Jason Robert Brown quotes:

I grew up in the '70s, and I hear in my own stuff a lot of what I grew up listening to, which is to say I hear a lot of Billy Joel, Paul McCartney, Carole King, Joni Mitchell and Stevie Wonder.

Leonard Bernstein was probably the most significant formative influence on me - he was such an encompassing musician. I spent my teenage years absorbing him, and my other interests stemmed off of that. Bernstein led me to Sondheim and to Gershwin, and Sondheim led me to listening to Joni Mitchell.

Writing music and lyrics, you tend to become a control freak - sitting alone in your room with a bare light bulb over your head, writing communist manifestos.

Immediate, simultaneous connection between the audience and a performer is crucial to me. It's why I do what I do. Other things, like recording, are satisfying, but they're not the same. I love the connection I get with the audience when I'm sitting behind that piano.

When I started out, I wanted to be Billy Joel. The plan was to be a singer-songwriter of that ilk, and, then, I got waylaid - that's probably an unfair way to say it - from being a rock star by the musical theatre stuff, which I love doing.

Actually, if you ask my really close friends, they would say that 'Honeymoon' is more me than anything else I've written.

I feel like the point of being an artist is to have your own voice: to do it the way you would do it and not the way anyone else would do it. If you're a strong enough writer, then that voice is going to come out all the time, and I can't stop it from coming out, no matter what I do.

It's about one moment. It's about hitting the wall and having to make a choice, or take a stand, or turn around and go back.

What's great about collaborating is getting to work with wonderful people. That's what theatre is about: other people getting you to give your best, and getting everyone else's best out of them.

You have to understand the medium you're writing for. People jump into writing musicals without realizing how complicated they are. Knowing one form doesn't necessarily mean you know the other. You have to be comfortable with it.

I don't want costumes and makeup between me and the audience - I want more direct communication. There's something for me about being honest on stage, and I'm at my most honest when I'm behind a piano. So I prefer my concert performances.

I've never been particularly good at explaining or even understanding what this sort of rage is that is so accessible to me. I'm not an out-of-control person, but I can access in my work very easily a feeling of real fury. Thank goodness I've channeled it into my work, I guess.

What I aspire to do, and what I try the hardest to do, is write stuff that's very personal in its way. I figure I can only say things the way I say them, so I'm trying to do something that is kind of anti-generic.

I am a muso, and I love doing it. I assumed that would be my career for a long time. I always wanted to be a writer, but I didn't think that anyone could actually be that full-time, so I always go back to conducting and arranging and playing. If you scratch me, I'm a musician.

In terms of my religious preference, if a year goes by and I don't have a Seder or I don't light the menorah, I feel a loss.

I write about outsiders. I write about people who are outside and don't know quite how to get in because it's how I've always felt.