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Also, Miranda had never directed a major movie, and Garfield, who portrays Larson, had never sung in public before that first workshop.īut Miranda, also a musical visionary with a steadfast resolve, had asserted for years that a “Tick, Tick … Boom!” adaptation is “the only film I already knew how to make,” he told The Times.
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“And sometimes you don’t realize how your passionate, single-minded focus on a goal is impacting the people around you, and stopping you from seeing what’s really important.”Īt first glance, “Tick, Tick … Boom!” does not have the explicit makings of a successful movie musical: Its source material is an unfinished one-man show that, after Larson’s tragic death in 1995, was reconfigured into a three-actor production its main character is a charismatic but arguably self-obsessed creator navigating a niche field.
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“For anybody who is working toward something, there are those moments where you’re supremely confident, and then the next moment, you’re just absolutely full of despair and doubt of whether you’re ever going to be understood,” said Julie Larson, Jonathan’s sister. These same descriptors can be applied to the project’s author and main character: Jonathan Larson who, before creating the groundbreaking show “Rent,” spent the early 1990s developing and performing a solo work that became known as “Tick, Tick … Boom!” The semiautobiographical rock monologue is about a composer-lyricist who aims to take the industry by storm with what he believes to be a musical masterpiece. “Lin is an elemental force who doesn’t seem to need to sleep, who has this gleeful urgency when it comes to something he loves and who genuinely believes that anything is possible. “We felt like we were all in really great hands, which isn’t hard to feel because he is who he is,” said Garfield of Miranda.
Two more were held before filming began, which allowed Garfield and the other actors to establish a trust in the material, in each other and in Miranda. “Two hours in, I’m having the time of my life in what was essentially a healing musical theater sound bath,” recalled Garfield, who, with Miranda’s gentle guidance, was starting to sing by the end of the weeklong workshop. Reluctantly, Garfield agreed to participate, and sat down with a handful of Miranda’s actor friends in a back office at the United Palace in New York’s Washington Heights. We’ll just read through it together and see how it goes.”
“You don’t have to sing if you’re too tired or nervous. “Perfect, so that means you’re available,” Miranda excitedly told Garfield. But it was scheduled for the day after Garfield closed Broadway’s “Angels in America,” in which he played the tormented lead, and the role left him desperate to rest and recover. It had been weeks since Lin-Manuel Miranda pitched him on starring in a musical and invited him to a workshop of the still-being-written script - an unconventional step for any screen project but a highly informative tool for theatermakers like Miranda.
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