A little more than a decade ago, Lin-Manuel Miranda was writing the music for Disney’s Moana while still starring in Hamilton on Broadway.
Since then, Moana has grossed more than $643 million worldwide, and its 2024 sequel has grossed more than $1 billion worldwide. This weekend, the live-action version of the film, starring Dwayne Johnson as the demigod Maui, will be released in theaters, and Katherine LaGaia will play the title role. Like the animated version, the film follows Moana’s journey to restore Te Fiti’s heart and help the village of Motunui. Maui, played by Johnson, joins Moana on her adventures.
It’s only fitting that Miranda not only bring new musical elements to the film, but also return to write a new song for the series called “Along The Way.”
Miranda spoke about returning to Moana and working with longtime collaborator and friend Tommy Kyle, who is making his feature film directorial debut.
You shared the photo with Thomas Kyle and Christopher Jackson. Did you think Thomas Kyle would be directing the live-action version of Moana?
No, I wanted to live for the live-action “Moana.” People don’t know that Tommy helped direct our Oscar-winning film, Moana. At the time, I was appearing in Mary Poppins Returns. People don’t remember this. I was in London learning how to dance like a lamplighter. I didn’t have time, so they hired Tommy and said, “Can you write an introduction to Auli’i for the Oscars?” Tommy actually started working on Moana in 2017 when I wrote some poems to introduce “How Far I’ll Go” for the ceremony. This was my first time working with Auli and she delivered some really great work. I never thought that the circle would close. Little did I know that Tommy would then be the person chosen to be the live-action director of the first film. But it took a huge weight off my shoulders. I was like, “Okay, okay, this movie is safe because there’s no one else who’s more calm, calm, and qualified to direct a movie of this magnitude.”
What was the call or pitch for “Along the Way”?
This song did not exist at the time of filming. I started production using songs that already existed. I made some small changes here and there to make “Shiny” rhyme a little better. The rap outro of “You’re Welcome” has been slightly extended. It’s the little things that always bother me that I thought could be better. Also, Alex Lacamoire, who has been my musical right-hand man for many years, is participating as the music supervisor for this film, so that was also great. I think it was when Auli’i was visiting the set, and Tommy came up to me and said, “There’s one other person in the world who knows what Katie is going through, and that’s Auli’i. Maybe this is an opportunity for them to have a conversation, or to pass the torch.” I said, “Don’t talk anymore. That’s the idea. That’s it. All right. I’ll call you in a week.” I ended Zoom and started writing songs as soon as I could. If you have a good idea, writing a song will come naturally. The concept of Auli’i being the only other person to experience this journey that Katie goes on, both in and out of film, and as an opportunity for sisterhood and advice and this ancestral inheritance, was so delicious to write.
What was the first line or poem you came up with?
I wrote it in chronological order. “You’re on your way. You’re on the water,” says Bradley Whitford’s character, to quote “The West Wing.” “I’ve been where you are and I know the way out.” That was the beginning of the urge, “I know where you’ve been, and I’m here.” It was really simple.
This song feels very seamless. It may have been in the theatrical anime version as well. It didn’t feel like it popped in for the sake of popping in. How does that happen both musically and creatively?
I’ll think of a few things. One is that “Moana” hasn’t really gone away. It’s like reconnecting with “Moana.” I don’t think there’s a week that goes by that someone doesn’t send me a video of kids singing “Moana,” kids’ classes singing “Moana,” kids’ schools performing “Moana” Jr., or my friends visiting Disney World hearing my song played over the fireworks at the end of the night. It’s really special.
Another thing that most people don’t notice is that the song is actually sneaked into the body of the film during the section where Maui trains Moana and teaches her how to sail. You’re listening. “Along the Way” translated and rearranged by Opetaia Foai. It’s Tokelauan, not English. This means that by the time the end credits roll, you can actually hear the melody of the film’s main text.
And who better to sing this song than Opetaia Foai?
The secret sauce is opetaia foai. They can make “Moana” 4, 5, 6 so they don’t need me. As long as they have Opetaia Foai, it will be authentic to this music and this culture.
What was Tommy’s reaction when you sent him the song?
All I have to do with Tommy is send him the verse and chorus. I’m not going to finish the whole song and then find out he doesn’t like it. When I wrote the first verse and chorus, I thought, “Am I on the right path?” If Tommy says, “Keep going,” I’ll keep going. I’m superstitious, so I wrote all my first songs when I was still in “Hamilton.” So in all my demos, Philippa Soo is my first Moana. Chris Jackson sang my demo, so I ended up doing my father’s singing voice. So when the song finished, the first thing I did was call Jasmine Cephas Jones and Philippa Soo and say, “You know what? “Can you sing this demo?” I know we’re not under the same roof anymore, but can you please? ” I wanted to connect with that energy of the original, and I wanted to call my talented friends and just say, “Come here and sing this.” ”
What was it like hearing “How Far I’ll Go” at the Hollywood Bowl during its premiere with the LA Philharmonic? It was very moving.
I can’t believe they hired the LA Philharmonic for the premiere. All I wanted for Father’s Day was to see the New York Philharmonic perform to “Encanto,” and it was like a dream come true. I ended up going on stage and then going to see them, and my whole family ended up going as well. Playing music on opening night was like any other shit, and it was a really special way to bring the movie into the world.
I still think it should have won the Oscar for Best Original Song. Can salvation be achieved through “Along the Way”?
My publicist is nodding off behind his computer. It was a very competitive year. Benj Pasek and Justin Paul are my buddies and I love them and I love that they are young EGOTS. Anything could have happened that night.
What’s it like releasing a song that’s likely to be an Oscar nominee in a year that has Taylor Swift, Travis Scott, and Lady Gaga?
You time it better than I do. someone asked me on the red carpet. “How does it make you feel to know that you might be considering EGOT with your latest newlywed?” So I said, “Is Diane Warren a newlywed?” nice. And then I realized they were talking about Taylor and her amazing songs. But again, I don’t pay attention to such things. You don’t get nominated for something like that until the end of the year. It’s like getting a ticket to the moon launch. It would be great to go to the moon, but I live here on Earth, I will come back later.
What does it mean for a new generation and long-time fans to see a live-action version of Moana and the film directed by Tommy, which depicts the people of the Pacific Islands?
I’m really proud of the work he’s created. I wonder why it happened right after the original. This film became a classic in record time. Because people love this movie so much. The difference between the live-action film and the animated film is that it features hundreds of Pacific Islanders working and proudly representing their culture and heritage. I was on set during filming. The only other experience I can compare it to is making the movie In the Heights. People were still dancing and people were still singing when they yelled “cut”. The cast sings their own songs based on their culture and are very proud to be part of something that represents them on a global stage. And I felt very proud to be a part of it. Tommy has beautifully and honestly recruited people across these departments to help this culture see themselves and feel recognized.
How do you feel about your next work, “Octet”?
We finished filming on June 12th and are currently editing. The moment we stop talking about Moana, I go to the editing room with my editor, Jonah Moran. When you’re making something, all you want is to be able to make something else afterwards. I’m very proud of what I achieved with my first film “Tick, Tick…Boom!” Not only the film itself, but also the atmosphere we created in making it. So when Amanda Seyfried’s team heard that I wanted to meet with her about this, they called Andrew Garfield, and Andrew Garfield said, “Run, don’t walk. It’ll be a lot of fun.” I am grateful that the talented actors I had in “Octet” agreed to appear in the film. “Octet” is an a cappella musical. So my cast is also my orchestra. They are my call sheet and the LA Phil. So I needed an elite actor and singer, and I got them.
