I had the good fortune of being 9 years old when The Little Mermaid came out, that whole run of really beautiful Disney musicals, and so, the fact that I got to interview with Ron [Clements] and John [Musker], who directed The Little Mermaid, I was, like, I just walked in and said, "You're the reason I'm even here."

Don't be shocked when your history book mentions me.

I probably shouldn't brag, but dag I amaze and astonish.

The fact that I'm a performer helps me enormously as a lyricist.

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.

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 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.