I just remembered when I was an adolescent girl wanting to leave my island and find my calling.

If you know the voice you're writing for it's such a shortcut. It's such a catalyst to creating the kind of energy you want.

The reason I make that distinction cassette before CD is you have to listen to it in the order in which I've curated it for you. You know, side A to side B is our act break.

I felt so nourished by the process of making [Moana], of you're always engaged with other artists from different disciplines, and it's about bringing your art form to the table. It's so many art forms mashed together.

I got to holler just to be heard.

When you're dealing with a constant rhythm, no matter how great your lyrics are, if you don't switch it up, people's heads are going to start bobbing. And they're going to stop listening to what you're saying, so consistently keep the ear fresh and keep the audience surprised.

I think I started writing because no one had ever told me you can write about the things you know in a musical. They don't have to come from some far off place.