Mufasa: The Lion Kingadds a host of new lore to the existingLion Kingfranchise, taking viewers back to the early days of Mufasa and Scar’s relationship. The prequel enhances the depth of many characters fans have come to love - not just Mufasa and Scar, but others like Timon and Pumbaa as well.Mufasaboasts a strong cast, withOld’s Aaron Pierre andElvis' Kelvin Harrison Jr. helming the main roles of young Mufasa and Scar alongside other talented actors likeThe Chi’s Tiffany Boone and comedians Seth Rogen and Billy Eichner.
The past credits of the creatives behind the film are quite impressive as well. Director Barry Jenkins previously worked on projects likeIf Beale Street Could Talkand Best Picture winnerMoonlight, and the movie’s songs are produced byHamiltoncreator Lin-Manuel Miranda, who has also helped create music for films likeMoanaandEncanto. Earlyreviews ofMufasa: The Lion Kinghave been largely positive, with critics praising the film’s original story and soundtrack.
Mufasa: The Lion King - Everything You Need To Know
A prequel to The Lion King about the life of Mufasa arrived following 2019’s live-action remake. Here’s all the Mufasa: The Lion King info to know.
Screen Rantinterviewed Lin-Manuel Miranda and Barry Jenkins to discuss crafting Mufasa’s story, Miranda’s songwriting inspirations, and what the recording process was like.
Lin-Manuel Miranda Adapted Many Songs From Mufasa’s Dialogue
Grounding The Main Character’s Story, Lyrical Inspiration, & The Film’s Biggest Themes
Screen Rant: Barry, you mentioned the importance of grounding Mufasa’s story. How did you balance the mythos withThe Lion Kingand introduce new deeper elements to the story?
Barry Jenkins: Yeah, I think Lin and I were just talking about this idea that Mufasa is perfect because he’s kind of existed as this great wise and king, the voice of James Earl Jones, for 30 years, but nobody’s that way at the age of 15, at the age of seven, at the age of five.
And so really just going back and as you said, grounding his experiences - not that he’s having this experience for the point of becoming a king, but to learn life lessons that we all have to learn as children, as teenagers, as young adults. Once we kind of hit on that, working with the screenwriter, Jeff Nathanson, it was all laid out.
Lin-Manuel, the music in this slaps, I loved every single song. You mentioned building songs from dialogue in the screenplay, like “I Always Wanted a Brother.” Can you elaborate on your creative process working on the songs?
Lin-Manuel Miranda: That’s one where the line of dialogue was so clear. I remember feeling so moved when Taka says that in the movie that I was like, “Well, there’s your song - look no further. And using that as a way to get to know them and grow up with them very quickly.
Another one is “Tell Me It’s You,” that was a line of dialogue in the scene that Sarabi said to Mufasa, and I was like, “That is the greatest title for a K-Ci and JoJo song that doesn’t exist yet, but I’m going to write this one.” And even the first verse of “Milele”, most of that description of paradise really began as prose on the page that I got to adapt. It was a very sharp, very focused script, so it gave me a lot of clues.
Barry, what were some of the thematic elements you wanted to explore with this group of misfits, especially in the context of family destiny and resilience?
Barry Jenkins: I think this idea of found family is something that we were talking about early in the film. We assume that Mufasa has a very particular lineage, very particular family tree, and then in this film you learn that is not the case. And yet he did have a family - no man, no woman, no person who becomes that great does so in isolation.
So it was about taking all these wonderful characters - Rafiki, Zazu, Sarabi - and not necessarily creating them for the sake of giving Mufasa these experiences, but showing how he learned things from each one of them along the course of his journey. Because I feel like I’ve had the same experience in my life.
Aaron Pierre Was Nervous To Take On The Titular Role Of Mufasa
Miranda’s Cast Collaboration, Musical Musings, And Showing New Sides Of Africa In Mufasa
Lin, I loved the brothers song that Mufasa sings. Can you also talk about collaborating with these incredible actors, and were there any songs that didn’t quite make it into the film that you wish they could have been?
Lin-Manuel Miranda: Oh, that’s interesting. Well, to the first part of your question, by the time I came aboard, it was cast, so I was sort of like, “Please be able to sing. Please be able to sing.” And he has some Broadway ringers in there in the form of Anika Noni Rose and Keith David, who were both Broadway legends, so that was really exciting writing to their voices.
Then Aaron Pierre has such an incredible instrument, and he was so nervous. He was like, “I’ve only ever sung in church.” I was like, “Listen to how you sound, you’re going to be amazing.” So it was really exciting getting to hear them sing. My only regret is I didn’t get to write a tune for Billy Eichner who has an incredible voice; I’ve known him since our early off, off, off, off-Broadway days. They were all incredible - Barry knocked it out of the park casting this thing.
Speaking of casting, I want to talk about Aaron for a second, because he is incredible as Mufasa. What did he bring to the role that wasn’t on the page?
Barry Jenkins: It was interesting when you cast someone to play the younger version of James Earl Jones; that could be quite intimidating, but to me, Aaron, just really embraced this idea that it’s not about creating a performance that feels like it can mathematically add up to James Earl Jones in 1994. It was about being present, being honest, being authentic about the experiences Mufasa is having and the present tense moment of the scene.
He really understood that, and once he did - because you start this film all in voices like a radio play - you have total freedom. You can create anything you want. I think all the actors - Aaron [Pierre], Seth [Rogen] and Billy [Eichner], especially Tiffany [Boone] and Kelvin [Harrison Jr.], they really had fun stretching, illustrating what it was these characters were going through. Interesting.
Lin-Manuel, I’ve got to ask you: I’m a big fan ofPercy Jackson. Are you returning as Hermes forPercy Jacksonseason 2? We’re also WWE fans here. My second question is: if there was a pro wrestler that you could compose entrance music for, who would that wrestler be?
Lin-Manuel Miranda: This is such a good question. First of all, I don’t think it’s a spoiler to say yes, because he’s in that book. I show up when Percy needs me in the new series, and I’ve already shot that.
The second question, it’s tricky. I like the heels more than the faces. I love Dom Mysterio. New day turned heel this week! I don’t even know if you’re caught up on your wrestling, but day turned heel this week, but that one hurt. I’d write a banger Dom Mysterio entrance track, but again, they’d boo all over it. And that’s the fun - if you’re getting boos, it means you’re doing your job right.
Back toMufasafor a second, because I think there’s this beautiful stuff that we see in the snow and it’s a different side of Africa we don’t see. Can you talk about wanting to use that particular location in the film?
Barry Jenkins: It wasn’t like intellectual that I want to show parts of Africa we don’t see. What we did was Mufasa gets sort of jettisoned from everything he knows, and it was a great opportunity to do this journey through the continent, to travel through different landscapes, different cultures, and the snow.
I will say just seeing these animals in that environment, there was something really beautiful about it. Also, now to be calculated, I knew there was going to be this ballad written by Lin-Manuel Miranda, where could it take place? This gorgeous ice cave with reflections and all the voices reflected, it was like, we’ve got to do it.
More About Mufasa: The Lion King (2024)
Mufasa: The Lion Kingexplores the unlikely rise of the beloved king of the Pride Lands. Rafiki relays the legend of Mufasa to young lion cub Kiara, daughter of Simba and Nala, with Timon and Pumbaa lending their signature schtick. Told in flashbacks, the story introduces Mufasa as an orphaned cub, lost and alone until he meets a sympathetic lion named Taka—the heir to a royal bloodline. The chance meeting sets in motion an expansive journey of an extraordinary group of misfits searching for their destiny—their bonds will be tested as they work together to evade a threatening and deadly foe.
