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Ed Koch once said that New York City is where immigrants come to audition for America. That's what happened to my parents that's what happened to me.
Lin-Manuel Miranda
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Lin-Manuel Miranda
Age: 44
Born: 1980
Born: January 16
Actor
Composer
Film Director
Librettist
Lyricist
Playwright
Rapper
Singer
Songwriter
Stage Actor
Theatrical Director
Translator
Washington Heights
New York
LMM
Come
Immigrants
York
City
Parents
Cities
Parent
Koch
Happened
Audition
America
Auditions
More quotes by Lin-Manuel Miranda
If you think in terms of topping, you're in the wrong business. You can't think that way.
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My kid gets me out of bed in the morning.
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Sebastian, en Español, is a bad ass name.
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I'm a diamond in the rough, a shiny piece of coal trying to reach my goal.
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It's got to feel, the pulse has to feel like this part of the world, the instrumentation has to be true to that, and so, between him, [composer] Mark Mancina and myself, we really chased that, while serving our story Moana].
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Disney's really incredible on story.
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I remind myself Vincent van Gogh died without having sold a single painting. Like, art is not measured by the trappings that people attached to it. It's the thing itself, and so, as you know, it's been a dream of mine to write songs for Disney, and so, it's really exciting to finally hear. It's two and a half years.
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I'm just like my country, I'm young, scrappy and hungry, and I'm not throwing away my shot.
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I think you balance the things you've been dying to do all your life. And the opportunities that come along, that you didn't maybe think of, that are so amazing, that you'd kick yourself if you didn't try to be a part of them.
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No one wants to hear me crooning a ballad.
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It's an enormous relief to go to work and be an actor and not be worried about writing.
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The theater should always be a safe space.
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I still look at that water, and I look at Moana's hair, and I'm just like, How is this even happening? It's such an incredible mix of technical mastery and wizardry. It's really incredible. It's layers and layers and layers. It's not unlike building a musical. It's really pretty cool.
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Don't be shocked when your history book mentions me.
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We get the job done. So what happens if we win?
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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.
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Tuesdays and Thursdays, I didn't do any press, I didn't do any meetings, I just wrote all day, 'cause I'd meet, via Skype, with the creative team, at five p.m., and then I would have my seven o'clock curtain.
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I got the job [in Moana project] about six months before we started rehearsals. No, seven and a half months before we started at the Public, and so, it's been my ocean of calm throughout the Hamilton phenomenon.
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I loved musicals. I loved being in the school play and being lucky enough to get parts in the school play. But they always took place in some other time and place.
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I had the good fortune of being 9 years old when The Little Mermaid came out, that whole run of really beautiful Disney musicals, and so, the fact that I got to interview with Ron [Clements] and John [Musker], who directed The Little Mermaid, I was, like, I just walked in and said, You're the reason I'm even here.
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