When director Barry Jenkins approached Lin-Manuel Miranda about composing the songs for Mufasa, Disney’s upcoming photorealistic prequel to the 2019 Lion King remake, Miranda was, to put it mildly, extremely busy.
It was the summer of 2021, and Miranda had just completed writing the soundtrack for Encanto, another Disney project. On top of that, he was editing his directorial debut, Tick, Tick… Boom!, a biopic about Jonathan Larson.
He was also preparing for press events for Encanto, In the Heights (the film adaptation of his Tony Award-winning musical), and Vivo. Despite his packed schedule, Miranda, a lifelong Lion King fan, knew he would regret turning down Jenkins’ offer.
“I basically said to him, ‘I am in serious need of a nap, and I need to finish this movie. And if you can wait like six months for me, I think I can help you,’” said Miranda, 44.
Jenkins agreed to wait. As a result, Mufasa (currently in theaters) features seven songs written by Miranda, best known for creating the musical Hamilton. The film explores the story of Mufasa’s rise to power before Simba’s birth.
Among the songs Miranda wrote for Mufasa is a romantic ballad, “Tell Me It’s You,” a duet between Mufasa and Sarabi, a villain song titled “Bye Bye” for Mads Mikkelsen’s white lion character, and an energetic number called “I Always Wanted a Brother” for Mufasa and his surrogate brother Taka, inspired by Miranda’s own experiences with his young sons.
In a video call from Austin last week, where Miranda was filming a cameo for a friend’s indie movie, he shared insights into his songwriting process, why he didn’t return for Moana 2, and a valuable lesson he learned from Disney lyricist Howard Ashman. Below are edited excerpts from the conversation.
Can you recall the moment in 2014 when you found out you’d be working on Moana?
I had to audition for it—this was before Hamilton. I met with directors Ron Clements and John Musker, who made The Little Mermaid. I told them, “You guys are the reason I’m sitting here.
Sebastian the crab’s Caribbean calypso number completely blew my 9-year-old mind.” The day I got the gig was also the day I learned I was going to be a father. I’ll never forget that Wednesday.
Had you ever written for film before?
No. But Alan Menken and Howard Ashman were my heroes.
Were you intimidated?
The first thing I did when I went to Disney Animation Studios was ask for footage of Howard Ashman working with animators. He had a way of teaching them how Broadway songwriting worked. They gave me a DVD of him leading a master class, explaining the purpose of each song in The Little Mermaid. It was incredibly helpful and humanizing.
What was the process like for you?
Disney has these famous storyboarding meetings where they show rough animations. I was the only composer in the room, so someone told me, “Stand up for what songwriting can do.” That was empowering.
Lin-Manuel Miranda
What did you learn through the process?
My first draft of How Far I’ll Go was called “More,” but it wasn’t specific enough. Howard Ashman was brilliant at writing lyrics that were so specific they became universal. For example, Part of Your World works because Ariel is searching for human words throughout the song. So for How Far I’ll Go, I made sure every lyric about the island reflected that inner conflict—her love for it and the need to leave.
Do you suggest song placements, or are those moments in the script already set?
There’s no Disney handbook where they tell you to write an “I want” song or a villain song. You read the script and figure out where you, as a songwriter, can help propel the story.
For Mufasa, the animators had already pinpointed some song moments, and I contributed by pitching ideas to Barry, or he pitched ideas to me.
What was the inspiration for some of the songs in Mufasa?
When I read the script, I was struck by the scene where Taka confesses to Mufasa, “I always wanted a brother.” That line became the title of the song.
For Brother Betrayed, I wanted to explore a song that wasn’t just a villain anthem but more of an emotional unraveling. It’s about a character coming undone in real time.
How did you come up with Bye Bye, the villain song?
Mads Mikkelsen played the white lion, and I was excited to write a villain song. I pitched Barry the tune and had fun with it. Just like when I wrote You’re Welcome for Dwayne “The Rock” Johnson, I Googled “Mads Mikkelsen singing.” I found a video of him dancing on TV in his twenties, and I knew he could sing.
Great villain songs reveal the villain’s motivations, which are usually opposite to the hero’s. Writing a lyric like “The circle of life is a lie” felt both thrilling and treacherous.
What is your songwriting setup like?
I write at home, with an open-door policy. My kids wander in and out while I’m writing. They often hear me singing or yelling at myself as I try to get the right tune. They were also a big inspiration for I Always Wanted a Brother, as they’re always bouncing off the walls, driving each other crazy, but fiercely protective of one another.
Do you test your songs on your family?
They’re always my first audience. When I heard my 6-year-old singing “I always wanted a brother,” I knew the song was on the right track.
My wife, who’s a lawyer, is my secret weapon. She asks the tough questions: “Why did they say that?” “What does the ending mean?” She’s the best first audience because she’s objective.
Why didn’t you return for Moana 2?
Disney already had a songwriting duo, Abigail Barlow and Emily Bear, attached to the project. It was originally developed as a TV series. I didn’t feel it was right for me to come back, but it wasn’t something I spent much time thinking about. We haven’t discussed Encanto sequels either.
What do you think of the Moana 2 music?
Those two are incredibly talented, and I’m so proud of them. My kids came home singing “Beyond” nonstop. It was wonderful to hear their work.
What’s next for you?
We released the album for Warriors in October, and people are enjoying it. Because we live in such a visual culture, everyone is asking when they can see it. Eisa [Davis] and I will start talking about adapting it for the stage.
Also, I’ll be performing in All In, a new Simon Rich show on Broadway, for five weeks. It’s been a while since I’ve performed, and I’m excited to learn from the funny people I’ll be working with.
