Zitat des Tages von Lin-Manuel Miranda:
What I learned from my go-round with 'In the Heights' is that it's tough to make a movie. In Hollywood, even the people in charge have people in charge.
A lot of the reason the Universal version of 'Heights' went away is that they were afraid they didn't have a big enough Latino star to bankroll this movie. The people I dealt with at the studio who wanted to make this movie were very passionate about it.
'West Wing' was huge. Like 'Hamilton,' it pulls back the curtain on how decision-making happens at the highest level, or at least how you hope it would be. The amount of information Aaron Sorkin packs into a scene gave me this courage to trust the audience to keep up.
I kind of need to be ambulatory to write lyrics.
If Hamilton were on Twitter, he would have been a worse oversharer than me.
I can't say I have enough experience with Hollywood to feel that I've encountered racism there. I can tell you that I did about five fruitless years of auditioning for voiceovers where I did variations on tacos and Latin accents, and my first screen role was as a bellhop on 'The Sopranos.'
I don't differentiate between black and Latino actors. We're in the same struggle to be represented in a way that's even close to honest. And I can tell you that the amount of Latino characters I can point at and say, 'That's what my life experience looks like' - I can't think of any off the top of my head besides Jimmy Smits in 'Mi Familia.'
I made a movie when I was 15 years old with all my friends. This is when IMDb was a little more lax with its proceedings, so it's listed as one of my projects. I was 15 years old; it's a terrible movie. I wrote 50 percent of it because I wanted to kiss this one girl, and I wrote a kissing scene for it.
I think I'm always subconsciously trying to write the ideal school play. Lots of parts for everybody, great parts for women - don't forget, more girls try out than boys in the school play; everyone gets to be in the school play.
If there is a Busta Rhymes of musical theater, it probably is Mandy Patinkin.
In the best works of fiction, there's no mustache-twirling villain. I try to write shows where even the bad guy's got his reasons.
I always had an eye toward the stage for the story of Hamilton's life, but I began with the idea of a concept album, the way Andrew Lloyd Webber's 'Evita' and 'Jesus Christ Superstar' were albums before they were musicals.
Because of the success of 'Hamilton' and 'On Your Feet!' you can't hide behind the old argument of, 'It needs to be bankable, so we can't put all these people of color in the show.' We are bankable.
The fun for me in collaboration is, one, working with other people just makes you smarter; that's proven.
Biggie and Big Pun were the best storytellers of the '90s. I would get wrapped up in the narrative of what they were talking about.
What's incredible about 'Hamilton,' and the reason you can't get a ticket, is because everyone's responding to it. Everyone is seeing a bit of themselves in it.
Pretty much anything William Shatner is in is great. He's great at playing that 'I'm the only one sane in the world' character.
The musicals that leave us kind of staggering on our feet are the ones that really reach for a lot.
You could do a 'Les Mis'-type musical about Hamilton, but it would have to be 12 hours long, because the amount of words on the bars when you're writing a typical song - that's maybe got 10 words per line.
One of my first favorite books was 'The 12 Days of Christmas,' and I would just go up to people and say, 'I can sing 'The 12 Days of Christmas,' and I would make them sit through me reciting it, and I'd go all the way, each time. I've always hooked into lyrics.
Everything we know about Hamilton, we knew when he was alive, because he told us.
I like the quiet it takes to pursue an idea the way I pursued 'Hamilton,' but I couldn't write a book, because there's no applause at the end of writing a book.