But that’s part of the process, isn’t it? Something might not fit in the show. Musicals are — particularly musicals — plays also, but musicals particularly are… the last collaborator is your audience, and so you’ve got to wait ’til the last collaborator comes in before you can complete the collaboration. And when the audience comes in, it changes the temperature of what you’ve written. Things that seem to work well — work in a sense of carry the story forward and be integral to the piece — suddenly become a little less relevant or a little less functional or a little overlong or a little overweight or a little whatever. And so you start reshaping from an audience.

In order to end up with anything you can use, you have to excavate a whole bunch of stuff you can’t use, and get it all out of your system, and then go back later and chip away at all the terrible stuff that you’ve uncovered, and find the things that go together, ideas that go together, and motifs that feel like they keep coming up; and then, reassemble a piece of writing that way. That’s also what I do for my own stuff.

I don’t know if this says something about my attachment style, but whenever I start writing a book, I love it and think it’s the best thing I’ve ever written. Then, as time passes, I hate it more and more. It makes promoting a book difficult because by that point, I really hate it. I tend to find more and more flaws as time goes on. I never feel like it’s done or ready.

Not that important. I seem to rewrite in my head a great deal. I write in these English ruled notebooks. So I write on the right, and then I correct on the left. Then, when it’s typed out, I even make another correction, and then maybe in the typed sheets also. But not that much. I seem to have a great facility to go right into what I want to say. I do correct, but not like Balzac, who went crazy over the printing presses. He was correcting at the last minute.

You know, Dr. Edwin Land was a troublemaker. He dropped out of Harvard and founded Polaroid. Not only was he one of the great inventors of our time but, more important, he saw the intersection of art and science and business and built an organization to reflect that.

I've participated in the hiring of maybe 5,000-plus people in my life. So I take it very seriously. You can't know enough in a one-hour interview. So, in the end, it's ultimately based on your gut.

When I was 17, I read a quote that went something like: “If you live each day as if it was your last, someday you'll most certainly be right.” It made an impression on me, and since then, for the past 33 years, I have looked in the mirror every morning and asked myself: “If today were the last day of my life, would I want to do what I am about to do today?” And whenever the answer has been “No” for too many days in a row, I know I need to change something.

When you’re a carpenter making a beautiful chest of drawers, you’re not going to use a piece of plywood on the back, even though it faces the wall and nobody will ever see it. You’ll know it’s there, so you’re going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through.

You're missing it. This is not a one-man show. What's reinvigorating this company is two things: One, there's a lot of really talented people in this company who listened to the world tell them they were losers for a couple of years, and some of them were on the verge of starting to believe it themselves. But they're not losers. What they didn't have was a good set of coaches, a good plan.

I used to think that technology could help education. I've probably spearheaded giving away more computer equipment to schools than anybody else on the planet. But I've had to come to the inevitable conclusion that the problem is not one that technology can hope to solve. What's wrong with education cannot be fixed with technology. No amount of technology will make a dent. It's a political problem.