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Good morning, you Matryoshka dolls, you carry so many versions of yourself around inside you. Take a seat, chill for a minute.
— Lin-Manuel Miranda
actor, film director, singer, stage actor, rapper, playwright, theatrical director, songwriter, translator, librettist, film actor, television actor, director, film producer, screenwriter, writer, composer, lyricist
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Good morning, you Matryoshka dolls, you carry so many versions of yourself around inside you. Take a seat, chill for a minute.
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.'
[HAMILTON]
I think that if we’ve done our job well and we articulate this individual’s life well, the themes inherent in that translate…It’s about legacy, about how much do we do with the time we’re given? And then there are themes that wrestle with the American character, but only in that Hamilton’s life is a rough-draft version of the arguments we still have as a country.
There are a few people who only like hip-hop music, and a few who only like theatre music, and the rest of us just like good shit. It doesn’t matter what form it comes in. I think we’re all a lot more eclectic than we give ourselves credit for…
…I think if you want to make a recipe for making a writer, have them feel a little out of place everywhere, have them be an observer kind of all the time, and that's a great way to make a writer…
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.
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.
[BURR]
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.
History is so subjective. The teller of it determines it.
