What was that experience like, recording with legendary Disney composer Alan Menken?
Moore: That was fun. I’m definitely the quintessential girl who grew up watching “The Little Mermaid” and “Beauty and the Beast” and “Aladdin” and the like, so it was probably one of the coolest things I’ve done thus far, being in the studio with Alan Menken and a 65-piece orchestra. It was such a moment in time. I kept telling myself: “Just be in the moment. Remember this. You’re going to want to think about this for years to come.” It was really magical and sort of everything you’d want a Disney animated experience to be. As one of the players involved, I was like, “Oh my God!” … To watch it all come to life, because so much of your job — you’re looking at storyboards, you’re having things explained to you, but there’s nothing tangible to see or get, it has to form in your imagination, which is one of the slightly taxing parts, but also the most fun — to get to be a kid again and go into the depths of your imagination and play around. This, being there with the orchestra and hearing
