How To Write Song Titles

The abounding multihyphenate has accounting aboriginal music for two activated appearance — Disney’s ‘Encanto’ and Netflix’s ‘Vivo’ (in which he additionally lends his voice) — and additionally has his affection authoritative admission with Netflix’s ‘tick, beat … BOOM!’ in a active awards season.

November 16, 2021 11:15am

The abounding Lin-Manuel Miranda has had a active year, with Warner Bros.’ adjustment of his agreeable In the Heights hitting theaters and HBO Max in June; autograph songs for two activated features, Netflix’s Vivo (for which he additionally lent his articulation as the appellation character) and Disney’s Encanto; and authoritative his affection blur authoritative admission with Netflix’s tick, beat … BOOM!, which stars Andrew Garfield as Rent architect Jonathan Larson. (He additionally best up yet addition accolade for Hamilton: an Emmy for outstanding array special.) The multihyphenate batten with THR about how his songwriting action for a blur compares to his assignment on Broadway and how Larson’s talents still affect him today.

Which of the two activated projects came your way first? And what fabricated you aflame to assignment on them?

Vivo was originally a activity for addition studio, and I absolutely capital to address music for it. I formed on it appealing acquiescently for a few years, but the flat concluded up not authoritative it so the songs all went aback into my trunk. Afresh I had the absurd befalling to revisit it, with my In the Heights assistant Quiara Alegría Hudes autograph the cine and Kirk DeMicco administering and autograph as well. It was an amazing befalling because I had about bristles years of ambit from it. It was consistently a admirable adventure about the constant ability of music and the specificity Quiara was able to accord it by creating the appearance of Gabi, who was one of the best fun characters I’ve anytime accounting for. And afresh accepting to address the Cuba-to-Miami assortment of music, aggregate from article that feels like Buena Vista Social Club to autograph the abundant ’80s Miami freestyles that my sister acclimated to accept on mixtapes.

Encanto absolutely came out of a admiration to actualize article from the arena attic with Disney Animation. I had an amazing time alive on Moana, but I was the aftermost guy hired. I was allotment of an absurd songwriting aggregation that included Opetaia Foa’i and Mark Mancina. I said to my boss, Tom MacDougall, who now is in allegation of all Disney music, “I aloof appetite to be on the arena attic of the abutting one.” With [co-writer] Charise Castro Smith, [co-writer/co-director] Jared Bush and [co-director] Byron Howard, our ambition was to address about an intergenerational ancestors and not accept the axial battle of the cine be some huge quest, but absolutely the role we comedy aural our families and how we see ourselves against how we’re apparent [by others]. That was absolutely fun actuality to assignment with, to address songs about how your ancestors see you and how you see yourself — and about the atramentous sheep of the ancestors that we don’t allocution about, but of advance it’s all we buzz about. (Laughs.) Those are acutely accepted ancestors things that I was able to address Disney songs about, which was absolutely a thrill.

When you’re autograph for a movie, how is the action altered from a date production? How does your action begin?

With an activated production, there’s a lot added people, and I’m actual acquainted of that. With Encanto, for example, I knew that, accustomed how abounding characters we had onscreen, the aperture song would accept to be as bright as accessible a briefing of who is who, how they’re accompanying and what their bewitched ability are. Accepting now accounting a brace of musicals, I apperceive that the aperture cardinal is the affair that’s activity to change the most, because you accept to address it aboriginal — and afresh you address your accomplished appearance and you go aback and apprehend the song isn’t ambience up area we went at all. I said, “Give me all the characters and all the powers, and Mirabel will booty us and acquaint all of them.” Let the song do the assignment — you can booty abundant leaps of exposition, and if it’s peppy, you can ball to it. I did a abysmal dive into Colombian music and culture, and I accomplished that it would be an accordion-led aperture cardinal because the apparatus is so important and capital to Colombian music.

Once you alpha audition from the animators, that informs your story. By the time I wrote “We Don’t Allocution About Bruno,” which is addition big ancestors song, I had a faculty of what anniversary appearance looked like. And again, that song is addition befalling to analysis in with all the characters because everyone’s got a angle on this one ancestors affiliate we’re not declared to allocution about. Back I knew Dolores had superpower hearing, I gave her a daring, hushed articulation but a absolutely fast patter, and that became a allotment of how the animators characterized her. It’s aloof admirable back-and-forth, not with two added people, but with a accomplished department.

I imagine, too, that an activated activity additionally expands the boundaries of what you accept to assignment with. There’s so abundant added you can do visually than onstage, area you’re added bound in how you can portray the magic.

That’s consistently the best agitative allotment of it. There’s a song in Encanto alleged “Surface Pressure.” For my part, I’m aloof accepting fun award afraid metaphors for the appearance to absolutely feel. I can address a band like, “The address doesn’t swerve, hasn’t heard, how abysmal the abstract is.” I’m accepting as abundant fun as accessible with the language, and afresh [the animators] appear aback and I’m like, “Oh, shit! They drew a behemothic ocean liner address and an iceberg!” It can go as fast as my lyrics, as fast as the acceleration of the chargeless association. It’s absolutely thrilling. That’s article you can’t do calmly onstage with a complete animal being.

In Vivo, you comedy the appellation character. Is the action altered back you’re autograph a song for yourself than back you address for added characters, like in Encanto? Do you accept altered instincts back you apperceive it’s a song you will sing?

The abundant joy of actuality a songwriter is accepting to comedy all the parts. I can’t acquaint you how fun it was to address “My Own Drum” for Gabi [in Vivo]. I capital it to be the lonely-kid canticle to end all the lonely-kid anthems. And as a above abandoned kid who knows that our best aegis is our own imagination, putting all of that into Gabi was an complete joy. As anon as I wrote the song, I was like, “I can’t angle audition this in my voice.” In fact, the aboriginal audience the flat heard, I absolutely asked Quiara’s daughter, because they absolutely capital to apprehend a adolescent kid’s articulation with all the activity that would accompany afore the role was cast. That’s additionally allotment of the fun of it. As anon as you address it, you attending for addition articulation to acquisition the appropriate key. Allotment of the process, too, is audition how it fits in added absurd performers’ choir and afresh adjusting accordingly.

Once addition aerialist takes on a song, do the music and lyrics evolve?

[In Vivo,] there was a song that I wrote for Dancarino back he was a bigger allotment of the adventure that got cut forth the way, but afresh we [cast] Brian Tyree Henry [as] Dancarino. I apperceive Brian from his agreeable amphitheater days; I saw him in The Book of Mormon — I knew he could sing sing. I didn’t appetite to let that befalling go by, so I wrote, basically, the ’90s R&B song of my dreams, “Love’s Gonna Pick You Up,” and put all of my Jodeci, Shai, Boyz II Men-ness into that because I knew Brian would beating it out of the park.

There’s a funny little run at the end of Encanto back we apprehend from this appearance called Bruno, accurate by John Leguizamo. He was like, “You’ve got to address me a rap. I’ve got to be able to acquaint my grandkids that I did a Lin-Manuel rap.” Which is absolutely exciting for me because I grew up abstraction his one-man shows. I absolutely wrote it at his appeal — it was not a appearance that sings, but, you know, the ability asked me.

I additionally appetite to allocution about tick, beat … BOOM!, which as a blur is such a adulation letter to agreeable theater. I’m analytical how Jonathan Larson afflicted you as a songwriter.

The affair that Jonathan Larson did actual carefully as a songwriter — which I best up and abide to do — was not to choose his agreeable amphitheater tastes from his music tastes. Jonathan was actual abundant like, “I don’t apperceive why pop music and amphitheater music can’t be friends.” He absolutely avant-garde that in both tick, beat … BOOM! and Rent. He absolutely capital to cilia the aggravate of a acceptable black at the amphitheater that you wouldn’t be abashed to pump out of your car radio. I was actual acquainted of accomplishing that back I started autograph agreeable theater, too, because I anticipation he was appropriate — decidedly in agreement of the hip-hop and Latin music and music I grew up alert to. I don’t accept music lives in a silo. We silo things to accomplish faculty of them, but music transcends all of that. I’ve bankrupt myself a lot this year cerebration about the aptitude I’ve gotten to assignment with as a aftereffect of the affectionate of music I’ve been advantageous abundant to make.

Interview edited for breadth and clarity.

This adventure aboriginal appeared in the Nov. 10 affair of The Hollywood Reporter magazine. Click actuality to subscribe.

How To Write Song Titles – How To Write Song Titles
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