I think I learned more about writing scores for Broadway by making mix tapes in the '90s than I did in college. You're learning about rise and fall and energy and tempo shifts. You're showing off your taste and your references. You're trying to be witty by - through placement of music you didn't write.

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 liked writing the negative ads more than - because it's more minor chords.

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.

We get the job done. So what happens if we win?

I think if you want to make a recipe for making a writer, have them feel a little out of place everywhere, have them be an observer kind of all the time. And that's a great way to make a writer.

I am not throwing away my shot.