American - Musician | February 23, 1975 -
My first writing job was with a company called TheatreworksUSA.
Robert Lopez
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I don't know if I have good habits, but I'm very devoted to writing. I'm very compulsive about having a project, at least one, and trying to follow the business as much as I can. I keep on top of all the entertainment business news.
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Every time I see a film or TV show, I think about how that composer made those choices and how that director envisioned music and how that could work onstage or in a film and how you could support that even further by putting lyrics to it.
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It's wonderful to be able to have such wildly different projects in your body of work. They don't feel different to me as I'm working on them. It feels like they all share this element of subversiveness and finding the joy in subversiveness.
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I admire 'Urinetown.'
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Our kids come first, and we really put them at the top of our priority list.
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You can never assume that something is going to do well.
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On Broadway, there is no censoring, just self-censorship and doing what makes sense.
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If you're doing a musical, you should be out to give the audience something special, emotional, an uplifting feeling, something that stays with them. And you're not going to do that by bumming them out.
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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.
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It's so important, after a song is finished, to go to sleep and listen to the song with fresh ears the next day. It's sometimes a traumatic event. And playing it for someone else for the first time - that is the most nerve-wracking thing of all. But we learn so much.
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I always have to re-learn the important lesson that the work is always stronger when I listen and take input from others.
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