![]() If you were writing Hamilton now, would you have changed your approach? Hamilton has come in for criticism from the Black Lives Matter movement for not exploring the fact that the main characters were slave owners. It’s the way you get to know anybody: you start by talking about the work, and then, by the end, you’re saying: “Have you seen this viral video of this cat that does this?” ![]() Andrew loves Judge Judy, we laughed so hard. Most of my summer, I was in a hot air balloon with “hot priest” Andrew Scott. He’s certainly got the look: the leather duster coat, the hat that somehow stays on in a frigging hot air balloon! We owe so much to Harrison Ford, for his loners-who-find-a-cause characters. ![]() You’ve described Lee Scoresby as being a bit like Han Solo, but he’s also Indiana Jones, no? It’s not only about how the loss is an engine of the story, it’s also about how that character is marked by it. He’s in paralysis because of it, because he doesn’t want to mess up in the time he has. I remember when my dad’s parents passed, my dad was in his 50s, and he was like: “I’m an orphan.” The way I dealt with it in Hamilton, Hamilton and Burr both have this early loss and Hamilton decides to go a mile a minute, and Burr is terrified. That’s true, but there’s an incredible profound loss that comes with losing your parents. It’s important in children’s stories that parents aren’t there, isn’t it? It gives the child freedom… ![]()
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