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 have been working on this movie [Moana] since before Hamilton happened.

I think every writer's had the experience of having a really good idea, waiting to write it, and then once you write it, you're like, "Oh I kind of got past the sell by date on this." I'm not connected to the initial spark that was the idea. A lot of that's about staying open.

I feel like style is like accent. You don't hear it on yourself, and then everyone's like, man, you got a strong accent.

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 think one of the things that makes theater special is first of all, it's one of the last places you put your phone away. And second of all, it's one of the last places where we all have a common experience together.

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.