I wouldn't give a performer something I couldn't deliver myself.

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.

Well, hello. My name is Lin. But if you're dyslexic, call me Nil.

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.

The problem is I got a lot of brains but no polish.

I want as many people to see the show [Hamilton] in its musical theater form as possible before it's translated, and whether it's a good act of translation or a bad act of translation, it's a leap, and very few stage shows manage the leap successfully.

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.