Lin-Manuel Miranda Quotes - Page 3

My rhymes are gonna kill, so I suggest you write your will and leave your [expletive] to me.

People who don't like musicals like, 'why are they singing? Why aren't they just talking? If you make the lyric feel really conversational, it's much easier for them to bridge that gap.

Lamplighters are the guys who manually turned on all the street lamps in London and turned them off. That was the gig in the 1930s in London.

The fact that I'm a performer helps me enormously as a lyricist.

[Opetaia Foa'i] brought in the melody and the lyrics, but the lyrics were in Tokelauan, and so, we talked about what it could mean and whether this could be the ancestor song. So, I started writing English lyrics to sort of the same melody.

My sister is as responsible for anyone for giving me good taste in music.

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.

I liked writing the negative ads more than - because it's more minor chords.

I think I learned more about writing scores for Broadway by making mix tapes in the '90s than I did in college. You're learning about rise and fall and energy and tempo shifts. You're showing off your taste and your references. You're trying to be witty by - through placement of music you didn't write.

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].

I felt so nourished by the process of making [Moana], of you're always engaged with other artists from different disciplines, and it's about bringing your art form to the table. It's so many art forms mashed together.

Once George Washington said, "I have to step down the so the country can move on."

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.

I have been working on this movie [Moana] since before Hamilton happened.

I was one of several songwriters I think interviewed [for Moana]. I'm a huge fan of Disney animated movies, and I've always wanted to write an animated score since I was a little kid.

It was a real dream come true just to get the job [in Moana], and yeah, and we sort of got right to work.

My power of speech, unimpeachable. Only 19 but my mind is older.

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.

I grew up in the time just when cassettes were waning and CDs were growing. And so mix tapes - and not mix CDs - mix tapes were an important part of the friendship and mating rituals of New York adolescents. If you were a girl and I wanted you - to show you I like you, I would make you a 90-minute cassette wherein I would show off my tastes. I would play you a musical theater song next to a hip-hop song next to an oldie next to some pop song you maybe never heard, also subliminally telling you how much I like you with all these songs.

I'm just like my country. I'm young, scrappy and hungry.

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.

We get the job done. So what happens if we win?

These New York City streets get colder, I shoulder every burden every disadvantage I've learned to manage. I don't have a gun to brandish. I walk these streets famished.

I got to holler just to be heard.

If you think in terms of topping, you're in the wrong business. You can't think that way.