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Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Tick, Tick Director: Lin-Manuel Miranda.
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Customers also viewed these products. Jon is torn between following his dream of composing and opting for security and family in a different career.
Jon's reverie, however, is cut short; he needs to report to his day job as a waiter in a SoHo diner "Sunday". Michael exults at the thought of a life of luxury "No More" , and pressures Jon further to consider changing his career path.
Frustrated, Jon finally agrees to accompany Michael to work the next day and visit a brainstorming session at his firm. Back at home, Jon phones his parents and then his agent.
He plans to spend the remainder of the evening composing, but he is interrupted by a call from Susan, who wants to see him.
They argue, albeit in a passive and psychological manner that scarcely seems like an argument at all "Therapy". On Monday morning, Jon walks to Michael's office for his brainstorming session.
On the way, Jon thinks back to a workshop in which his work was reviewed by a composer "so legendary his name may not be uttered aloud He also worries about his musical style and its place on Broadway, but has little time to develop this train of thought before he arrives at Michael's firm.
Jon sees the futility of the process, and his unwillingness to cooperate gets him removed from the meeting. Later, as Jon drives Michael to the airport for a business trip, they argue about the meeting.
Michael tells Jon that the life Susan wants doesn't sound bad, and that he wishes his job could give him the chance to settle down "Real Life".
She reveals a similar weakness for Twinkies, and this leads to a sudden friendship between the two. After the rehearsal, Susan sees Jon and Karessa walking together and becomes jealous.
She informs Jon that she's gotten a job in Northampton, Massachusetts which may be permanent. Although initially the theatre is empty, soon it is filled with very important people: Jon's family and friends, as well as Broadway producers and artists, including Jon's idol, St S Jon is no closer to being a professional composer, and so, in his eyes, the workshop has been a failure.
After the workshop, Jon visits Michael and tells him that he is through with music. For the first time, though, Michael tries to persuade him to stick with it.
Michael says that while he enjoys how he makes a lot more money now than he did as a starving artist, he finds the job itself to be emotionally banal and unrewarding.
The two argue, and Jon yells at Michael for not understanding fear or insecurity. Michael responds by telling Jon that he is HIV-positive.
Shocked at this news, Jon leaves quickly. Distressed and alone, Jon wanders through Central Park until he finds himself in the abandoned theater inside Belvedere Castle.
He finds an old rehearsal piano, and begins to play it while collecting his thoughts. Ultimately, he realizes that he will only be happy as a professional composer, no matter what hardships that may bring.
He sees Susan, who is getting ready to leave. She gives him his birthday gift: a thousand sheets of blank manuscript paper.
They agree to write to each other, and she leaves. Michael gives him a birthday gift of belts Michael thinks belts are a sign of luxury.
The phone rings, and the caller is Stephen Sondheim. Jon realizes that he is surrounded by friends and that his talents are finally being recognized.
I can barely hear them, and I think if I play loud enough I can drown them out completely. The film would be Miranda's feature-length directorial debut.