Home / Indian Music Chart / A World of Dazzle and Swagger: The Filmmakers Behind Vivo | Interviews | Roger Ebert
One thing that changed in this storytelling for our entire crew, 300-plus people at Sony, was during the lockdown, we in truth started going into major production last February. so, from February to February we were working very isolated. We were connected like this through Zoom, and it was the ability. This movie in sol many ways became a life raft for a bunch of us who, you know, we all came together every day, and this brought rejoice to us, and we knew we were talking about something that was connecting. The theme was about connecting. It ‘s about friendship and collaboration, and that ‘s what we were doing, excessively. then, I know that it was n’t something that we had to. And then Lin wrote it right into the sung “ Keep the Beat, ” which is where we all were last summer trying to figure out how to make a adult CG musical in thousands of different houses over the internet. QUIARA ALEGRÍA HUDES ( co-writer ) : When I first came on to “ Vivo, ” Lin-Manuel had already been developing the characters of Vivo and Andrés. The vibration of Vivo and Andrés was very refine, consummate, virtuosic musicians that lived a humble life but in truth represented the full accomplishment of a custom that they performed in La Placita in previous Havana. therefore, you can see on this notecard, I was writing adjectives that encapsulated Vivo. That he ‘s got dash, he ‘s graceful, he ‘s controlled, right ?

When Gabi comes into his life, she ‘s, like : “ improvise ! ” well, his translation of improvise is calm identical neat and manipulate. Her translation of improvise is going tear violent. Like Jackson Pollock, throwing paint at the walls and letting chaos reveal its truth to you. thus, we in truth set up at the beginning, this global of dazzle, groovy, you know, the politic musicians playing in concert. I wrote this quote on one of my notes : “ A classical is a script that has never finished saying what it needs to say. ” That ‘s where the sexual love sung comes in. Of course, Kirk said we were writing a musical about musicians, but of course, musicians are humans. And at the congress of racial equality of this journey, what initiates this travel is repent and an incomplete love story that Vivo barely feels determined to honor and to complete.

How many times in life do we get to reopen a chapter, re-do, to reconnect with person we ‘re estranged from and get another opportunity to close that lap in-in a new way ? That ‘s the world. That ‘s the world of Act One. But as Kirk said, we wanted to go somewhere actually unlike, and we knew this would become an gamble in delivering that beloved song. That ‘s when we started dreaming up the fictional character of Gabi. She ‘s a party ! The opportunity to take these classy, refined Cuban musicians, and throw them in with this diaspora, Key West, floridian agent of brilliant chaos known as Gabi was actually exciting to me. Kirk and I spoke about “ Planes, Trains, and Automobiles ” as a model of when you have to take a travel with person who ‘s in truth different from you and very irks you .