I was one of several songwriters I think interviewed [for Moana]. I'm a huge fan of Disney animated movies, and I've always wanted to write an animated score since I was a little kid.

I am the epitome of coolness.

We sort of quickly realized every rhythm, Opetaia [Foa'i] takes the lead.

I got the job [in Moana], and the next day I was on a plane to New Zealand, where the rest of the team was already doing research, and meeting with different choirs, and sort of really soaking up the music, the musical world of, the musical heritage of this part of the world.

I wouldn't give a performer something I couldn't deliver myself.

These New York City streets get colder, I shoulder every burden every disadvantage I've learned to manage. I don't have a gun to brandish. I walk these streets famished.

I want as many people to see the show [Hamilton] in its musical theater form as possible before it's translated, and whether it's a good act of translation or a bad act of translation, it's a leap, and very few stage shows manage the leap successfully.