I got the job [in Moana project] about six months before we started rehearsals. No, seven and a half months before we started at the Public, and so, it's been my ocean of calm throughout the Hamilton phenomenon.

I had friends who only listened to hip-hop. I had friends who only listened to musicals, and I stood proudly in the middle.

It was a real dream come true just to get the job [in Moana], and yeah, and we sort of got right to work.

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.

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.

My sister is as responsible for anyone for giving me good taste in music.

I still look at that water, and I look at Moana's hair, and I'm just like, "How is this even happening?" It's such an incredible mix of technical mastery and wizardry. It's really incredible. It's layers and layers and layers. It's not unlike building a musical. It's really pretty cool.