Interview with Lynn-Manuel Miranda, Thomas Kyle – Variety

When it launched in 2015, “Hamilton” instantly became both the hottest ticket on Broadway and the toughest to come out in favor of it. Of course, if you’re willing to spend a few hundred dollars for a Baines, Opera, Obama, or a nosebleed seat, you might be lucky enough to catch Lynn-Manuel Mirander’s Zitzist-defined musical instrument with Alexander Hamilton’s original cast.

Its acclaimed yond has won 11 Tony Awards, Grammys and Pulitzer Prizes for Drama. Although the tour productions have spread to Los Angeles, Chicago and London and beyond, fans without access to the stage show can religiously listen to the cast album and hip-hop movie Did.

Which is going to change something. When the movie “Hamilton” at the Richard Rogers Theater – recorded live in 2016 – launches on Disney’s streaming service, audiences around the world (or at least those with a Disney Plus subscription) will be able to share those arrogant rights on July 3.

Before the small screen debut, Miranda and director Thomas Kyle reunite through Zoom to bring “Hamilton” to the public.

Lynn, this is technically the first time you’ve seen “Hamilton” with the original company. What was weird?

Lynn-Manuel Miranda: Honestly, I at least see myself when I watch this movie. When I see it, I see the most tired in the history of my life. Raising a newborn baby in two “hum” planned weeks, and showing me filming on the holidays. But luckily all that works for “Hamilton”. Hamilton is a relentless character. The rings under my eyes serve the character beautifully.

Thomas Kyle: No makeup. This is how tired he really was.

Miranda: I remember when I opened up on Broadway there were a lot of reviews like, “Miranda, I was tired of the show I saw …” and I was like, “Guys, ‘Height’ was a long time ago. That’s exactly what my face looks like now.” It’s hard to criticize my own acting because that’s what I did for a year. This is the best rehearsed movie in the history of film. Each actor has performed this work hundreds of times so it was about staying grounded and respecting what we were doing for the audience.

Why do you want to show?

Miranda: Theaters fight the notion of accessibility. We had two rows in front for 10 rupees through lottery. We did extra shows for the people on the street. So we prioritized two things: one, we said, “It’s a crime if kids can’t see this show,” and then it was, “How do we save lightning in a bottle of these actors at the moment?”

Kail: We were aware that if you film something, it changes the equation. It’s not a negative effect, it just changes the thing. We can get this while trying to collect the amount of energy that was in the house of Richard Rogers in New York City.

What is the biggest difference in stage management compared to this film?

Kail: The audience is much more aware of how tired Lin looks. [Laughs] This is probably the only time in my filmmaking career where I’ll talk about acting as much as I’ve done with actors. They knew exactly what to do. My job is not to go that route.

The other thing that was quite different was that when you were editing no one ever said it had to be short. We weren’t solving the problems in the story, so that part of your brain is completely free.

You have now run out of time to perform on the show, what would you take from that experience?

Miranda: From this moment on we did the first show with the public [Theatre], We had things that no one could buy – and everyone worked so hard to buy – that everyone who left the show told five people about the show. What brings the movie back to me is the joy of acting with the actors with whom we’ve been making material for so many years. I look at Leslie when I see “the room where it happens” [Odom Jr.], But I remember in that moment, I’m free styling with David [Diggs] The rest of the stage, because in those two moments we backstage together in two performances. When I look “helpless” I think of the time when Anthony Ramos drank a little of a bottle of Tabasco sauce and then tried to fire the rest of the number with his mouth. My memories of making faces while Jonathan Graf is upstairs and I am emerging for the “right-handed man”. I see it with this double vision of my survival experience and the vision of God’s eyes throughout the show.

It was supposed to premiere in theaters, but now it is making its debut on Disney Plus as the movies are closed. Can’t you see the frustrated people on the big screen?

Miranda: We hope the possibility still exists and there is a world where if movies are reopened there is a world where it plays in cinemas. But you have to accept the timeline of the reality you are living in. There is no live theater in the timeline we are in. I’m just thrilled that we have these huge fond memories of how this “Hamilton” movie is in the form of a live theater in particular.

Which song or melody is new in the current political climate?

Miranda: One of the unfortunate reasons why “Hamilton” resonates in so many ways is because it stands against the origins of the United States. I don’t believe it’s a very political event, but I do believe that my only political insight was that every problem of the establishment is still a problem for us. It is a source of frustration and comfort.

Speaking of songs about slavery on the show, as we were having a national conversation about slavery and the effects of systemic racism and white domination, they hit differently than they did at the moment. John Lawrence says, “We will never be free until we end slavery.” A different hit than it was five years ago today. The response from viewers to “immigrants, we did the job” was a line of laughter that turned into a protest screen line under the Trump administration. Because it’s a conversation about America, good and bad, I think there can always be content that resonates.

Opening “Hamilton” proves that there was a place for hip-hop on Broadway. What are the barriers to theater?

Miranda: To diversify our audience like the cast of “Hamilton” and to diversify our backstage crew like the cast of “Hamilton”. We are delighted by the conversations we have in our country and in our world, in our corners, in our cyo that through discussions in American theater.

What do you think the adaptation of the movie “Hamilton” will be like?

Miranda: I don’t like lots of movie musical based on the show because it’s hard to land. I am very proud of the version of John Chur “In Heights”. It is a different animal than stage production. It’s exciting as long as I think of these as different things. I don’t know what the cinematic version of “Hamilton” looks like. If I had, I would have written it as a movie. I know Tommy has the right to refuse first.

Kail: Oh, we’re talking. All right, good. I don’t know what the descriptive feature of “Hamilton” looks like. But my feeling is – and Lynn hit the key to me. When you are making a transformation of a film that is musical, it should not necessarily try to be a stage drama. You need to get rid of it because you will fail. I’m being asked to make a movie to “film on Fidler on the roof,” because it already exists as a fantastic movie. I’m going to create something that lives with it, just like it does with a high school production, a college production and the original Broadway production and all of its restorations.

And Lynn’s video is doing “To Life” during her wedding.

Kail: That’s right. That’s how I actually got the job done. They said, “Do you have a pitch or deck?” And I said, “I have this youtube video that has a lot of views.” “It’s the same thing we do here. [with “Hamilton”]. What’s being released on Disney Plus is a cinematic capture of the stage show, but it’s not a stage show.

What’s the most surprising or interesting offer you’ve ever done since leaving “Hamilton”?

Miranda: I find it interesting that I said yes to all of them learning from the people who made the musicals of high level films. From working with Tommy on Ron Marshall to working with Tommy in “In Heights” to making “Foss / Verdon” everything “tick, tick … boom” to instruct everyone thought I was interested in telling music stories. about The jobs I chose were like school forms for me. It was like, “Okay, I wrote a musical that worked pretty well. Let me figure out how to do this other thing.”

Kail: When I’ve seen things on screen over the last few years – like this version of “Greece” or the “Hamilton” movie or “Foss / Verdon” – I’m making movies about theater, or I’m making movies taken from the theater. As much as I feel like I’m getting out of my forest part, I can’t really leave right. But there is a need to work. I want to work to make theater more inclusive to storytellers and people who come to hear stories. Oh, the article has an end. Not bad.