NEW YORK — Over the course of the last four years dedicated to creating “Mufasa: The Lion King,” Barry Jenkins has faced the question of his motivations behind the project at least 400 times. As the visionary director of acclaimed films such as “Moonlight,” “If Beale Street Could Talk,” and “The Underground Railroad,” Jenkins’ venture into the world of high-budget, photorealistic animated Disney films has sparked discussions among many in the film community who hold him in high regard.
Unlike numerous other directors who have ventured into CGI-heavy blockbusters, Jenkins’ decision to take this leap has been scrutinized more deeply, probably because he stands out as one of the most highly respected filmmakers under 50 today. “I just thought it was something I could not deny,” Jenkins explains. “I had to do it.” The film, set to release in theaters on Friday, merges realms that are generally quite distant from each other. It features a poignant narrative about the upbringing of an orphaned lion cub intertwined with themes prevalent in contemporary Hollywood.
“Mufasa” offers a multi-layered and artistically rendered spectacle that Jenkins believes shares common ground with “Moonlight.” The film is crafted using cutting-edge virtual filmmaking tools and boasts a budget significantly surpassing that of “Moonlight.” Often throughout “Mufasa,” audiences may sense Jenkins’ unique touch, bringing warmth and depth to a production that might, under less careful direction, feel void of spirit. With music by Lin-Manuel Miranda, “Mufasa” serves not just as mainstream entertainment but also resonates with the essence of Jenkins’ filmmaking style.
Reflecting on his experience, Jenkins shares, “My head was spinning when we began this project. It felt strangely reminiscent of my early days in filmmaking.” He recognizes the choice between being overwhelmed by the newness or embracing the opportunity for growth. The journey has broadened Jenkins’ artistic capabilities, enlightening him to fresh filmmaking methods. He likens the process to learning a new language.
In a recent conversation, Jenkins was asked how frequently he’s confronted with inquiries regarding his decision to direct this movie. Responding, he noted the script’s heartfelt quality and the enduring connection he has with “The Lion King,” a film that initially captured his attention while babysitting his nephews in the 1990s. “I thought: Wouldn’t it be interesting to step into this project full of light after working on something like ‘The Underground Railroad’?”
When asked if he was seeking a lighter project after more serious themes, Jenkins clarified that it wasn’t so much about seeking lightness but rather warmth and depth. He pointed out the thematic parallels between “Moonlight” and “Mufasa,” citing both movies’ explorations of family, legacy, and finding one’s place in the world.
The dialogue further delved into whether he was motivated by a desire to expand as a filmmaker. Jenkins emphasized that it was less about others’ perceptions of him and more about broadening his creative canvas. As he transitioned from “Moonlight” to “The Underground Railroad,” the evolution of filmmaking technology has introduced new methods that intrigued him.
Jenkins affirmed that despite working in a virtual space, he was able to infuse his unique style into the film. “We advanced our process to create a world and movements in virtual spaces, enabling our virtual cameras to document in real-time,” he said. This allowed for innovative techniques in cinematography as he and his crew seized opportunities not easily achievable in traditional filming.
Addressing the digital process, Jenkins noted his initial reservations but clarified his desire to integrate physical experiences into the virtual realm. “If I were to make another film like this, I wouldn’t take as long,” he remarked, hinting that he now feels more equipped to blend these technologies with his creative vision.
Ultimately, Jenkins views “Mufasa” as a crucial step in his artistic journey. He expressed excitement over how using new tools allowed him to deepen his filmmaking expertise in ways he couldn’t have achieved with prior projects. Jenkins recounted a conversation with fellow director Matt Reeves, who shared insights on utilizing similar technology, which further ignited his enthusiasm for the possibilities available in contemporary filmmaking.
Lastly, he emphasized the importance of filmmakers understanding these emerging techniques. “The advantages of light and camera placement are boundless,” Jenkins concluded, recognizing that these tools could enhance both his future projects and his overall approach to storytelling on screen.
