Lin-Manuel Miranda Quotes
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The fun for me in collaboration is, one, working with other people just makes you smarter; that's proven.
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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.
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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.
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I grew up in an immigrant neighborhood. We just knew the rule was you're going to have to work twice as hard.
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My only responsibility as a playwright and a storyteller is to give you the time of your life in the theatre. I just happen to think that with Hamilton's story, sticking close to the facts helps me. All the most interesting things in the show happened.
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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.
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I like to separate the music- and lyric-writing processes if I can. I'll sort of noodle around on my keyboard and my computer until I have a beat or a chord progression, I'll record it as a loop, export it to iTunes, then walk around with the loop and sort of talk to myself in the loop, and that's how I get the lyrics.
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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.
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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.
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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.
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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.
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Everything we know about Hamilton, we knew when he was alive, because he told us.
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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.'
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When I was asked to do a song from 'In the Heights' at the White House in 2009, I chose instead to do 'Alexander Hamilton' because I felt like I was meeting a moment.
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I'm honored to have been chosen as a fellow of the John D. and Catherine T. MacArthur Foundation. I am hugely appreciative for the support I have had throughout my life, and I look forward to using the grant to help institutions that have fed my soul and to support new work that inspires me.
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You know what's a great way of tricking people into thinking you're a genius? Write a show about geniuses!
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The only shows I saw as a kid were that holy trinity: 'Les Miz,' 'Cats,' 'Phantom.'
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What 'Twilight Zone' did was show we all have a great capacity for good and evil.
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Sometimes a line enters your head, and you're so grateful for it. You go online to check to see if anyone wrote it before you. You must have stolen it.
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The reason 'Hamilton' works is because there is no distance between that story that happened 200-some-odd years ago and now, because it looks like America now. It helps create a connection that wouldn't have been there if it was 20 white guys on stage.
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In 'Hamilton,' we're telling the stories of old, dead white men, but we're using actors of color, and that makes the story more immediate and more accessible to a contemporary audience.
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Anytime you write something, you go through so many phases. You go through the 'I'm a Fraud' phase. You go through the 'I'll Never Finish' phase. And every once in a while you think, 'What if I actually have created what I set out to create, and it's received as such?'
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There's been lots of theater that uses hip-hop in it, but more often than not, it's used as a joke - isn't it hilarious that these characters are rapping. I treat it as a musical form, and a musical form that allows you to pack in a ton of lyric.
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If there is a Busta Rhymes of musical theater, it probably is Mandy Patinkin.