Alan Menken Quotes

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'Snow White' was really hip for its time. Walt Disney was basically using Sigmund Romberg and operetta in the telling of the story, and through animation - that was revolutionary.

I always wanted to have a villain song for Hades in 'Hercules,' but I couldn't figure out how we would have Hades sing.

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I always felt great about what I wrote for 'Newsies,' but 'Newsies' was a total flop.

A villain number is a very valuable thing to have, but if you look at most musicals, one way or another there's an antagonist number.

Composing easy? I find it easy if - big if - the idea is right, if I have the right collaborator, and if my collaborator is in the room. I like my collaborator to be in the room.

Most things that I write are in very specific forms. A score will have a shape and profile, and then the more emotional and intimate moments will come.

If you're writing for yourself as an artist, you are always pulling on your own experiences.

I've been very fortunate as a composer to be involved with projects that have really propelled my scores forward. I'm very proud of it.

I always wanted to be a composer, and I sort of went in to NYU as pre-med because I just thought, 'Well... who actually becomes a composer?'

What brought me to Disney was the new regime, which is now the old regime - came over with Michael Eisner, Frank Wells, Jeffrey Katzenberg - and all these people really wanted to reinvigorate the animated musical, so they came...

I've always juggled a lot of projects because at least half the projects you do get shelved. So you have to do a lot of things in order for things to move forward.

I'm not intimidated by embracing a familiar form and what's familiar about it and making it my own. It is, I think, one of my gifts.

Part of the job is knowing how to use this medium in the most effective way for the story you're telling, so for me, to pick a genre I want to do is a little harder. I would say it's...

I've said, for a long time, my favorite part of my career is when I'm creating a new thing where I'm pulling from a new place.

The things I tend to do best are the things that are the most overtly emotional, whether it's sentimental or whether it's celebratory or whether it's conflicted.

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...

Collaboration is being open to each other's ideas and benefiting from each other's perspectives in an open way.

Collaboration is all about rewriting and rewriting and rewriting and helping each other to constantly improve a piece. And, it's also about spurring each other on to doing really great, hard work - it's easier to do it in a...

You're creating a score that has to have an emotional and story logic to it. You want a dramatic arc. You want all the songs to push story forward. That's the same whether it's for stage or film or television...

I work in a dramatic context, meaning we write with a lot of character specifics, a lot of story specifics. There's a lot of architecture in our songs.

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