ALL OUR YESTERDAYS Wins!
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"Time travel done right. Powerful emotional relationships and tight plotting in this debut mark Terrill as an author to watch." -- Kirkus STARRED Review
"Masterfully plotted and rich with emotion, ALL OUR YESTERDAYS is possibly the most addictive book I've read this year." -- Becca Fitzpatrick, NYT Bestselling Author
Read the SUMMARY and FIRST CHAPTER online now!
- ALL OUR YESTERDAYS Inspirations Video May 25, 2013This is what happens when you ask me to make a vlog (*shudder*) about the inspirations behind All Our Yesterdays and then let me mess around on iMovie for a couple of hours. The post ALL OUR YESTERDAYS Inspirations Video appeared first on Cristin Terrill.
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So far, in the wake of Castile’s death, the NRA has been silent about the importance of the second amendment. That’s not unusual. While the NRA advocates passionately for Americans’ right to own guns, it has historically — and hypocritically — remained silent when black men, armed and unarmed, are killed by police. One reporter was able to get the NRA on the phone today.
When director Thomas Kail first arrived at Vassar College’s campus to work with Lin-Manuel Miranda on the first act of what was then known as The Hamilton Mixtape, Miranda answered the door all bandaged up.
“He was like, ‘I brought my skateboard, and I rode it down the hill,’” laughs Kail. “The dude was on a skateboard, and just seeing him standing there, knowing there was a moment of like, ‘I might have broken the rules, but I’m okay.’” It’s that lawlessness that allowed Miranda (along with Kail) to create something brand new in theatre, the new shot heard round the world: Hamilton.
That trip to Vassar was for an eight-day working period at New York Stage and Film’s Powerhouse Theater. The non-profit theatre company dedicates its resources to the development of new work in the upstate New York oasis (“There’s literally nothing else to do there,” says Kail) before an audience of educated theatregoers, sans critics and reviews.
“I knew that we could go there and create whatever environment we needed to suit what the show was requiring at that moment,” says Kail.
Not to mention, Kail could capitalize on the natural ebb and flow of creativity since he was living with his collaborators. “I was living in a room with Alex Lacamoire and Miranda for eight straight days, and the reality is that if you spend that much time together… Lin’s like skateboarding down the hallway as we were yelling things to him. And you wake up in the morning, and you’re having breakfast and something might spark. And just by having that kind of proximity,” Kail pauses. “When you live in the city, you’re dealing with your life, and then you go [to Vassar] and there’s that quiet and that focus that you need to actually have true interaction multiple times a day without the pressure of ‘We’re selling tickets’ or ‘We have to stage the show.’ It was really just about concentrating on the work.” (It also sounds like the best extended sleepover party ever.)
“I think that we all just appreciate the skillset and the humanity that the other will bring into the room,” he says. “What it’s all sort of laying on top of is this foundation of incredible faith and trust in each other. No one here is trying to do anything except evolve the idea and to inspire the other person. And so when we’re together, we know that we’re just interested in finding the best idea and trying to bring that to the surface and see where that takes us.”
My alma mater <3 <3 <3