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A little over 10 years ago, Lin-Manuel Miranda was still performing on Broadway in “Hamilton” while writing the music for Disney’s “Moana.”
Since then, Moana has grossed more than $643 million at the global box office,
and its 2024 sequel earned more than $1 billion worldwide. This weekend, the live-action version of the film starring Dwayne Johnson as demigod Maui sails into theaters, with Catherine Laga’aia in the title role. As with the animated feature, the film follows Moana’s journey as she restores the heart of Te Fiti and help her village of Motunui. Johnson’s Maui joins Moana on her quest.
It’s only fitting that Miranda returns — not just to bring new musical elements to the film — but to write a new song for the franchise called “Along The Way.”
Miranda talked about returning to “Moana” and working his longtime collaborator and friend, Tommy Kail, who is making his feature film directorial debut.
You shared that photo with you,Thomas Kail and Christopher Jackson. Did you ever think Thomas Kail would be directing a live action ‘Moana’?
No, I hoped I’d be alive for the live action “Moana.” People don’t know that Tommy helped us direct our Oscar portion of “Moana.” I was in “Mary Poppins Returns” at the time. People don’t remember this — I was in London, learning how to dance like a lamplighter. I didn’t have time, and they hired Tommy and asked, “Can you get him to write an intro to Auliʻi for the Oscars?’ The beginning of Tommy working on “Moana” was actually in 2017 when I wrote some verses to introduce “How Far I’ll Go” for the ceremony. That was his first time working with Auliʻi as she delivered it so beautifully. I didn’t even think that circle would close — that Tommy would then be the person they tapped to direct the live-action of the first movie. But it was a huge relief off my shoulders. It was like, “OK, great, the movie’s in safe hands, because I can’t think of anyone more poised, calm and qualified to direct a movie of this size.”
What was the call or pitch for “Along the Way?”
The song didn’t exist while we were filming it. We went to into production with the songs that already exist in it. I made my little changes here and there — I make “Shiny” rhyme a little better. I extended the rap outro for “You’re Welcome” a little bit. Just little things that always bugged me, and I thought I could make better. I also have Alex Lacamoire who has been my musical right hand for many years, as the music supervisor on the film, so that was also great. I think it was during one of Auliʻi visits to set when Tommy came to me and said, “There’s one other person in the world who knows what Katie’s going through, and it’s Auliʻi. Maybe this is an opportunity for them to be in conversation, or for there to be a passing of the torch.” I said, “Stop talking to me. That’s the idea. That’s it. You got it. I’ll call you in a week.” I hung up the Zoom and I started writing the song as quickly as I could because when the idea is that good, it writes itself. The notion of Auliʻi as someone who’s the only other person who’s been through this journey that Katie is going on, both inside and outside the film — and as an opportunity for sisterhood and advice and this ancestral passing on — was delicious to write.
What was the first line that came to you, or verse?
I wrote it chronologically. “You’re on your way. You’re on the ocean.” To quote “The West Wing,” Bradley Whitford’s character says, “I’ve been where you are, and I know the way out.” That was the beginning of the impulse — ‘I know where you’ve been and I’m here.’ It was really that simple.
The song feels so seamless. It could have been in the animated feature version. It didn’t feel popped in for the sake of popping it in — how does that happen musically and creatively?
I think a couple of things. One, “Moana’s” never 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 their kids singing “Moana,” or their kids’ class singing “Moana,” or their kids’ school putting on “Moana” Junior, or video of my friends who are visiting Disney World and hear my song playing over the fireworks at the end of the night. It’s really special.
The other thing that I don’t think most people clock is that we actually snuck the song into the body of the movie in the section where Maui is training Moana and teaching her how to sail. You’re hearing. “Along the Way,” but Opetaia Foaʻi has translated and reorchestrated it — it’s in Tokelauan and not in English. So you’ve actually heard the melody in the body of the movie by the time the closing credits come around.
And who better to sing it than Opetaia Foaʻi?
Opetaia Foaʻi is the secret sauce. They can make “Moanas” 4, 5, and 6, they don’t need me. As long as they’ve got Opetaia Foaʻi, it’s gonna be authentic to this music and this culture.
What was Tommy’s reaction when you sent him the song?
The thing I do with Tommy is I’ll just send him a verse and a chorus. I’m not going to finish the whole song and then find out he doesn’t like it. I wrote the first verse and chorus and was like, “Am I on the right track? If Tommy says, “Keep going,” I keep going. Because I’m superstitious — I wrote all those first songs when I was still in “Hamilton.” So Phillipa Soo is my first Moana, on all my demos. Chris Jackson ended up singing and being the singing voice of the dad because he sang my demo. So, when it came time, when I finished the song, my first call was to Jasmine Cephas Jones, and Philippa Soo, and said, “Could you sing this demo for me? I know we’re not in under the same roof anymore, but can you please?” I wanted to be connected to that energy of the original, and just calling my talented friends and saying, Get in here and sing this.”
What was it like hearing ‘How Far I’ll Go’ at the Hollywood Bowl during the premiere with the L.A. Philharmonic? It felt so emotional.
I can’t believe they got the L.A. Phil for the premiere. All I wanted for Father’s Day was to see the New York Phil playing along with “Encanto,” and it was like a dream come true. I got to go on stage and meet them afterward, and my family all got to go. To be playing the score opening night is like some other shit, and it was a really special way to bring the movie into the world.
I still think it should have won Best Original Song at the Oscars. Can we get redemption with ‘Along the Way?’
My publicist is nodding his head behind the computer. It was a very competitive year. Benj Pasek and Justin Paul are my homies and I love them and I love that they are young EGOTS. It could have gone any way that night.
What is it like then having a song up that could be in possible Oscar consideration in a year when you have Taylor Swift, Travis Scott and Lady Gaga?
You’re clocking it more than I am. Somebody on the red carpet asked me, “How does it feel knowing you might be in EGOT consideration with a recent newlywed?” And I went, “Diane Warren’s a newlywed?” Cool. And then I realized they were talking about Taylor and that great song. But again, I don’t pay attention to that stuff. It’s only at the end of the year, being nominated for stuff like that. It’s like getting a ticket to a moon launch. It’s cool to get to go to the moon, but I live here on Earth, you come back afterward.
What does that mean that a new generation and fans who have loved this movie for years are going to see a live-action ‘Moana’ with all this Pacific Islander representation and this film that Tommy has helmed?
I’m really proud of the work he made. I think when it comes to the why, and why so soon after the original one? This movie has become a classic in record time because people just love it so much. The difference between a live-action and animated movie is it’s hundreds of Pacific Islanders with jobs on that screen representing their culture and heritage so proudly. I was on set when we were filming. The only other experience I can compare it to is making the movie “In the Heights.” When they yelled ‘cut,’ people were still dancing, and people were still singing. The cast is singing their own songs from their own culture, and they’re so proud to be a part of something that represents them on a global stage. And I felt very proud of being a part of that. Tommy hired beautifully and authentically across the board, across these departments, to make sure that this culture sees themselves and feels seen.
How is ‘Octet,’ your next movie, coming along?
We finished filming June 12, and I’m in the edit. The moment I stop talking about “Moana,” I go to my editing room with my editor Jonah Moran. All you want when you’re making something is to be able to then make another thing. I feel so proud of what we accomplished with my first film, “Tick, Tick… Boom!” Not just the film itself, but also the atmosphere we created in making it. So that when Amanda Seyfried’s team hears that I want to meet with her about this thing, she calls Andrew Garfield, and Andrew Garfield says, “Run, don’t walk. You’re going to have so much fun.” I feel grateful that the caliber of actors I had on “Octet” even agreed to be in the movie. “Octet” is an a cappella musical, which means that my cast is also my orchestra. They are my call sheet, and they are also the L.A. Phil. So I needed elite actors and singers, and I got them.
