For some time now, Disney has immersed itself in live action, bringing its classics to a new level of realism. Last on the list was The little mermaidand now it’s coming Mufasa – The Lion Kingin theaters from December 19th, to conquer the box office during the Christmas period. We could call it a prequel to the franchise. The film focuses on Mufasa, Simba’s father. It tells of his childhood, growing up, the fight for the throne and the rise of a new kingdom. In an adventure that seems like pyrotechnics.
Behind the camera is Barry Jenkins, who signs the soundtrack Lin-Manuel Miranda. He is the author of one of the most famous musicals of all time, Hamiltonfor which he also won the Pulitzer Prize in 2016. He has a multifaceted talent, which in 2021 has led him to also be a director, as well as a composer and actor, for Tick, Tick … Boom!. “We all grew up with the songs of The Lion King. And we know them by heart. Obviously I’m a fan. We have the illusion of knowing everything about Mufasa: he is courageous, he instills confidence. Instead I was surprised when I read the story. There are many surprises, starting from his youth, his way of relating to others, and of course his bond with his brother. But I can’t reveal more at the moment,” explains Miranda.
What memories do you have of The Lion King?
I was fourteen. And I also left school early, otherwise I would never have made it to the first show on time. What struck me was the trailer: a sunrise, a thundering voice that starts to sing. It’s an impressive start. The message is clear: we want your attention, because we’re about to take you somewhere you’ve never seen. In a nutshell: The Lion King it was uncharted territory.
Are there any other cartoons that have impressed you?
The little mermaid (he shows me the videotape, ed.). I was much younger, I was nine. I was fascinated by the Caribbean influences of the soundtrack. I started to question myself about the relationship between music and images, I had the ambition of one day being the one to compose.
What is music?
A language that everyone can understand, regardless of their differences. It is something in which our soul can be reflected. It is part of us, it also awakens ancient memories. When the right notes intoxicate us at the right time in our lives, it becomes an uplifting experience. There is nothing else. It’s why I do this job. We must always ask ourselves what we want to convey, what emotions we want to create.
And the cinema?
It’s your first love, the girl you fall head over heels for, the passion that always accompanies you. I always thought I would make films, even before learning solfeggio. My father ran a VHS shop, it was heaven in my childhood. I was a voracious viewer, I watched anything, even maybe something that wasn’t really suitable. There are no big differences between the director and the composer. Both must convey their own vision of the world. And the goal is to create that moment, that sequence which can then remain imprinted for a long time. Songs are like dialogues. It is a question of language, but also of assonance with reality. Let’s think about Mufasa: live action is designed to make you believe that every moment is real.
What is the key to making the chords that characterize a character?
Study. What are its origins? What elements identify it? In which environment do we want to insert it? And then knowing how to look with his eyes, asking the right questions. How do you feel? What are its joys and its torments? How much do you want to reveal yourself to the public? It takes time, the answers are not immediate.
She is the beating heart of Hamilton.
I’m proud of it, in the summer it will be the tenth anniversary. It went around the world. I feel it as a free story, which belongs to me. It made me grow, it also helped me manage tension: it was incredible. Some people today tell me that it is a source of inspiration, I would never have imagined it. I believe that loving what your colleagues do is necessary to improve yourself. In my case I have great respect for Mark Mancina. What he accomplished for Moana was commendable. Being able to collaborate with him for Mufasa It pushed me to raise the bar.
What type of music do you listen to during your days?
When I actually compose anything, I don’t want to be influenced. Then I have no preferences. I like pop, Beyoncé, but not only. You have to always be up to date, always on top of things.
Is this what you also recommend to those who would like to follow in your footsteps?
Absolutely. But my advice is this: choose your “hero” and follow him. Learn its secrets, its habits. Because you are never good enough, and you need humility, always. Only in this way can you find yourself and your voice. Also having the courage to say that you were wrong. I’m not enthusiastic about all my work. But that’s okay, it’s the only way to mature. You have to embrace different sounds, let yourself be lulled, and put all the love you are capable of into it. The only way is not to settle, listen to anything, and be critical of your own work. Why am I doing this? Are you sure about it? But without exaggerating. I want to be surprised, but without losing my smile. It is important to develop your own taste, which is a starting point. Not arrival.
