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Once George Washington said, I have to step down the so the country can move on.
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
Country
George
Washington
Step
Move
Moving
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Disney's really incredible on story.
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My sister is as responsible for anyone for giving me good taste in music.
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Well, hello. My name is Lin. But if you're dyslexic, call me Nil.
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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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I think every writer's had the experience of having a really good idea, waiting to write it, and then once you write it, you're like, Oh I kind of got past the sell by date on this. I'm not connected to the initial spark that was the idea. A lot of that's about staying open.
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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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My rhymes are gonna kill, so I suggest you write your will and leave your [expletive] to me.
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When you're dealing with a constant rhythm, no matter how great your lyrics are, if you don't switch it up, people's heads are going to start bobbing. And they're going to stop listening to what you're saying, so consistently keep the ear fresh and keep the audience surprised.
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The theater should always be a safe space.
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I'm past patiently waitin,' I'm passionately smashin' every expectation, every action's an act of creation.
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I read reviews, I'm not going to lie to y'all. Like you know, I'll read 'em, but then, the next day I'm able to sort of shrug them off. But if something sort of sticks the next day, there's probably something to it. I just sort of really try to trust my gut on, on all that stuff.
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With every word, I drop knowledge.
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I'm not going to hang out with celebrities, I'm not going to parties. I have two songs due for Moana next week, and I'm going to go and spend some time with Maui and Moana in the ocean, in my mind.
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I'm not trying to make something that is difficult to perform every night. It needs to proceed at the speed of that character's thought because that's the only way it's actable.
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My kid gets me out of bed in the morning.
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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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The problem is I got a lot of brains but no polish.
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The distance between where I am and where I want to be seems impossibly large.
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If you think in terms of topping, you're in the wrong business. You can't think that way.
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We get the job done. So what happens if we win?
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