Words matter. These are the best Lin-Manuel Miranda Quotes, and they’re great for sharing with your friends.
We’ve had characters like Trump in American politics forever, characters who trade on xenophobia.
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.
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.
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.
The only shows I saw as a kid were that holy trinity: ‘Les Miz,’ ‘Cats,’ ‘Phantom.’
If there is a Busta Rhymes of musical theater, it probably is Mandy Patinkin.
What ‘Twilight Zone’ did was show we all have a great capacity for good and evil.
History is so subjective. The teller of it determines it.
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.
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.
The music you love when you’re a teenager is always going to be the most important to you, and I find that it’s all over the score of ‘Hamilton.’
I couldn’t possibly write ‘Next to Normal,’ but God, I can weep and watch ‘Next to Normal’ five times.
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.
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.
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.
Everything we know about Hamilton, we knew when he was alive, because he told us.
If Hamilton were on Twitter, he would have been a worse oversharer than me.
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.
The only other thing that’s like video games for me is watching tennis on TV. I can have it on, and there’s a rhythmic quality to it – I can be watching Wimbledon or the U.S. Open and still be working.
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.
The musicals that leave us kind of staggering on our feet are the ones that really reach for a lot.
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 fun for me in collaboration is, one, working with other people just makes you smarter; that’s proven.
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.
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.
