Category: broadway


Alex is a New York based director, writer, editor and producer. He directed and produced HAMILTON’S AMERICA, a RadicalMedia feature documentary that explores America’s founding while following Lin-Manuel Miranda through the creation of his pop culture sensation, Hamilton. We talked about fatherhood, theater, the creative process, and getting films made.
HAMILTON’S AMERICA premieres Friday, October 21st at 9PM ET on PBS’ Great Performances.

01. What’s your typical morning routine? How do you get your day started?

I became a father in the course of making this film (we shot over a period of three years). So when I wasn’t following Broadway actors with a camera around Valley Forge, I was taking my son to daycare every morning before going into the edit suite. On a good week, I go for a run with my border terrier.

02. Can you tell me a little about your background? Where did you go to school? What did you want to do with your life?

I’m from New York originally, but grew up mostly in and around DC. My mom was a classically-trained mezzo soprano and my dad won a Tony for creating Ain’t Misbehavin’, so theater nerdery is in my blood. I’ve always been a film geek though, always wanted to make films of all kinds, and went to Wesleyan University, where I majored in film studies.

03. How did you meet Lin-Manuel Miranda? I’m curious to know what your working relationship is like and how the idea for this film came about.

I suggested the film to Lin, but someone else would have if I hadn’t happened to be first. Lin and I met at Wesleyan and were housemates senior year. We were friends long before I asked him to let me roll cameras on him as he was writing Hamilton, and I’m guessing that it was more comfortable for him having a friend documenting his writing process than it would have been with a filmmaker less known to him. Still, as open as Lin was with my camera, I tried to maintain a respectful distance of the creative process as much as possible. I got great stuff, then got out of the way so that he could do the amazing things he does.

04. I love that people who haven’t been fortunate enough to see Hamilton will now finally be able to see bits of it in your film. What were your goals in telling this story? Is it simply a record of the phenomenon or did you want to try and touch on something bigger politically or culturally?

The film was always designed to be about history seen through the show’s eyes, rather than a straight-forward “making-of” look. I love creative process films, but I had seen that movie before, and wanted to do something different here. Lin was always onboard with that mission as well. To be sure, I’m excited to share parts of the show with a wider audience and give them a backstage peek at the musical, but this film is about creating a companion piece to the Hamilton experience, in which we go to places and hear from people far removed from the Richard Rogers Theatre.

05. What kind of research, if any, did you do when going into the project? Were there any documentaries or films that you looked to for inspiration?

Al Pacino’s Looking for Richard was always the cinematic inspiration for the film’s thesis: history seen through the lens of a company of actors. As for the history itself, I did what Lin did and started with Ron Chernow’s incredible biography of Hamilton. I crammed a lot of studying, especially for the two interviews with former Treasury Secretaries. The film — like the show — barely scratches the surface of how rich our early American history is, but what we do cover is accurately and evenly presented (I hope).

06. At what point did RadicalMedia and PBS become involved in the project? What’s it been like working with them?

I started filming Lin on my own, for about six months, and developed a little demo reel, which I took to RadicalMedia. We continued to develop it together for another couple years before we officially partnered with PBS. But really, we were just getting the band back together. Radical had made In the Heights: Chasing Broadway Dreams for PBS’s Great Performances, and I had known Lin for a long time and worked as an editor at Radical for years, so we’re all family.

07. You interviewed so many amazing people for the film. What it was it like talking theater and history with such high profile people? Are there any moments that stand out for you?

Certainly, rolling on President Obama in the White House and having the better part of an hour of President W. Bush’s time are privileges I won’t soon forget. And this is to say nothing of Stephen Sondheim, Nas, and many other impressive characters. It was such a joy to make a film in which such a heady mix of people all had a valid reason to be commenting on the subject. That’s a testament to the universality and deep reach of Lin’s creation. He opened the doors, we just walked through. I don’t expect ever to have it that good again as a filmmaker.

08. People now have the ability to shoot, edit and distribute films entirely via their smart phones. Technology has made it possible for everyone to make something and get it out there. Do you have any advice for young people wanting to become documentarians?

Ultimately, just start. That’s the hardest part. Have a nose for a compelling subject (but you can make any subject compelling if you’re passionate about it), and use personal connections to stories where you can (I certainly exploited my proximity to Lin to get my foot in the door before anyone else did). True, not every doc subject will be as big as Hamilton became, but when I started, almost no one had heard of it. So just be first and be tenacious. And although technology is getting tiny and cheap, I would recommend some extra care. Take your time to make it a cinematic experience if you can. Even in the early days of Hamilton’s America, my cinematographer and I laid down some dolly track to get some elegant shots. We took our time capturing more visuals than we needed, which made the film better years later in the edit room. Also, don’t skimp in the sound recording department. It’s the first giveaway of amateur work. It doesn’t cost much money or time up front to make things look professional, so just be thoughtful.

09. What is currently inspiring you and in what way? (book, movie, song, podcast, anything really…)

I’ve been so plugged into Hamilton for so long — not to mention rearing a toddler and expecting a second kid soon — that I’m way behind on everything else. I watch very little TV, but do still like Game of Thrones. I try to go to the movies as much as possible, but it’s tough. I think the last gut-punch I had in a theater (in a good way) was The Witch. But I’m really a curmudgeon who prefers to listen to older music and catch up on films and books I missed. I guess living in the past explains why I made a movie about American history.

10. How do you end a typical day? What do you do to unwind? 

Netflix and chill — but literally. This film has been an amazing journey and its month of rollout and screenings leading up to release has been a great joy, but ultimately, there’s nothing I’d rather do than build magnetic tile castles with my son and relax on the couch with my very pregnant wife, scratching my dog’s head. But after they go to bed, sometimes Daddy gets to watch a movie by himself. Life’s good. Can’t complain.

You can find Mr. Horwitz on the web:

Hamilton’s America
Alex Horwitz

photo borrowed from Frederick M. Brown/Getty Images.

PAUL TAZEWELL : Tony award winning costume designer of HAMILTON

Have you heard of a little musical called HAMILTON? Paul Tazewell designed the costumes for it and won a well-deserved Tony for his amazing work. He’s been designing costumes for theater, opera, dance & film for over 20 years. I could go on and on about his incredible life and achievements, but let’s let him speak for himself…

01. What’s your typical morning routine? How do you get your day started?

Oh Dear. Well, it depends on the day. I tend to wake up between 7:00 and 7:30. If I have early fittings that start at 9:00 then I am up earlier (5:30-6:00) because I live in Westchester one hour north of Manhattan and have to take the train or drive in. Coffee, shower, yogurt & granola and then I’m out the door!

02. You were born in Akron, Ohio and I believe you went on to higher education in North Carolina, New York, and Pennsylvania. As a young kid in Akron, when did you know what you wanted to do with your life? Did you always know or was it more about getting out of your small town?

I did grow up in Akron Ohio. I was one of four boys born to my dad who was a research chemist for Firestone Tire and Rubber Co. and a mother that was a French and English teacher, but also very proficient in painting, puppet making and performing. My mother, even to this day, is my biggest fan and cheerleader. I painted and created puppets alongside my mother early in my years and was exposed to both professional live theater productions as well as school plays and productions. When I was old enough to take part in productions in junior high I fell in love with theater and performing. In High school, I was in the performing arts program half of the day and then took academics the other half. We were all fortunate to get to intern at Akron University. I did mine with the costume shop in the theater department. Even though I was designing the costumes and sets for the productions I was playing a role in while in high school, my greatest love was performing. After I graduated, I entered into Pratt institute in Brooklyn NY to major in fashion design. My hope was to spend my off time from school taking dance and acting classes to further my skills as a performer. That was what growing up in Akron gave me. I was able to be inspired to look outside of Akron for the most proactive way to succeed in theater, whether designing or acting.

After a year I decided to transfer to The University of North Carolina School of the Arts. I received a BFA in Costume design after three years and then went immediately to NYU Tisch School of the Arts to pursue my Graduate degree. Three years later I was graduating from Tisch with an MFA in costume and set design. That was the spring of 1989. After graduating I was fortunate to start designing regularly around the country for multiple regional theaters.

03. Can you tell me a little about the first productions you designed for? Does the project always inform the work, or does your own personal style come into play?

As a costumer I have learned to be a bit of a chameleon. I think many designers would say that of themselves. That is the fun of designing. As a costume designer I live vicariously through all of the characters in a production. Whether those characters are young or old, male or female, Asian or Latino. It changes as the stories change and the need of a specific production changes. I adapt to how the director has decided to tell the story.

04. So…HAMILTON. What was your initial reaction when the idea came across your table? A hip-hop musical about Alexander Hamilton seems so crazy. Were you hesitant at all to the idea?

I have to admit that the only historical facts that I knew about Alexander Hamilton when I was asked to join the team were that he was killed in a duel by Aaron Burr, and that his portrait lives on our Ten dollar bill. So to answer your question, yes I was skeptical. But I had also already designed a musical that Lin had written and starred in and that Tommy Kail had directed, IN THE HEIGHTS. I had full faith and trust in the brilliance of HAMILTON.

05. I know you’ve talked about this before, but how did you initially tackle the costumes for Hamilton? Was there an immediate spark of inspiration or did it take lots of research digging into 18th Century looks?

I worked for a long time developing the design of HAMILTON, starting by collecting a large file of research on 18th Century and American Revolutionary uniforms and clothing. I also developed a file of images of 18th Century inspired contemporary clothing. The challenge was to find within the clothing spectrum of 18th Century, through to contemporary fashion, the most compelling way to present the story that Lin had written. Also to keep within the contemporary style that it had been written.

06. Can you tell me a little about working with Lin-Manuel Miranda? How important is it for you to have a connection with the creator you’re working with?

First, let me say that it is very rare to work with someone as talented but also as accessible as Lin. I think the great trust that I have in Lin and Tommy Kail allows me to do my best work. It’s very important.

07. Can you describe a moment when you felt like you really made it? Was is winning the Tony, or did it come before that?

I feel like that idea of “made it” has continued to evolve and change throughout my career. I would say that designing HAMILTON, experiencing all of the joy around the show, and receiving the Tony Award for my work has moved me closer to feeling like I have arrived.

08. Are you working on anything new right now that you’re excited about?.

I am currently in the middle of shooting The Immortal Life Of Henrietta Lacks. It is a very compelling film for HBO that stars Oprah Winfrey and Rose Byrne and is directed by George C. Wolfe. It is about the woman whose cancer cells became known as HeLa.

09. What is currently inspiring you and in what way? (book, movie, song, podcast, anything really…)

I am inspired by any story of people being good to each other and taking authentic care of each other, especially stranger to stranger.

10. How do you end a typical day? What do you do to unwind? 

I usually have a lovely dinner with my husband or friends and then crash into sleep from the exhaustion of the day. If I am working on a current design project that might happen much later in the night.

You can find Mr. Tazewell on the web:

Paul Tazewell

photo borrowed from The MET ARTIST PROJECT.