Robert Lopez Quotes

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I basically never feel like writing. I am a happy-go-lucky, relaxed, fun-seeking kind of person. And working disturbs that, because it puts me in a state of anxiety.

I am never excited to play through a song all the way, because it can reveal more flaws that mean more work. For some reason, I always have an irrational fear that the song will never be finished.

The temptation to quit and start over infects every creative process I've ever been in. Frustration and boredom always fuel this self-doubt.

With comedy, the jokes will come out, and people will see them coming. Changes in daily life or current events can change the consciousness of audiences and can make the show less funny or feel more stale.

Whenever Disney asks if you want to do a fairy tale musical, you say yes.

I like to think my sense of humor is sort of smart and dumb at the same time. I like to work on multiple levels - smart and dumb, funny and sad, profound and mundane, cynical and hopeful.

I'm not really a 'puppet' person in particular; I think they are very theatrical, and I've found different uses for them in shows, but my true interest is in writing Broadway musicals.

I only like to write shows that I feel like no one has seen before.

I think one of my favorite productions ever was Sondheim's 'Assassins' at the Roundabout in 2004. Beyond brilliant.

The things that I have done that haven't been as successful have been things that have been largely out of the public view, which is great. It's terrible, when you're a theater writer, to have a big flop publicly.

My first writing job was with a company called TheatreworksUSA.

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.

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.

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.

I admire 'Urinetown.'

Our kids come first, and we really put them at the top of our priority list.

I thought it would be really cool to show the world the inner life of someone like me, who doesn't have a huge personality, who deals with some personal demons and is a little bit shy and a little awkward when you first get to know me.

You can never assume that something is going to do well.

On Broadway, there is no censoring, just self-censorship and doing what makes sense.

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.

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.

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.

I always have to re-learn the important lesson that the work is always stronger when I listen and take input from others.

This is one of my lesser moments, and one I'm not proud to admit to, but there's always a time I feel the need to have control over the process and try to defend the song from the person I'm writing with. It never, ever helps and always causes problems.

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