By Sarah Bahr
When Barry Jenkins reached out to Lin-Manuel Miranda to write the songs for “Mufasa,” Disney’s latest realistic prequel to the 2019 version of “The Lion King,” he had quite a full plate.
It was the summer of 2021, and Miranda had just completed the score for “Encanto,” another Disney project. He was in the midst of editing his directorial debut, the Jonathan Larson biopic “Tick, Tick … Boom!” He was either participating in promotional activities or preparing to do so for these films, in addition to “In the Heights” (the film adaptation of his Tony Award-winning musical) and “Vivo.”
However, as a lifelong admirer of “The Lion King,” Miranda recognized that declining Jenkins’ offer for “Mufasa” would weigh heavily on him.
“I told him, ‘I’m in dire need of some rest, and I have to wrap up this film. If you can hold off for about six months, I believe I can lend a hand,’” Miranda, 44, recalled.
Jenkins was able to wait. The final film (currently in theaters) features seven songs by Miranda, who is renowned for creating the musical “Hamilton.” The narrative chronicles Mufasa’s upbringing and rise to power prior to Simba’s birth.
Miranda composed a romantic ballad, the duet “Tell Me It’s You” for Mufasa and Sarabi; he created a villainous number for Mads Mikkelsen’s character, the white lion (“Bye Bye”); and devised a lively song for Mufasa and his brother Taka that drew inspiration from his own children’s relationship (“I Always Wanted a Brother”).
During a video conversation last week from Austin, where Miranda — sans his characteristic goatee — was shooting a cameo for a friend’s indie film, he opened up about why he didn’t reprise his role for “Moana 2” and offered insight into his songwriting techniques, including a valuable tip he picked up from esteemed Disney lyricist Howard Ashman. Below are edited excerpts from that discussion.
Q: Reflect on the moment in 2014 when you found out you had secured your first Disney film, “Moana.”
A: I had to audition for the role — this was before “Hamilton.” I met with the directors, Ron (Clements) and John (Musker), who were behind “The Little Mermaid,” and I expressed to them, “You both are the reason I’m even here, as Sebastian the crab singing a Caribbean calypso song captivated my tiny 9-year-old imagination.” The day I received that news also happened to be the same day I learned I was going to be a father — I will always remember that Wednesday.
Q: Had you ever composed music for film prior?
A: No. But Alan Menken and Howard Ashman were my idols.
Q: Did you feel intimidated?
A: The first thing I did upon arriving at Disney Animation Studios in Burbank was request any footage of Howard Ashman engaging with the animators, as he showed them the essence of Broadway songwriting. They provided me a fantastic DVD featuring him leading a masterclass, detailing the function and significance of each song in “The Little Mermaid.” That was incredibly enlightening and supportive.
Q: What was your experience like?
A: Disney is known for its traditional meetings where they screen the storyboards, alongside a roundtable of everyone involved in the upcoming projects. Right before my initial meeting, someone mentioned to me, “Every person in this room is an animator. You’re the sole composer present, so advocate for what songwriting can achieve.” That was very encouraging.
Q: What insights did you gain?
A: The first version I composed for “How Far I’ll Go” was titled “More,” and it lacked the necessary specificity. Howard Ashman had a remarkable talent for crafting lyrics that were so particular they translated into universality. The song “Part of Your World” resonates because Ariel is in constant search for human expressions. That’s the essence we aim for — capturing the true sensation of a thought process.
Once I figured out “How Far I’ll Go,” I made sure that whenever she reflects on the island or momentarily loses herself, she’s mentally back on the shore. It’s an instinctive pull; it’s not about her disliking her home and wanting to escape; rather, it conveys her deep affection for it, yet she still ventures away, which adds a layer of complexity.
Q: Can you describe your songwriting environment?
A: I create music at home, maintaining an open-door policy. My children come in and out as I work; they catch me singing to myself or acting out as Taka. My sons served as great inspiration for “I Always Wanted a Brother.” They’re always full of energy, driving each other up the wall, but they would fiercely defend one another against any threat. As a result, that song flowed easily.
Q: Do you try out your songs with your family?
A: Absolutely, they are my primary audience. So when my 6-year-old was singing, “I always wanted a brother,” I knew we were on the right track.
My go-to advisor has always been my wife, who practices law. Her superpower lies in asking probing questions: “Why did they say that?” “Why did it conclude this way?” “Are you implying this, because that’s not the impression I’m getting?” She’s my most valuable first critic because she approaches it with a discerning eye.
Q: You mentioned that you did not return for “Moana 2” because Disney had already engaged songwriters — the TikTok duo Abigail Barlow and Emily Bear — for the project, which started as a TV series. What’s your stance on writing for sequels in general?
A: I’m not certain. It would need to be very compelling. Honestly, I haven’t contemplated it. We haven’t discussed any “Encanto” sequels.
Q: What did you think of the music from “Moana 2”?
A: Those women are exceptionally talented, and I felt a great deal of pride in their work. My kids came home singing “Beyond” on repeat. It was fantastic to witness their creativity.
Q: What’s on the horizon for you?
A: We launched the album for “Warriors” in October, and it’s received positive feedback, but given our visual culture, everyone kept asking me and Eisa (Davis, with whom I collaborated on the music), “When can we see this?” So at the beginning of next year, Eisa and I will start discussions on how to transform that into a stage production.
Additionally, I’ll be involved in “All In,” the new Simon Rich production, on Broadway for five weeks. It’s been quite some time since I last performed. I’m looking forward to it, surrounded by individuals significantly funnier than myself. I expect to learn a lot.
