WALT DISNEY PICTURES'
World Wide Web Archive
The Unofficial Fan Resource
Zimmer's return, while not unexpected (as he co-scored the 2019 film as well), is a welcome announcement; and there is more encouraging news at this Collider article discussing some of the other collaborators who are expected to join the project:
Fortunately, Jenkins has enlisted a superstar trio for the soundtrack, as Oscar winner Hans Zimmer and two-time Oscar nominees Pharrell Williams and Nicholas Britell will provide the music for Disney's upcoming movie, which will double as both a prequel and a sequel to the 2019 blockbuster.
Zimmer is no stranger to Pride Rock, having previously scored the original 1994 animated movie, as well as last year’s remake -- for which Williams produced several songs. Britell is the new addition to the team, having composed the score for Jenkins' last two movies, Moonlight and If Beale Street Could Talk. Britell is also working on the music for Jenkins' upcoming Amazon series The Underground Railroad.
Charlie Quigg, who forwarded these news items, also spotted confirmation that The Moving Picture Company, the effects house that created the 2019 film, is staffing up for the new project as well, all but guaranteeing that the new sequel will have the same look and feel as its predecessor.
EXCLUSIVE: The Walt Disney Studios has set Oscar winner Barry Jenkins to direct the studio’s follow-up to the 2019 blockbuster The Lion King. Jeff Nathanson, who scripted the last installment, is back in the fold and has completed an initial draft of script. Jenkins won the Oscar for scripting the Best Picture winner Moonlight and was nominated for adapting If Beale Street Could Talk (he directed both).
The film will continue with the photo-realistic technology that director Jon Favreau used in the 2019 film and 2016’s The Jungle Book. There is no release date set for The Lion King follow-up or for the production start, but it is understandably a top priority for Sean Bailey’s division after the last film grossed $1.6 billion worldwide.
They are keeping the logline under wraps, but I’m told that the story will further explore the mythology of the characters, including Mufasa’s origin story. Moving the story forward while looking back conjures memories of [i]The Godfather: Part II[i], set on the African plain with a continuation of the tradition of music that was a key part of the 1994 animated classic, the 2019 film and the blockbuster Broadway stage transfer.
The big news here seems to be that this won't be a remake of Simba's Pride, but rather (perhaps) a prequel — involving the youth of Mufasa rather than the later generations.
According to our sources – the same ones who told us Bambi and Robin Hood remakes were in development, both of which are now confirmed – The Lion King‘s Timon and Pumbaa are reportedly set to be the stars of their own Disney Plus limited series, which is said to be a more comedic offering that could potentially take several cues from 2004’s direct-to-video The Lion King 1.5, which tracked what the duo were up to before and during the events of the movie.
There has been no confirmation about whether or not the possible Disney+ original series will feature characters from the 1994 Disney’s The Lion King animated film or the new version of the movie. Though, we can guess the reported Disney+ Lion King series would likely be a comedy and could potentially feature Billy Eichner (Timon) and Seth Rogen (Pumbaa), who voiced the beloved Disney characters in the 2019 live action Lion King remake.
Although Disney has yet to confirm anything about an upcoming streaming Timon and Pumbaa series, they have recently announced several original Disney+ series. New original content is necessary to keep Disney in the streaming game against industry giants like Netflix.
We Got This Covered has been informed by our sources – the same ones who told us an Aladdin sequel was happening, which we now know to be true – that Disney wants to do a Lion King follow-up. According to what we’ve heard, though, director Jon Favreau isn’t so keen on the idea, which may mean that a new director will be hired to helm it. We’ve also been told that it’s not a sure thing just yet, but they’re certainly discussing it given the barnstorming success of the first one.
Unclear at this point is whether said sequel would just be a live-action Simba's Pride, or whether it would go in some new direction. If remakes like Aladdin are earning sequels of their own, though, it's hard to deny there's a possibility of more TLK movies on the horizon.
Via Charlie Quigg.
Decades of speculation and fanfiction have covered possibilities such as clashes with large beasts such as wildebeests or rival lions to a lovers' quarrel, but now thanks to The Lion Guard it seems we have our answer.
Via Charlie Quigg.
"A Gift He'll Never Forget" features Scar and young Simba in the gorge, setting the stage for the stampede:
And "I'm Gonna Name Him Fred" is the scene of Timon and Pumbaa discovering Simba collapsed in the desert, with updated dialogue and repartee:
Tickets can be purchased starting today at Fandango — and if you follow the link you'll get an in-depth exclusive interview between Fandango and TLK director Jon Favreau.
Jon Favreau: We learned a lot on The Jungle Book, and one of the things we learned is that if you push the facial expressions on an animal too much it starts to look less like an animal and more like a human. Part of the naturalistic approach of The Lion King that would have not fit in with our tone. Part of it is trying to make the animals express emotions without facial expression, so like in the case of Pumbaa, who is a very comedic character who has a lot of facial expressions in the old one, how do you make a warthog comical if you can't make him make faces? You have to look at the reference of warthogs in nature, and you start to see that they're very comical in the way that they move.
So, part of it was directing the animators to express the emotions of the characters, be it the lion or the meerkat or the warthog, in a way that is both consistent with what people would see in nature, but also to express the performance choices the actors are making. So, there’s a lot of body language that was worked into this piece. What’s nice is that as you watch the film all together, I think it's very successful. But it definitely is one of the things that created one of the bigger challenges, to try to help bring the charm and humanity of the original productions into this without having the ability to manipulate the facial expressions and the naturalism of the animals to the extent that you could in animation.