would be the MIDI keyboard and all the group that I work on so you have this incredible table if this is a professional recording stage and and actually this is now kind of it unnecessary now that you know basically all people need is sort of a conduit and everything happens within the computer really but but it's a sexy conduit it is it's really they could lean on yeah you can like touch it alright so I want to ask you about the Oscars in the room um because I read somewhere that you are the individual still alive who has the most Oscars yes I am and they had to change the rules I heard Oscar committee changed the rules because you kept winning yeah probably it's like nothing st. banking up there so looking at all of these your 11 Grammys your eight Oscars your beautiful shiny Tony which one of these was the hardest one of of all of them which one means the most oh God the one that was that was the longest coming was the Tony the Joni I never thought of myself really as a Broadway writer I was myself as an awkward way writer and it was ironic that the Tony came from from Newsies you know ball things I know well so can we can we go there for a second you're in your speech you commented on the fact that you had won a Razzie for the worst song yeah we're so happy we're and then 20 years later you it's it's the toast of the town you're truly the king of New York and you win your Tony yeah a shiny bright Tony it's funny life is funny life is right what what do you think that was about though if you had to look and say well I think I think people did that's all we won for was was high times hard times the one with an Margaret on the swing okay yes so I'm sure you know the people who give the Razzies are been more or less lovely smart as people we're gonna look at that moment ago oh okay we got that's great I didn't stick out in my mind so okay I got near my right well and also okay this is a great chance to ask you about animated original musicals are very hard original musicals are very hard live original musicals are almost impossible and you're one of the few people who's ever been able to do it like live-action original musical I think it's just high concept you've just got to set the right springboard for people to go ah we have permission to sing and that's that you think is obviously animation is almost especially after all the years of Disney doing it and us doing it it's always an automatic oh we're gonna sing because we know it's animated you know when Newsies first came out I think one reason why it did about 2.3 million at the box office that's it hmm was because what what it's a live-action Christian Bale is on a horseback and he's singing and you know and and those people who loved it really loved it but there weren't a lot of them enchanted though was playing of such a big concept right you know we're gonna take animated ingenue from the world of early Walters then bring her into modern New York uh-huh so listen I get it factor that you just had to play with it inherently sang right and with beauty and a beast do you think I mean they're they're gonna have to set that right tone that feels like that is the hardest thing with live-action musical and it's also hard obviously is we you know we're architects we can design where we want the song to go and how we want to get into this song and how we want the song to build and or all that but at the end of the day it's a credibly collaborative form you know and there's so many factors that will go into the building the based movie from the studio to special effects to the actors to so many other things that I hope at the end of the day it will be what we wanted to be so maybe we should go sit down at the piano sure okay let's do it alright cuz I am dying to hear okay some songs that uh uh maybe the world hasn't heard really but I'm totally curious about all right Alan so I want to start at the very beginning um your parents in an interview talked about you juggling two music at a very young age joggling juggling oh my god is called juggling was this was juggle cuz you would you and they for so excited get so excited about music do you remember the first piece of music that inspired you I honestly think I was very influenced by Fantasia because it was the yeah it was these classical pieces and the imagery along with it and I was just transfixed to this day Beethoven's Sixth Symphony will you know Dada Dada images will come flooding over me or not on Bald Mountain or whatever it's just um that's incredible that basically it ended up being your life's work ironic working with an amazing little music that's amazing for you and shows as a kid or not really know I grew up in a family that loved musical theater so musical theater was the last thing I wanted to do that's so funny and so you wanted to be a pop composer and you played something when you were 11 or your first saw first song yes um she's gone it's very influenced by Dylan I think I don't wanna die you know I'm living like she just stayed if only I'd asked but I know I can't bring back the past and you were 11 years old like there wasn't a whole lot of paths to bring back yeah and I was on the guitar not on the piano but and you used to practice piano and make up well I each practice and then I was I was I found it very hard to focus on ice and reading notes so I read them you know beginning of the piece and then I just sort of can I just play and I I would then bury the rest of the piece and just keep playing you know like it was a Beethoven sonata I never go for hours of thumb-turn autumn whatever that was and then I would ah-da-da-da-da play at the piano my parent would say he's he's practicing for for the full hour but a teacher would say was not learning anything and they feel I finally confronted me and I said well I'm actually making it up that's incredible now who were your biggest musical influences well what age you know back then I used to never had a bust of Beethoven in my in my dormitory room at college and I think I love the Sturm and Drang of Beethoven and the weight of Brahms but I grew also grew up loving the musicals of Rodgers and Hammerstein room and Frank Loesser um when Janice Imfurst together we loved listening to films courses John Williams and Jerry Goldsmith film scores you know talk to me about Janice now Janice was a ballerina I met Janice right out of college she was a ballet dancer and she was in this company called the downtown Ballet Company had and I had written his rock ballet called children of the world want to play a snippet of children of it oh you you don't want it yes we do anything this was I think I probably wearing beads and you know smoking somewhere uh uh no one's asked me to play the solo I'm so sorry children of the world the children of the world are playing games dancing all the rows of flames them okay it's enough of that Wow oh yeah but I hear a little bit of beauty 'm the beast in me well sure huh but but that yeah well the children of the world and it was very actually classically influenced in rock influence then am I fit my late friend Phil he played bass that I played the piano and we toured with his company and performed this rock ballet but there was a ballet dancer who I caught my eye Wow and pursue it I was she thought I was crazy because I was you know it was late 60s and I probably looked like Charles Manson or something is there a song in your vast body of work that you can say I wrote that for Janis oh this many um can you oh my god I feel them oh uh she got a pink tan eyes oh god of it you are looking I'm sorry I'm Horace goes Janis you're my panacea every time I see you you're so fine fine Janis when I see you dance Oni I'm like a keg of beer I'll do a bottle of wine it's also we've had apartment on 13th Street and with a tell tell your mother that the streets are safe for walking tell your daddy that I am in love with you only uh-huh and then I got we got I got mugged on 13th Street we moved East 13th Street oh yeah I'm gonna go back to college for a second because your dad was a dentist and all the men in my family were dentist you went to NYU and you were pre-med what happened that made you choose your calling well I just you know I was in college I was just taking it the whole thing I didn't like you know you had to go to college what am I gonna do well all the men in my family are dentists my father my father's father my father's brother my mother's sister's husband my father sister husband all dentists and so I had to write little shop obviously right but that was that's the extent of the connection and um yeah I I through college I wrote musicals for the green room Hall of Fame players um it was those tumultuous years I started college in 1967 so so you were right there and I was right there and the last thing I was doing was showing up at classes I'm afraid so then you went to the BMI workshop you were in a pretty amazing class you and more yes more-- esten um a minivan oh it's amazing number of talented people when I basically finished with college um I wasn't gonna go to graduate school and actually anyway you requested I not go to not use the grey to go to graduate school because I was such a terrible student I really was I was awful but my parents had a friend named Don Freiburg who was a composer and my parents are well there's this workshop and so I went and I you know sat down with layman angle and I I started just playing my song at the audition is well I can tell you you're in I said wah wah and I found out later he didn't do that usually now he often pinned people with stuff like said oh you're the this you're the this what did he say about you d-minor he said do you mind did you write a lot of songs indeed I was okay he will never let me forget I wrote it by mother out of college you know I made some money writing a musical called dear worthy editor based on the letters to the editor of the Jewish daily forward of Bentall brief and it became a musical that they did at the temple Israel and then it was actually produced a couple of places and it's very very much the Jewish immigrants singing about their problems in the New World and laman angle has called it the most anti-semitic documents it's mine comes flaming could be could be really brutal can you play us a snippet oh I don't I can't do you remember any of that um I think there's any from dear with well dear worthy there we are thee added or our problems a sale here in this [Music] do you miner okay um I put it in the weather it was actually a D my probably what's in the minor so now however many years however many Oscars and Awards into your life what were the best things you learned from BMI well you learn first of all musicals have an architecture musicals are a construction that is born from telling a story picking a musical vocabulary with which to tell that story um figuring out the best way to give your character's voice and to continually move the story forward through song and layman angle really developed a whole set of of observations from conducting these shows all through the 40s and 50s and 60s and he wrote into a wonderful book my favorite of his books is called words with music which is now I think it's out of print but is fantastic view of of how you establish your protagonist how you establish what your main character wants and how you establish you know your dramatic conflict and your and that's a perfect segue into what you brought to well we can start with little shop because you and Howard brought all of that into little shop and then to your incredible Renaissance of the Disney animated movie so do you think like maybe you could take some of those pieces from words with music and just show like this is the I want song this is the well I mean yeah sure I you know obviously you have a protagonist you want that moment where your central character sits down on the garbage pail or a stoop or you know wherever it is and says look this is what I want in my life and it's a number of rules are illustrated by this one is yes you want to establish where your dream is and where you want it to go and also if you want to feel for a character do not have your character feeling sorry right him or herself so I know C was the greatest but I'm dating a semi sadist so I got a black eye in my arms and a cast still that Seymour's a cutie well if not he's got inner beauty and I dream of a place where we could be together at last we love Audrey because she's mean she's so she's both damaged and naive she's been through so much and yet she stays so her music is her music is like a music dreamer a match box of our own offense of real chain link I drill out on the patio dispose all in the sing the dryer and an ironing machine and a tract house that we share somewhere that's great but in every case you want to make sure you're obviously moving story forward that you're you're dealing with that story line and of course in case a little shop the actual protagonist is Seymour he's the one who's really in fact it has this this relationship with the plant and as the dilemma of the plants making my life so much better but look what the cost is I want songs seem easier to write for women than for men I and maybe because I'm a woman oh um but do you is there a difference between no dollars for protagonists no because you know um what's an eye ones huh from Hunchback and hook it up save behind his windows and these narrow bits of stone gazing at the people down below all my life I'd watch them as I hide up here alone hungry for the histories they show me all my life I memorize their faces knowing them as they will never know me I wonder how it feels to pass a day and above them my part of the Oh they're living in the Sun give me one um there's a in Aladdin we didn't have a place for our song for our protagonist initially was gonna be proud of your boy mm-hmm which got cut from the movie but there was just this song we had um one jump ahead um one jump head of this red line and one step ahead of the sword I steal only what I can afford as this section that goes rigg rap sheet that so I have to have even a taste of it I want woman we need to have that and I had their whole back-and-forth with John Musker and Ron Clements great directors and wonderful friends we finally had a kid I'd do it in my truck this is the right key but you know after this big up-tempo chase number riff-raff street rat I don't buy that if only [Music] what they see a poor boy no siree they find out is so much more to me so can we dig a minute and just talk about the craft of these incredible melodies that just go straight to our hearts and our emotions and I don't know how I do it I would cuz I was gonna ask you like you have this assignment and I imagine I don't know if if it works the same way but sometimes you do come off a call or a meeting and you have assignment of right it is hard here so what do you do you're starting a project you go okay look what's the vocabulary how do I want to tell this story okay you know I'm gonna tell Hercules through gospel music let's say you know which is with it fairly arbitrary choice but okay that's what that's what the assignment is that's what we're doing then you begin writing and as you begin to write not only are you creating songs but you're creating threads that you can go back to you know colors that you go back to and use you know so what if I have that iconic [Music] well now anytime I go to something in Hercules there could be so many of those that goes behind of tonality very much a fanfare very much hero I have often dreamed of a far off place where a hero's welcome would be waiting for me and as you write the scores you know when I started um Little Mermaid how do we what do we do with flowing water um where can I come from the flow of the water and also from the song part of your world well that just became too deep that much of the DNA of the score was done over right so look at this stuff isn't it neat where does that gutter like knowing that in your body where does it come time you don't know dude does anybody know it first of all we're talking uh-huh but we're talking in English because we've learned this from art since we were children how do I mean Emily aren't you always amazing you go to like you know another country to go look at that that child is speaking fluent French yes well you're French so we speak fluent musicals here mm-hmm and it's just I know I need an emotion it's I try to give myself as much input as I can about what is the style what is the world I'm in and then I'll do what an actor will do I'll just start I let my hands reach the piano and start playing and maybe it'll be awful maybe there'll be a germ of something in there and then when you find that germ you let it unfold or you let it germinate do you listen to something first do you ever sir sometimes yes after 7:00 absolutely I remember when I was writing um for home on the range of wonder song edited after 9/11 to it was the song that actually ended up expressing how I felt about 9/11 Bonnie Raitt ended up recording it and I remember I was listening to Patty Loveless I think some you know like Apalachee and kind of roots American music and um and then I came up with rain is pouring down like the heavens of hurt seems like it's been dark since until that since the devil knows when how do you go on never know what - sir will the Sun ever shine da da da da da and I'm we're seeing and giving a piece of you she's the Glenn and glennda said oh damn you cuz it just kind of yeah because sort of came out but the thing about writing music is music is a flow and you learn the craft of letting the flow go and knowing how much you can shape it or interfere with it but you don't interfere with it too much you know you caress it and you know you don't want to stop the flow you want to make sure that emotionally that is going where you need it to go so it's interesting cuz you're saying don't interfere with it I've heard you say the best thing you can do as a young composer is get out of your own way oh yeah so can you unpack that how do you get out of your own way well you learn it you know it takes a lot of learning um you know it's like someone's digging a hole because I want to you know find gold you know first they're digging this hole going with the hole it's dirt it's just dirt I'm not getting anywhere it's just dirt when it can I stop no keep going alright and eventually Bing is gold oh okay I don't mind digging a hole as much anymore maybe you'll get gold earlier or maybe you're gonna go a long way before you a B there isn't gold you'll sit down at the piano and you will just keep going you'll keep digging the hole until you hit gold or not sometimes you don't hit it and then what do you do um then I usually say the assignments wrong um you know and sometimes it takes a long time I remember with with um I see the light I'm a Kris Montana and I sitting in this room in that animation and I was throwing this melody in this piece of music uh a big iconic piece of music were very quiet music or a pop piece of music or this and finally we came up with this very simple theme that felt right all those days watching from the windows all those years outside looking in all that time never even knowing just how blind I've been now she's here linking in the Starlight now she's here and suddenly I see standing here so so clear where I'm meant to be and at last I see the light and it's like the sky is shifted but you know initially I went through I remember in a blaze of light a big Fiat all the it couldn't has that that could have been the ballot this could have been about nah any one of these could have been the song huh and collaboratively the one that seemed to click for the directors was that one I go okay that will be the one there is no perfect piece of music there is no perfect song there's just whatever song you're gonna write and then you make it as good as as it can be and when you liberate yourself from that then you go throw it out throw this out throw that out it's about the process of doing it and loving doing it and having fun doing it that's incredible cuz Scott shook at your manager um I guess he calls you the fountain and he goes like this and he's just like Ellen is a fountain sweep and what's amazing about how this ties in with what you're saying is that you don't stop yourself it sounds like you don't allow perfection or or no preciousness - I try not to torture over a piece of music it's doesn't mean that I won't shape it and continue to shape it and shape it and shape it and shape it maybe four years after that but the impulse you know to have respect for the impulse and then as you're writing a piece of music the music's gonna talk to you it's gonna say I want to go here and maybe you could say alright I know you want to go there can I try taking you here and maybe I'll wait that you know you're playing with you know with powerful forces when you when you're writing a song is there a song and I won't I will go to superlatives as the most favorite song but right now right now and it is there something that you look at and and and you say I just love that I just love that well yeah I love I mean every show and every every project I have is a song that I just love I mean you know the some of the favorite ones are one some shows it that didn't other work words except like you know sometimes in your life you reach a wall up you climb risking home then you stand alone afraid to fall till you take a leap [Music] walk out on the ledge heya sizing down stand right on the edge years goodbye about the sky gotta take that leap so what happens is for me I guess those songs that don't get hurt as much maybe sort of take a sort of place in my heart a little bit I feel like you also really understand the voice and and how the human voice works with certain sounds and certain um and I wonder if the fact that you like to work and sing your own songs does that factor oh yeah it definitely factors it I mean you know we as writers are the blueprints for what other people are gonna do with our material so I think it helps if a you love writing your songs B you love performing your songs and you love those songs see you actually can interpret your songs and and give it the life that it needs at least in its initial um [Music] demoing and performing okay I need to talk to a couple of things like choosing an Orchestrator what do you look for in an Orchestrator you know the sense of interpreting my intentions um through an orchestra is um is it an eight relationship where he knows Danny like you know know that it when I go I'm not actually air signature right he's writing a long string line mm-hmm and there's so many you know experiences like that where you have to interpret something that I'm doing on the piano and how do you now translate that to an orchestra how do you translate that to an orchestra of of nine or 14 or 18 or a hundred and they're entirely different orchestrations each time but that that's he's somebody who can in each case find the appropriate voicing at all those levels to take what I do on the piano and bring it to life the ability to to let those people into you into your life emotionally and into your creative process emotionally and to accept them as an extension of yourself is this is essential and over time you learn to do that even without having a long experience with somebody you know you're not going to go initially you know right from my relationship with you know John Doe as my musical director to the public but here orchestrated or let's and let's see and then ah you went too far pull it back so what you just you develop a relationship with that person but I think like most things in life you develop it through necessity I consider myself a very social composer I like having my lyricist in the room I like having a director in the room and if you're gonna be involved in theatre it's good if you like it sharing the experience with people because they're gonna be really important so collaborative um if a young composer came to you and said I want to get into songwriting I want to get into musical theater what would be your piece of advice to them my standard advice is just learn to invest in the process of writing songs and don't invest in the result the results will come whenever they are you just your focus is to write a song and then write the next one this was like a lame entangle thing to just go onto the next one and the next one and its really true people see songs as a static completed existing thing but in fact it's just a moment in time in the continuum of what a writer does constantly and your focus should be on what you do constantly on a daily basis on an hourly basis can we go to that daily basis what is your work routine do you have a work or team when I'm here I will generally work from about 10:00 10:30 in the morning to about formate in the afternoon um and then it's cocktail hour to die somebody well I'll go out you know and there with my dogs and have martini and see Janice and do you have like a favorite pencil likes on time or pads that you work on or any of that stuff none of that stuff no I don't I I have I have technology that I'm attached to you know it becomes very very much you know I work with digital performer and knowing how I'm gonna set up my quantization or how I'm gonna get my sounds or having everything even so that it's a it's a fluid process so I don't have to open up manuals that's hugely important to me then I can really fly through a creative process so when you say like I have to get two songs to Glen for gallivant you go tomorrow you'll go to your oh yeah I'll go to my studio I'll get down the piano part the melody part um maybe some rudimentary arrangement and then run off a audio copy of that set Glen will check it on the Dropbox then I'll come back with the lyric so often you guys work music first often music first yeah but sometimes lyric first he'll he'll send you a lyric and regionally or other lyricist cuz Glen is one of many lyricist I work with yeah depending on schedule sometimes like if I'm really behind sometimes a lyricist say you know what I'm gonna come in with something is it great and how much do you influence that lyric do you oh I will influence it if I if I feel like I need to open up for here to a chorus do you write will do that you'll have your lines in there though do you ever art Oh bug you but actually will you actually put your words in there I don't really you know I am a lyricist but I don't somehow given up any ego about my lyrics I do consider that me as a lyricist has a role in in me as a composer writing songs I'm very very focused on what the words need to do what they need to be but if I throw it in a word I don't keep track of it tick early it's you're the lyricist I'm the composer and God knows it and you know a lyricist will say to me Oh couldn't you go up to this note or couldn't you do I'm not gonna you know call me composer with a song but it's a collaboration yeah can we play for a minute sure um let's do your life musical for a second let's just can we just have fun and see what comes we're reading your life as a musical and we are going to that moment that moment maybe at NYU that you decided I need to be a composer mm-hmm but would you I want song like what would the feel of that be what what would it sound like do you want to play am I putting you on the spot here I have no idea what I'm gonna let's watch it let's see let's trust the process well back in those days was always folk music we were playing and you ah I don't know I'm walk in the sunlight here's come here's the day don't wanna waste throw it away ah this is great what am I doing here I'm not going to classes I grow my hair thrown out my glasses and I'm free baby no more NYU get me a minute gotta do what I gotta do now that's amazing that's amazing now people are gonna think that's what the yoga bridling process is like well it is kind of what is right is what it's like we're paying him all that money for that oh Jesus oh that was incredible oh um all right what are you most excited about next and what are you terrified of mmm what am i terrified of I get terrified when I feel like I've disappointed people whether its family or its professionally um I want people to be happy I want my family to be happy with my collaborators to be happy what am i excited about honestly see I'm in a place at my age where I feel like there's certain of those emotional peaks you know with that I haven't burned them out but I've traded them in for just a really comfortable sense of belonging and continuity where you know just writing is part of life for me and I just want to see where it goes like if I start a new collaboration I go well who knows what this might be you just don't know so I love the sort of the uncertainty of that number of the projects I'm involved with you know I'm in my comfort zone so I'm not quite as much in my comfort zone I'm still trying to find what's the inner what's the inner core of this musical why does it want to be a musical hat what does it want to sound like but when I have that breakthrough and I go ah I found it that's that's exciting that is exciting yeah that's a big moment cuz you go oh I found a DNA mm-hmm now I can now I can write this thing the DNA is um an important word for you the DNA of your musical and it it's so interesting how each project has its own DNA and I think that's why you're you thank you this has been an amazing day you're an amazing guy thank you and it's been a pleasure such a pleasure will you play us something will you play us out I'll play you out sure a pair a new shoes with matching laces permanent box at the sheets at races or the lit up with boiling water Saturday night [Music] I suddenly respectable staring right at you laughing with stature with all the women go and go in deluxe and there I be and I pretty is my city I'm the king in New York you think you own whatever land you land on the earth is just a dead thing you can claim but I know every rock and tree and creature has a life has a spirit has a name the only people who are people the people who look and things like you but if you walk the footsteps of a stranger you'll learn things you never knew never knew the bride to the blue corn moon and the grinning Bobcat why he grinned he's seen with all the voices of the mountain paint with all the colors of the wind paint with all the colors of the way tale as old as time true as it can be barely even friends then somebody bends unexpectedly just a little change small to say the least both a little scared neither one prepared beauty and the beach ever just the same there were a surprise ever as before ever just as sure as the Sun will rise I can show you the world shining shimmering splendid tell me princess now when did you last let your heart decide I can open your eyes take you wonder by wonder over sideways and under on a magic carpet ride hole fantastic point of you - tell us know where to go three whole new world a dazzling place I never - but now from way up here it's crystal clear now I'm in a whole new world with you a whole new world that's where we'll be a thrilling chase a wondrous place for you and you you

Channel: Dramatists Guild Foundation

Views: 45,590

Rating: 4.9794521 out of 5

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Id: QYthXY3yhn4

Length: 48min 37sec (2917 seconds)

Published: Tue Dec 06 2016