Q: Since so many of your projects involve music, what interested you in doing a crime drama like “Mindhunter”?
A: The thing that drew me to that was just David Fincher being attached (as an executive producer and one of the directors). That was it. That it was on Netflix was great and that it seemed like a really cool idea for a show, but the thing that draws me, I think, most to projects now are the people that are working on them. When “Mindhunter” came along and it said, “David Fincher,” I was like, “Yes, I will go to that audition for sure” … because I end up learning. I never went to college for theater or for acting or anything. I moved to New York after high school, and all my training has been on-the-job training, so I just learn every time I get to work on something. Looking for people that you want to breathe their air is what I look for, mostly.
Q: With both “Spring Awakening” and “Hamilton,” you moved from Off-Broadway to Broadway. What is that experience like?
A: When you go to these Off-Broadway shows, you get paid nothing, and it’s really about the experience of creating new work. And everybody is there because of the project. No one is there to win an award or, certainly, not make a lot of money — so there’s this sort of purity about working on an Off-Broadway show. With “Spring Awakening” and with “Hamilton,” it was like all of a sudden, you could feel this indescribable thing in the air of when a show starts to expand. Every night, the show started to get bigger. Every night, the audience started to get louder. Every night, the actors started to dig in more. And it was like, by the end of the run Off-Broadway, if the show does not move somewhere else, it is going to burst and blow out the walls and the ceiling of this 300-seat theater. And it’s the most intoxicating, thrilling feeling to be able to sort of bathe in that growing excitement of the Off-Broadway-to-Broadway thing.