The statement from the Dramatists Guild not only condemned the McAllen church’s reproduction of the award-winning musical without a license, but its decision to do so with “changed lyrics and added text without permission.” “And always grateful to the who have the backs of writers everywhere, be it your first play or your fiftieth.” Now lawyers do their work,” Miranda said in a tweet, which responded to a statement by the Dramatists Guild over the southern church’s use of the copyrighted material. “Grateful to all of you who reached out about this illegal, unauthorized production. Even after I’d written my first draft, I asked myself if the Spanish that I’m using would translate and be at home in Colombia and Puerto Rico.Cannes: Harrison Ford Presented With Honorary Palme d'Or I was very far outside my comfort zone, and I had my thesaurus with me at all times. Inspired by the butterfly metaphor, I wrote the song about these two caterpillars who are in love and don’t want to let each other go, but of course, they have to let each other go, because how on earth will the miracle come if they don’t make room and make space for that? That to me felt like a delicious metaphor for what the entire family is going through. What were the pressures of this, your first Spanish song?

Talk about that and writing “Dos Oruguitas” in Spanish. But once I committed to the three-quarter time, the song wrote itself. In my head, I had to write a big Disney pop anthem. There were so many Colombian waltzes that were in three-quarter time. What finally unlocked “Waiting on a Miracle” was going back to listening to the music we recorded when we were on that research trip. You have to make the whole movie to understand the journey that Mirabel’s got to go on and what the question is going to be, so you have to go at it backwards.ĭisney has such an insane legacy of good songs that you have to put that out of your head. The first verse is with Tia Pepa and Felix, and it’s about who was telling the story - that’s my parents, that is my dad, Luis Miranda, on screen. I pitched that tune, and it allowed me to create musical themes for characters who do not necessarily get their solo. I thought we needed to have a gossip number because there are things you talk about at dinner, in the kitchen after people have left, and there are things you don’t talk about in front of Abuela because she doesn’t know these two people are dating. I pitched that because we are putting our arms around this whole family and we’re trying to bring them all to the screen. How did you crack the earworm, “We Don’t Talk About Bruno,” which is such a turning point for the family?

Lin manuel miranda seinfeld