The musicals that leave us kind of staggering on our feet are the ones that really reach for a lot.
Lin-Manuel Miranda
I grew up in an immigrant neighborhood. We just knew the rule was you're going to have to work twice as hard.
History is so subjective. The teller of it determines it.
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.
The fun for me in collaboration is, one, working with other people just makes you smarter; that's proven.
You know what's a great way of tricking people into thinking you're a genius? Write a show about geniuses!
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'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 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.
Everything we know about Hamilton, we knew when he was alive, because he told us.
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.
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?'
What 'Twilight Zone' did was show we all have a great capacity for good and evil.
Making words rhyme for a living is one of the great joys of my life... That's a superpower I've been very conscious of developing. I started at the same level as everybody else, and then I just listened to more music and talked to myself until it was an actual superpower I could pull out on special occasions.
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.'
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.
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.
If Hamilton were on Twitter, he would have been a worse oversharer than me.
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.
We love 'Fiddler.' We love 'West Side Story.' I want to be in that club. I want to be in the club that writes the musical that every high school does.
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.
'Rent' was the show that made me want to write. Or that showed me you're allowed to write.
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.
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.'
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.
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.
I couldn't possibly write 'Next to Normal,' but God, I can weep and watch 'Next to Normal' five times.
We've had characters like Trump in American politics forever, characters who trade on xenophobia.
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.
The only shows I saw as a kid were that holy trinity: 'Les Miz,' 'Cats,' 'Phantom.'
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.
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.
'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.
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 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.
I only know how to write musicals.
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 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.
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.
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.
If there is a Busta Rhymes of musical theater, it probably is Mandy Patinkin.
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 kind of need to be ambulatory to write lyrics.
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.
