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An enormous amount of ingenuity and creativity goes into commercials, and they can be fascinating if you pay attention.

People want to make a distinction between what's commercial and what's art.

The concept of commercialism in the fashion and art world is looked down upon. You know, just to think, 'What amount of creativity does it take to make something that masses of people like?' And, 'How does creativity apply across the board?'

There are two kinds of success. One is musical or artistic and the other is commercial.

There is certainly a part of my filmmaking that harkens to a more simpler commercial kind of taste, but then with this there's certainly a kind of avant-garde, abstract, existential element to it.

And I've always loved commercials. I like working out how to organically weave a brand's message into the writing process. It's like an improv show, where comics ask the audience to throw out a word and a skit is built around it.

The movies are all about visual, and television is all about character and dialogue.

While many of my musicals deal with big themes and ideas, I don't intentionally go looking to write shows like that. A story will interest me, and then somewhere along the way, I discover that hidden inside are these epic themes.

The one thing I would like more credit for is being part of a movement which involves recognising the importance of plot and asserting that books of literary worth could be written that had plots.