The Music of Moana (2016 film)

Copyright © 2016 Disney Enterprises, Inc.

Original Songs by

Lin-Manuel Miranda, Opetaia Foa’i and Mark Mancina

Original Score Composed by

Mark Mancina

Executive Music Producers

Tom MacDougall and Chris Montan

Music

Original Songs Produced by

Mark Mancina, Lin-Manuel Miranda and Opetaia Foa’i

Original Score Produced by

Mark Mancina

Executive Director, Music Production

Andrew Page

Music Editor, Production / Songs

Earl Ghaffari

Songs and Score Orchestrated and Arranged by

Dave Metzger

Songs and Score Recorded and Mixed by

David Boucher

Songs and Score Conducted by

Don Harper

Music Business Affairs

Don Welty

Manager, Music Production

Ashley Chafin

Music Production Assistant

Jimmy Tsai

Executive Music Assistant

Jill Heffley

Music Editor, Score

Daniel Pinder, MPSE

Vocal Coach to Auli’i Cravalho

Peisha McPhee

Vocal Coach, Cast

Sam Kriger

Fijian Choral Direction by

Igelese Ete, featuring the Pasifika Voices Choir

Additional Engineering and Music Production

Marlon Espino

Digital Score Assembly

Kevin Harp

Digital Recordist

Larry Mah

Songs and Score Contracted by

Reggie Wilson

Music Preparation by

Booker White — Walt Disney Music

Performances by

Te Vaka

Songs

Tulou Tagaloa

Performed by Olivia Foa’i

Music and Lyrics by Opetaia Foa’i

An Innocent Warrior

Performed by Vai Mahina, Sulata Foai-Amiatu, Matthew Ineleo

Written by Opetaia Foa’i

Where You Are

Performed by Christopher Jackson, Rachel House,

Nicole Scherzinger, Auli’i Cravalho, Louise Bush

Music by Lin-Manuel Miranda, Opetaia Foa’i, Mark Mancina

Lyrics by Lin-Manuel Miranda

How Far I’ll Go

Performed by Auli’i Cravalho

Music and Lyrics by Lin-Manuel Miranda

We Know the Way

Performed by Opetaia Foa’i and Lin-Manuel Miranda

Music by Opetaia Foa’i

Lyrics by Opetaia Foa’i and Lin-Manuel Miranda

How Far I’ll Go (Reprise)

Performed by Auli’i Cravalho

Music by Lin-Manuel Miranda and Mark Mancina

Lyrics by Lin-Manuel Miranda

You’re Welcome

Performed by Dwayne Johnson

Music and Lyrics by Lin-Manuel Miranda

Shiny

Performed by Jemaine Clement

Music by Lin-Manuel Miranda and Mark Mancina

Lyrics by Lin-Manuel Miranda

Logo Te Pate

Performed by Olivia Foa’i, Opetaia Foa’i, Talaga Steve Sale

Written by Opetaia Foa’i

I Am Moana (Song of the Ancestors)

Performed by Rachel House and Auli’i Cravalho

Music by Lin-Manuel Miranda, Opetaia Foa’i, Mark Mancina

Lyrics by Lin-Manuel Miranda and Opetaia Foa’i

Know Who You Are

Performed by Auli’i Cravalho, Vai Mahina, Olivia Foa’i, Opetaia Foa’i, Matthew Ineleo

Music by Opetaia Foa’i, Lin-Manuel Miranda, Mark Mancina

Lyrics by Opetaia Foa’i and Lin-Manuel Miranda

We Know the Way (Finale)

Performed by Lin-Manuel Miranda and Opetaia Foa’i

Music by Opetaia Foa’i

Lyrics by Opetaia Foa’i and Lin-Manuel Miranda

How Far I’ll Go (Alessia Cara Version)

Performed by Alessia Cara

Written by Lin-Manuel Miranda

Produced by Oak Felder and Trevorious

Mixed by Erik Madrid

Alessia Cara appears courtesy of EP Entertainment/Def Jam Recordings

You’re Welcome (Jordan Fisher/Lin-Manuel Miranda Version)

Performed by Jordan Fisher featuring Lin-Manuel Miranda

Written by Lin-Manuel Miranda

Produced by !llmind

Mixed by Joey Raia

Jordan Fisher appears courtesy of Hollywood Records

Assistant Music Editor

Benjamin Robinson

Temp Score Music Editors

Tommy Holmes and Dominick Certo

Soundtrack Available on

Walt Disney Records

ILM’s Hidalgo (film)

Make-up Effects and Animatronics

Designed and Created by

Todd Masters

MastersFX, LA

Co-Designer/Supervisor

Dan Rebert

FX Artists

Erik Schaper, Joe Colwell, Sam Polin

Stagebill of The Lion King (1997)

Elton John — Music

Academy Award-winning recording artist, Elton John, released a new studio album in September, 1997, titled The Big Picture. The release of this album is especially noteworthy because it also marks the 30th anniversary of one of the most prolific songwriting teams in the history of pop music, Elton John and lyricist Bernie Taupin. Several years ago, Elton John embarked on another noteworthy songwriting collaboration with renowned lyricist, Tim Rice, and this resulted in the tremendously successful soundtrack to the Walt Disney Pictures smash hit, The Lion King. The album produced two top-selling, award-winning singles for Elton, “Can You Feel the Love Tonight” and “Circle of Life”. To date, the record has surpassed the 10 million mark in sales. The success of The Lion King has resulted in yet another Elton John/Tim Rice collaboration. The duo have written new material based on the story depicted in Verdi’s classic opera Aida for an upcoming Disney theatrical project. Apart from his musical projects, Elton John continues to be personally involved in the fundraising activities for the Elton John AIDS Foundation which funds direct care services for men, women, and children living with HIV and AIDS. Since it’s inception in 1992, the Foundation has distributed more than $13 million in grants worldwide. In addition, as a result of his contributions to charity and the arts, last year, Elton John was added to Queen Elizabeth’s Honors List, receiving the prestigious British title of Commander of the Order of the British Empire. This year, in honor of his 50th birthday, he was awarded an Honorary Membership to the Royal Academy of Music in London — a school he attended in his junior years.

Tim Rice — Lyrics

Theater: Joseph and the Amazing Technicolor Dreamcoat; Jesus Christ Superstar; Evita; Blondel; Chess; Starmania / Tycoon; some of Beauty and the Beast; Heathcliff, King David. In the works: Aida. TV / Films: Three More Men in a Boat; some of Aladdin; The Lion King. In the works: El Dorado, The Pheasant That Died of Old Age. Books: Evita; Treasures of Lord’s, over 30 Guinness Books on British pop music; 22 Heartaches Cricketers’ Almanacks. In the works: An autobiography.

Roger Allers — Book

Roger Allers makes his Broadway debut with this adaptation from the animated feature which he co-directed. Roger has been instrumental in shaping the structure and dialogue for all of the Disney animated features beginning with Oliver & Company in 1988. He is currently writing and directing Kingdom of the Sun, a Disney Animation feature scheduled for release in 1999.

Irene Mecchi — Book

Irene Mecchi began her association with Disney in March, 1992, when she wrote Recycle Rex, an animated short which won the 1994 Environmental Media Award. Irene is a co-writer of Disney’s animated features The Lion King, The Hunchback of Notre Dame, and Hercules, and is presently working on Disney’s upcoming Kingdom of the Sun.

Julie Taymor — Director, Costume Designer, Mask/Puppet Co-Designer, Additional Music & Lyrics

Julie Taymor directs theater, opera, and film. She made her Broadway debut in 1996 with her production of Juan Darién (Lincoln Center’s Vivian Beaumont Theater), which was nominated for five 1997 Tony Awards. Other theater work includes: The Green Bird (New Victory Theater and La Jolla Playhouse); Titus Andronicus, The Tempest, and The Taming of the Shrew (Theatre for a New Audience); Juan Darién (Music-Theatre Group); co-adapter and director of Transposed Heads (Lincoln Center and American Music Theatre Festival) and Liberty’s Taken (Castle Hill Festival); designer and choreographer of The King Stag (American Repertory Theatre). Opera direction: The Magic Flute (Maggio Musicale, Florence); Oedipus Rex (Saito Kinen Festival, Japan); Salomé (Kirov Opera); The Flying Dutchman (Los Angeles Opera). Film: Fool’s Fire, an adaptation of Edgar Allan Poe’s Hopfrog for American Playhouse. She is currently preparing to direct a feature film of her adaptation of Titus Andronicus. Ms. Taymor’s awards include a MacArthur Foundation Fellowship, a Guggenheim Fellowship, an Emmy for Oedipus Rex, Obie awards for Visual Magic and for Juan Darién, the Brandeis Creative Arts Award, the Dorothy Chandler Performing Arts Award, and the International Classical Music Award for Best Opera Production (Oedipus Rex). Playing with Fire, a book spanning 20 years of Julie Taymor’s work, was recently published by Abrams.

Garth Fagan — Choreographer

Lebo M. — Additional Music & Lyrics, Additional Vocal Score, Vocal Arrangements, Choral Director and Ensemble

Lebo M. is known as the “voice and spirit of The Lion King.” A native of South Africa, his pursuit of a musical career in the U.S. eventually landed him a Grammy for his arrangements of the Disney score in 1994. Lebo was the only African contributor to the smash film, which led to his work on the follow-up album Rhythm of the Pride Lands. Schooled at the Duke Ellington School of Music (Washington, D.C.) and the Los Angeles City College Music Department, Lebo was inspired by his native Zulu music, American jazz, and R&B. Credits include: The Power of One (co-wrote the music and lyrics, co-produced the soundtrack, and conducted a 110-person choir); Back on the Block and Listen Up with Quincy Jones; and the feature films Outbreak (Warner Bros.), Congo (Paramount), and Born to Be Wild (Warner Bros.), and the Disney TV special People. His new album, Deeper Meaning, will be released later this year.

Mark Mancina — Additional Music & Lyrics, Music Produced for the Stage and Additional Score

An award-winning composer, was an obvious choice to compose, produce, and adapt additional music for The Lion King stage production as he arranged and produced songs for the blockbuster animated feature film, for which he received both the Grammy and American Music Award in 1994. The film also spawned the hit album Rhythm of the Pride Lands, for which Mancina co-wrote, arranged, and produced three tracks, including “He Lives in You” and “Shadowland”, which are featured in the stage production. Ranked among the upper echelons of film composers, his credits include mega-hits Speed, Twister, and Bad Boys, the period epic Moll Flanders, which was on Billboard’s Classical Crossover Chart, and this summer’s hit action thriller Con Air, among others. He is recording an album of original material and also plans to embark on a tour featuring musical highlights from his film scores.

Hans Zimmer — Additional Music & Lyrics

Hans Zimmer received an Oscar, Golden Globe, and two Grammy awards for his film score of The Lion King. His long line of over 60 film and TV scores goes back to 1982’s Moonlighting, directed by Jerzy Skolimowski, and includes the Oscar-nominated scores for The Preacher’s Wife and Rain Man, as well as the Grammy Award-winning Crimson Tide, Black Rain, Thelma and Louise, Driving Miss Daisy, Backdraft, Green Card, Beyond Rangoon, and Broken Arrow. In addition to his composing duties, he has assumed the responsibility of heading DreamWorks’ entire film music division, and has scored their first film, The Peacemaker starring George Clooney and Nicole Kidman.

Jay Rifkin — Additional Music & Lyrics

The Grammy Award-winning producer, together with producing/composing partner Hans Zimmer, created Media Ventures, a film scoring studio and composer’s cooperative. Their partnership has earned them Academy Award nominations for the film scores of Driving Miss Daisy, Rain Man, and The Lion King. Based on the success of The Lion King soundtrack, Jay produced the gold-selling follow-up album Rhythm of the Pride Lands. He is also the founder and president of Mojo Records, an alternative music label he formed in 1995, home of Goldfinger and Reel Big Fish.

David Metzger — Orchestrator

David Metzger makes his Broadway debut with this production. He has previously worked as an orchestrator on many films, including Speed 2. He has arranged or composed over 250 pieces for The Tonight Show with Jay Leno, and worked on numerous national television commercials. David currently resides in Oregon.

Bruce Fowler — Orchestrator

Bruce Fowler is an accomplished musician who has composed pieces for such dance companies as the L.A. Chamber Ballet and The Repitoire Dance Theatre. In addition to performing on several film/TV soundtracks, he was the orchestrator for such hit films as The Lion King, The Rock, Crimson Tide, Backdraft, Twister, The Preacher’s Wife, Speed, and Con Air. Recently he orchestrated the score for the DreamWorks film The Peacemaker.

Chris Montan — Executive Music Producer

Chris Montan joined Disney in 1984, and is currently serving as the executive producer of feature animation music, producing motion pictures and television specials for the Studio as well as providing consultation on music-related projects. Under his guidance as head of music, soundtracks from seven theatrical releases (Cocktail, Beaches, The Little Mermaid, Pretty Woman, Beauty and the Beast, Aladdin, and The Lion King) were certified multi-platinum. Additionally, the Studio received Grammy, Golden Globe, and Academy Award recognition for many of its music entries. Most recently he was the executive music producer on the music for Pocahontas, Toy Story, The Hunchback of Notre Dame, and Hercules. His company’s current projects include a new all-star television production of Rodgers and Hammerstein’s classic Cinderella for ABC.

Walt Disney Theatrical Productions — Producer

Walt Disney Theatrical Productions; a division of The Walt Disney Company, operates under the direction of Peter Schneider and Thomas Schumacher. Disney’s inaugural production, the Tony Award-winning Beauty and the Beast, continues in its fourth year on Broadway and is currently being performed in Chicago, London, Tokyo, Fukuoka, Mexico City, and Stuttgart.

DreamWorks SKG (logo)

2021 Enhanced version

Enhanced Animation by

Technicolor

CGI Supervisor

Archie Donato

Designed/Modeling/Animation & Rendering by

James Marcus and Yinglei Yang

The Music of Con Air

Copyright © 1997 Touchstone Pictures and Jerry Bruckheimer, Inc.

Music by

Mark Mancina and Trevor Rabin

Music Supervisor

Kathy Nelson

Supervising Music Editor

Bob Badami

Music Editors

Will Kaplan and Zigmund M. Gron

Assistant Music Editor

Shannon Erbe

Orchestrations by

Nick Glennie-Smith, Bruce Fowler and Gordon Goodwin

Score Conducted by

Nick Glennie-Smith and Gordon Goodwin

Score Recorded and Mixed at

Todd-AO Scoring Stage and The Village Recorders

Orchestra Recorded and Mixed by

Steve Kempster

Orchestra Contractor

Sandy DeCrescent

Music Preparation by

Dominic Fidelibus and Booker White

Score Supervisors

Paul Linford and Christopher Ward

Soundtrack Available on

Hollywood Records

The Music of The Rock (1996 film)

Copyright © 1996 Hollywood Pictures Company, Don Simpson Productions, Inc. and Jerry Bruckheimer, Inc.

Music Composed by

Nick Glennie-Smith and Hans Zimmer

Supervising Music Editor

Bob Badami

Music Editor

John Finklea

Assistant Music Editors

Shannon Erbe and Sienna Pascarella

Executive in Charge of Music for

The Walt Disney Motion Pictures Group

Kathy Nelson

Score Production Services by

Media Ventures

Score Arranged by

Nick Glennie-Smith and Hans Zimmer

Additional Music by

Harry Gregson-Williams

The Chase by

Don Harper

Orchestration by

Bruce Fowler

Suzette Moriarty

Ladd McIntosh

Walt Fowler

Dennis Dreith

Score Recorded / Mixed by

Alan Meyerson

Music Recorded at

Paramount / Sony

Music Preparation

Dominic Fidelibus

Music Contractor

Sandy DeCrescent

Assistants to Composers

Emma Burnham, Marc Streitenfeld, Justin Burnett

Soundtrack Available on

Hollywood Records

David Midthunder

Birthdate: August 8, 1962 (63 years old)

Birthplace: Fort Peck Indian Reservation, Montana, USA

Nationally: American (Sioux Nation)

Education: University of Utah

Occupation: Actor

Relatives: Angelique (wife) and Amber Midthunder (daughter)

Motion Pictures (My List)

Actor

2004: Hidalgo — Black Coyote
2013: The Lone Ranger — Fuller’s Native American Scout
2019: Maleficent: Mistress of Evil — Forest Spiritual Fey #2

Additional Crew

2004: Hidalgo — Dialogue Consultant

Television (My List)

Actor

2003: Dreamkeeper (miniseries) — Eagle Boy

2023: Echo — Ancestor (3 episodes)

Producer

2006: Silent Thunder (documentary) — Associate Producer

Additional Crew

2003: Dreamkeeper (miniseries) — ADR Voice

2006: Silent Thunder (documentary) — Cultural Advisor

Storyboards of Spirit: Stallion of the Cimarron

Artistic Supervisor

Story: Ronnie Del Carmen

Story

Sharon Bridgeman

Bob Logan

Jurgen Gross

Jennifer Yuh Nelson

Denise Nagisa Koyama

Nassos Vakalis

Larry Leker

Simon Wells

Additional Story Artists

Viki Anderson

Duncan Majoribanks

Francisco Avalos

Henry Mayo

Don Hall

Don Morgan

Tom Sito

The Music of Raya and the Last Dragon

Copyright © 2021 Disney Enterprises, Inc.

Original Score Composed by

James Newton Howard

Executive Music Producer

Tom MacDougall

Vice President, Music Production

Andrew Page

Supervising Production Music Editor

Earl Ghaffari

Supervising Score Music Editor

Jim Weidman

Score Music Editor

David Olson

Score Recorded by

Shawn Murphy

Score Mixed by

Alan Meyerson

Original Score Produced by

Xander Rodzinski

Score Conducted and Orchestrated by

Pete Anthony

Score Orchestrations by

Jeff Atmajian, Jon Kull, Philip Klein

Orchestra Leader

Bruce Dukov

World Woodwinds

Pedro Eustache

Vocal Soloist

Loire Cotler

Additional Vocals

Sumudu Jayatilaka and Isobel Anthony

Synth Programming

Jon Aschalew, Michael Dean Parsons, Tobin Pugash

Music Business Affairs

Donna Cole-Brulé

Music Production Specialist

Lauren Harrold

Music Production Assistant

Jimmy Tsai

Production Music Editors

Kendall Demarest and Tommy Holmes

Assistant Music Editor

Benjamin Robinson

Music Preparation by

JoAnn Kane Music Service

Music Librarian

Mark Graham

Score Contracted by

Sandy DeCrescent

Assistant Score Contractor

Timothy Loo

Choir Contracted by

Susie Gillis for Isobel Griffiths Ltd.

Choir

London Voices

Choirmasters

Terry Edwards and Ben Parry

Additional Recording by

Jonathan Allen

Score Digital Recordist

Erik Swanson

Auricle Control Systems

Chris Cozens

2nd Mix Engineer

John Traunwieser

Score Editor

David Channing

Score Coordinator

Pamela Sollie

Scoring Crew

Keith Ukrisna

Brian Van Leer

Greg Dennen

Ryan Nelson

Daniel Hayden

Christopher Parker

Score Recorded at

Sony Pictures Scoring Stage

Choir Recorded at

Abbey Road Studios, London, UK

Score Mixed at

James Newton Howard Studios, Santa Monica, CA

Lead The Way

Written and Performed by

Jhené Aiko

Produced by

Julian-Quán Việt Lê (Lejkeys)

Recorded and Mixed by

Gregg Rominiecki

Jhené Aiko appears courtesy of 2Fish/ArtClub/Def Jam

Soundtrack Available on

Walt Disney Records

The Music of The Alamo (2004 film)

Copyright © 2004 Touchstone Pictures

Music by

Carter Burwell

Supervising Production Music Mixer

Joseph Magee

Featured Fiddle Performance/Fiddle Coach

Craig Eastman

On-Camera Music Arrangements

Carter Burwell

Craig Eastman

Marshall Bowen

Jennifer Hammond

Music Research Consultant and On-Camera Music Preparation

Booker White, Walt Disney Music Library

Music Editors

Adam Milo Smalley and Bryan Lawson

Orchestrations by

Carter Burwell and Sonny Kompanek

Orchestra Conducted by

Carter Burwell

Score Recorded and Mixed by

Mike Farrow

Assistant to Carter Burwell

Dean Parker

Orchestra Contractor

Sandra Park

Concertmaster

Sharon Yamada

Featured Musicians

David Weiss — Ethnic Flute

Laura Seaton-Finn — Fiddle

Lisa E. Kim — Violin

Robert Rinehart — Viola

Alan Stepansky — Cello

Score Recorded at

Right Track Studios, NYC

Score Mixed at

The Body, NYC

Music Preparation

Tony Finno

Soundtrack Available on

Hollywood Records

Rhythm of the Pride Lands

Recorded: January 1993 - April 1994

Studio

• Media Ventures, Los Angeles
• BOP Studios, South Africa
• Tuff Gong Studios, Jamaica
• Talawah Studios, Los Angeles
• Ocean Way Studios, Los Angeles
• Record One, Los Angeles

Released: February 28, 1995

Label: Walt Disney Records

Length: 47 minutes

Format: CD and Cassette

All songs performed by Lebo M., except Hakuna Matata, performed by Jimmy Cliff featuring Lebo M.; Lea Halalela, performed by Khuluiwe S’thole; and Warthog Rhapsody, performed by Nathan Lane and Ernie Sabella

Produced by Jay Rifkin

* Produced by Jay Rifkin and JVT

** Produced by Jay Rifkin and Mark Mancina

*** Produced by Jay Rifkin, Fabian Cooke and Mark Mancina

^ Produced by Hans Zimmer, Jay Rifkin and Mark Mancina

^^ Produced by Hans Zimmer, Jay Rifkin and JVT

All songs co-produced by Lebo M., except Warthog Rhapsody and Hakuna Matata

Executive Producers: Andy Hill and Harold J. Kleiner

Recorded and Mixed by Jay Rifkin and Alan Meyerson

Vocal Arrangements by Lebo M.

Recorded and Mixed at Media Ventures, Los Angeles and BOP Studios, South Africa

Hakuna Matata Recorded at Tuff Gong Studios, Jamaica and Talawah Studios, Los Angeles

Warthog Rhapsody Recorded at Ocean Way Studios and Record One, Los Angeles

Mastered by Stephen Marcussen at Precision Mastering

Album Assembly by Steven Stern

He Lives in You

Lyrics and music by Mark Mancina, Jay Rifkin, and Lebo M.

Arranged by Mark Mancina

Lead vocal: Lebo M.

Vocal solos: Maxi Anderson, Khanyo Maphumulo, Max Ngcobo, Khuluiwe S’thole, and Rose Stone

Drums: Simon Phillips

Bass: Abe Laboriel

Guitar: Trevor Rabin

Background vocals: South Africa: South African Choir; U.S.: Maxi Anderson, Ron Kunene, Ricky Nelson, Rose Stone, Oren Waters, and Terry Young

© 1995 Walt Disney Music Company (ASCAP) / Wonderland Music Company, Inc. (BMI)

Hakuna Matata

Lyrics by Tim Rice

Music by Elton John

Arranged by Fabian Cooke and Mark Mancina

Performed by Jimmy Cliff featuring Lebo M.

Keyboards: Fabian Cooke, Mark Mancina, and Michael Hyde

Drums: Dave Owens

Guitar: Paul Jackson, Jr. and Steve Verhault

Bass: Fabian Cooke

Brass section: “Rass Brass” featuring: trumpet — Junior “Chico” Chin, saxophone — Dean Fraser, trombone — Ronald “Nambo” Robinson

Background vocals: Jamaica: Fabian Cooke, Marie “Twiggie” Gittens, Pam Hall, Lynette Lewis, and Leba Hibbert Thomas; U.S.: Maxi Anderson, Ron Kunene, Nandi Morake, Ricky Nelson, Rose Stone, and Oren Waters

© 1994 Wonderland Music Company, Inc. (BMI)

The Lion Sleeps Tonight

Lyrics and revised music by George David Weiss, Hugo Peretti, and Luigi Creatore

Additional lyric by Lebo M.

Arranged by Mark Mancina and Jay Rifkin

Lead vocal: Lebo M.

Vocal solo: Audrey Wiechman

Guitar: Robbie Nevil

Bass: Abe Laboriel

Drums: Simon Phillips

Background vocals: South Africa: South African Choir; U.S.: Ron Kunene, Ricky Nelson, Alfie Silas, Rose Stone, Maxine Waters, and Terry Young

© 1961 Folkways Music Publishers, Inc.

Renewed 1989 by George David Weiss, Hugo Peretti, and Luigi Creatore. Assigned to Abilene Music, Inc. c/o The Songwriters Guild of America

Kube

Lyrics by Caiphus Semenya

Music by Caiphus Semenya and Lebo M.

Arranged by JVT and Lebo M.

Lead vocal: Lebo M.

Guitar: Condry Ziqubu

Vocal solo: Khanyo Maphumulo

Background vocals: South Africa: South African Choir; U.S.: Ron Kunene, Ricky Nelson, Alfie Silas, Rose Stone, Maxine Waters, and Terry Young

© 1973 Semenya Music (BMI)

Lea Halalela (Holy Land)

Lyrics and music by Lebo M. and Hans Zimmer

Arranged by Hans Zimmer and JVT

Drums: Simon Phillips

Guitar: Robbie Nevil

Bass: Abe Laboriel

Vocal solo: Khuluiwe S’thole

Background vocals: South Africa: South African Choir; U.S.: Maxi Anderson, Ron Kunene, Ricky Nelson, Rose Stone, Oren Waters, and Terry Young

© 1995 Walt Disney Music Company (ASCAP), Wonderland Music Company, Inc. (BMI)

It’s Time

Lyrics and Music by Lebo M., John Van Tongeren, and Jay Rifkin

Arranged by JVT and Lebo M.

Lead vocal: Lebo M.

Guitar: Robbie Nevil

Background vocals: South Africa: South African Choir; U.S.: Maxi Anderson, Ron Kunene, Ricky Nelson, Rose Stone, Oren Waters, and Terry Young

© 1995 Walt Disney Music Company (ASCAP), Wonderland Music Company, Inc. (BMI)

One by One

Lyrics and music by Lebo M.

Arranged by Lebo M.

Vocal solo: Lebo M.

Vocals: South African Choir

© 1995 Walt Disney Music Company (ASCAP)

Warthog Rhapsody

Lyrics by Tim Rice

Music by Elton John

Arranged by Hans Zimmer and Bruce Fowler

Lead vocals: Nathan Lane and Ernie Sabella

Guitar: Mark Goldenberg

Bass: Chuck Berghofer

Drums: Harvey Mason

Keyboards: Michael Lang

Percussion: Michael Fisher and Efrain Toro

Alto Sax: Steven Fowler

Tenor Sax: Albert Wing

Trumpet: Walter Fowler

Clarinet: Kurt McGettrick

Trombone: Phillip Teele

Background vocals: Maxi Anderson, Ron Kunene, Nandi Morake, Ricky Nelson, Rose Stone, and Oren Waters

© 1995 Wonderland Music Company, Inc. (BMI)

Lala

Lyrics and music by Lebo M., Hans Zimmer, and Jay Rifkin

Arranged by JVT

Lead vocal: Lebo M.

Background vocals: South African Choir

© 1995 Walt Disney Music Company (ASCAP), Wonderland Music Company, Inc. (BMI)

Busa

Lyrics and music by Lebo M., Hans Zimmer, and Jay Rifkin

Arranged by JVT and Lebo M.

Additional vocal arrangement by Mbongeni Ngema

Lead vocal: Lebo M.

Drums: Simon Phillips

Bass: Solly Letwaba

Guitar: Robbie Nevil

Background vocals: South African Choir

© 1995 Walt Disney Music Company (ASCAP), Wonderland Music Company, Inc. (BMI)

Noyana (A Traditional African Folk Song)

Arranged by Lebo M., JVT, and Jay Rifkin

Drums: Simon Phillips

Guitar: Robbie Nevil

Vocal solos: Luyanda Jezile, Wendy Mseleku, Max Ngcobo, and Lebo M.

Background vocals: South African Choir

© 1995 Walt Disney Music Company (ASCAP), Wonderland Music Company, Inc. (BMI)

Dedication: “I would like to dedicate my work on this project to my late brother Tshepiso E. Morake and my best friend Veronon M. Molefe. Your spirit is my inspiration. May your soul rest in peace.” — Lebo M.

The Producers wish to thank: Chris Montan, Andy Hill, Don Hahn, Peter Schneider, Roger Allers, Rob Minkoff, Marsha Burns, Del Atkins, Brian Rawlings, Edwin Oliver III, Clive Hunt, the entire staff of Tuff Gong, Caiphus Semenya, Letta Mbulu, Thembi Nsibanyoni, the Ndlovus, Mr. & Mrs. Tim Thahane, Rev. & Mrs. Willy F. Wilson, Kamilla Rifkin, Vanessa Rifkin, Sam Schwartz, Mike Gorfaine, Zoë Zimmer, Suzanne Zimmer, Harold J. Kleiner, and all the staff of Walt Disney Records.

Lebo M. wishes to thank: His parents, Boiki and Nomvula Morake, his wife Nandi, and his children, Z. Naledi, Nthabiseng, and Refilwe Morake, for their love, patience, and understanding during the long process of recording this album.

Copyright © 1995 The Walt Disney Company

Phonographic Copyright: Buena Vista Pictures Distribution, Inc.

Printed in U.S.A.

Tracks

1. He Lives in You **
2. Hakuna Matata ***
3. The Lion Sleeps Tonight **
4. Kube *
5. Lea Halalela (Holy Land) xx
6. It’s Time *
7. One by One
8. Warthog Rhapsody x
9. Lala *
10. Busa
11. Noyana *

Album Information

March 25, 1995: #23 Billboard chart (Billboard 200)

October 1998: Platinum — Over 900,000 copies sold (RIAA)

Production Notes of Hidalgo (film)

Casting the Film

The role Frank T. Hopkins required an actor who could portray a complex emotional range  while also tackling serious athletic feats. As this  would not be an ordinary film role, the film  required an extraordinary actor, one who could  carry a film that would take on epic proportions.  Johnston and Silver turned to Viggo Mortensen, an  actor who is a veteran of more than 30 feature films and most recently shot to stardom as Aragorn  in the Lord of the Rings trilogy. With rave  reviews and extensive riding experience from  those films, Mortensen was one of the few actors  who had both the acting and the riding expertise  needed for the role.

“I knew Viggo had proven himself a great actor before I ever met him. And I knew he could  carry the film. What I didn't know was the subtlety  he'd be able to give the character of Frank  Hopkins,” says Johnston. “Viggo had studied the  evolution of his character and where he was  emotionally in every scene before we ever started  shooting. He was incredibly well-prepared; when  we were editing the film, I was amazed to see how  well Viggo's scenes - shot months apart - flow  together with astonishing emotional continuity. He  has excellent instincts about each scene and he has  them on his feet, meaning when things change or  something unexpected happens while the camera's  rolling, he does the right thing.”

“But the best thing about Viggo is how much  he cares about the project,” Johnston continues.  “He's always there, always ready, and doesn't walk  away from the movie at wrap every day. The  bottom line is, he makes the filmmakers look  good.”

“Viggo has that indescribable quality called 'presence,'” notes Silver. “Even when he was first  starting out, when he had a very small role in Witness , he stood out in the crowd. I found his role  in Carlito's Way particularly memorable. But  maybe this is all a result of his being less interested  in being a 'movie star' than focused on story and  character and his private interests, his photography and his art; he's a social activist and a father.”

“Frank is an outsider,” says Mortensen. “This is a man, a cowboy, who's probably never even seen the ocean, and now he's got to hack it in a 3,000- mile race in the Arabian desert. He doesn't know if  he can cut it. And he's at a point in his life when  whatever arrogance or confidence he had is pretty  much gone, and all he has is his experience with  his horse.”

Mortensen was fascinated with the David-versus-Goliath nature of the story. “The odds are  stacked against Frank,” he continues. “Compared to the Arabian horses, the mustang Hidalgo looks like a little dog. A pony, next to their steeds. But  though the race is his redemption, it's not winning  the race that's important – it's that Frank is there at  all.

“By the end of the story, I think you really appreciate the fact that as human beings, no  matter how diverse the culture is and how far -flung the places you go to might be, we have a lot  more in common than not with people,” explains  Mortensen.

Another attraction for Mortensen was the  opportunity to work with screen legend Omar  Sharif, who plays Sheikh Riyadh. “We were filming  in some of the same locations that he was in forty  years ago, filming Lawrence of Arabia with Peter  O'Toole,” notes Mortensen. “And he's got a really  good memory and a lot of good stories. Wherever  we went, he'd have some story of what it was like  to film that movie. He's a fine actor.”

“When we were filming Lawrence , we were  the first to go to Ouarzazate (Morocco), where we  shot the big part of Hidalgo ,” notes Sharif. “There  were no hotels then. We just pitched tents. Now,  there's a big film industry. It's almost like  Hollywood over there now.”

Sharif is an Academy Award® - nominee and  three-time Golden Globe-winner whose most  recent film, Monsieur Ibrahim , was nominated  for a Golden Globe for Best Foreign Language  film. That film and Hidalgo brought the actor  out of retirement. “I hadn't worked since 1996,  really, because I wasn't being offered any roles that  truly appealed to me. But I was living in Paris  when I found Monsieur Ibrahim , and decided to  work again. And while I was working on that film,  I was offered this part – the first good part in a  major studio film that I'd been offered in a long  time. Even though I was in the middle of the other  film, I'm glad we found a way to make it work. I've  enjoyed making this film, working with Viggo and  Joe, and I’ve been enthusiastic about this role.”

Silver notes, “We are fortunate to have Omar  Sharif in our cast because he is very selective about  the roles he takes these days. It speaks well of the  script.”

Zuleikha Robinson, who makes her major  motion picture debut with Hidalgo , takes on the part  of Jazira, Sheikh Riyadh's high-spirited  daughter. Born in London, Robinson was raised  throughout the world, bringing an international  flavor to this internationally themed project.

“Jazira is a very strong character who is  bound by her culture,” notes Robinson. “She  always tries to test her father's boundaries, and so,  they have a very interesting relationship.”

The international ensemble cast also includes Louise Lombard as Lady Davenport, Silas Carson as Katib, Adam Alexi-Malle as Aziz, Saïd Taghmaoui as Bin Al Reeh, J.K. Simmons as Buffalo Bill, Adoni Maropis as Sakr, and Elizabeth Berridge as Annie Oakley.

Just as much thought and energy went into the casting of the title character as any of the human characters. Although five horses would play the pony, there was one, T.J., who the others were painted to match. “T.J. has a real personality,” says Mortensen. “It’s uncanny, some of the things he does. We’d be rehearsing, and I’d wonder, ‘How is this ever going to work?’ — and then T.J. is doing exactly what he should be doing… it seemed like every time we rolled film, T.J. would be perfect. It happened too often for it to be coincidence. We were lucky to have him.”

Of course, this is not to say that the success hasn’t gone to the horse’s head. “We would finish a scene – I got off T.J., and he would follow me around, to make sure he got his close-up,” Mortensen laughs.

In the end, the relationship between Frank and Hidalgo was mirrored between Mortensen and T.J. When production wrapped, Mortensen purchased T.J. and now keeps the horse.

About the Horses (and Camels, and Leopards, and Buffalo, and Vultures, and …)

Obviously, to play Hopkins, Viggo Mortensen would have to spend many hours on and around horses. The actor turned out to be an ideal choice, as he has been riding horses since his youth, and his recent starring role as Aragorn in the Lord of the Rings trilogy also required some horsemanship.

That said, Mortensen still needed a refresher course. “I rode a lot as a child, but from age ten on, I hadn’t ridden much. There was riding in Lord of the Rings, but it had been a good part of a year since then.”

For training, the filmmakers turned to Rex Peterson. For Mortensen, an actor known for his dedication to his craft, Peterson proved an ideal mentor.

“We were fortunate to have Viggo,” says the gruff trainer, who does not hand out compliments lightly. “I can’t think of another actor that rides better. And he’s worked very hard at it.”

Mortensen is quick to return the compliment. “Rex was strict, but for the best possible reasons. He was a really good teacher… and a perfectionist.”

Though preparing to play Hopkins required Mortensen to spend hours every day training with Peterson, he never complained. “You have to be able to adapt,” he explains, “I mean, they’re not cars… they’re not machines. They’re like us and they have good and bad days. Sometimes they do unexpected things, and you have to be ready.”

Not only did Peterson serve as trainer, but also adviser to Mortensen on cowboy attitudes – to the point that a joke on the set called Viggo “Rex, Jr.” Peterson dismisses this, but acknowledges, “Viggo does come and ask me questions. I grew up on a ranch and didn’t come into the movie business until I was 20-something years old. I’ve known a lot of different cowboys, and this business has given me the opportunity to meet many, many different horsemen. I’ve been very fortunate in that respect.”

“But sometimes Viggo would ask me, ‘How would you say this?’ ‘Viggo, I didn’t live in the 1890s. I don’t know.’ But this all comes from Viggo’s desire for this production to be as authentic as possible. I put everything into this movie – I’m here, daylight to dark, every day, and it’s good to see other people with the same level of commitment.”

Peterson is a veteran of 25 years in the film industry, serving on such films as The Horse Whisperer, Runaway Bride, Black Beauty, and The Black Stallion. Even among such credits, Hidalgo stands out in the trainer’s long career. “I really wanted to do this film because I thought it was the best script about horses that had come down in a long time,” Peterson adds. “As things progressed and Joe presented his vision of the movie, I thought we had the makings of a classic.”

Peterson spent about three months on his search for the “hero” horse, Hidalgo, which would be used for the film’s close-up shots. How does a horse audition? Not only did the horse have to look right – in Hidalgo’s case, be a male mustang, 4 to 10 years old, sorrel-and-white – but also gentle enough for an actor to ride. “Sometimes, I would get a call to look at a horse, walk into the barn, and walk right back out again,” says Peterson. “I’m sure I left quite a few people asking, ‘Well, why didn’t he pick my horse?’ But it’s just a matter of not fitting my criteria. In those cases, I didn’t even bother to show him to the director. Still, I must have shown Joe a hundred horses before we ended up with T.J.”

After finding him, his next priority was to find Hidalgo doubles and other horses to be used in the motion picture. Ultimately, there were five horses playing Hidalgo, with the doubles used for different aspects of filming, including tricks, jumping, racing, etc. Make-up artist Garrett Immel took the responsibility of finding a way to make up the doubles to match T.J.’s coloring.

In addition, Peterson had to find several Arabian horses to play Hidalgo’s competitors in the Ocean of Fire. He spent an additional three months training the horses (and the riders) for their various roles. “It was important for the actors to be confident, to be relaxed,” says Peterson. “When they get in front of the camera, they can’t be thinking about that horse under them. They have to think about their acting.”

Responsible for caring for in the production, including the horses (800 of them!), camels, vultures, falcons, rabbits, camels, goats, dogs, donkeys, burros, leopards, and buffalo, among others, was animal coordinator Mark Forbes. “You name it, we got it in this show,” he laughs.

“You have to get each of the animals used to the other animals’ trainers,” Forbes notes. “They have to get used to the situation. It takes a lot of preparation.”

In Hidalgo, the film required an extraordinary chemistry between man and horse. It was important that Viggo Mortensen have a similar chemistry with the horses playing Hidalgo – especially with T.J., the close-up horse. “The only way to provide that is to go out and find the horses and then introduce them to the actor, have the actor work with them,” says Forbes.

“With Viggo, that was never in question. Another actor might say, ‘Well, I can give you an hour in the morning.’ But Viggo is so committed to the work; he’s there at eight, he leaves at five, after riding all day long. He does his homework. He cares. I wish everybody would go to the ‘Viggo Acting School,’ because he’s completely down-to-earth.”

Forbes’s biggest challenge, though, was one of coordination: simply moving all of the animals to the film’s different locations around the world. “When you have as many animals as we did, filming in as many different locations around the world as we did, just the paperwork and logistics involved in moving the animals around is a daunting task. When you add in everything that you have to do to make sure that they’re well-kept and cared for, it’s an even bigger challenge. But we were all committed to making sure that the animals lived as good as, if not better than, our human stars.”

Forbes adds that there were some 25 different species of animals used in the film.

And, of course, safety to both the crew and animals is an additional responsibility when working with dozens of horses in such diverse terrain. A member of the American Humane Association was on set every day of filming to monitor animal handling.

The Commitment to Authenticity

Viggo Mortensen’s commitment to authenticity on the set of Hidalgo was mirrored by the director, Joe Johnston, and the crew of the picture. Two members of the crew, especially – production designer Barry Robison and costume designer Jeffrey Kurland – went to extraordinary lengths on this complex project.

“This is a film that takes place in 1890 in the American west, so we had to be prepared for the cowboy look; the American east, the New York of the 19th century, and that very different attire; and finally, the far east of 1891,” says Kurland. “This isn’t a western; it’s an ‘eastern’!”

Kurland had many of the fabrics and jewelry made in both the United States and in Morocco. He was also able to purchase some of the Arabian clothing and accoutrements in large Moroccan cities like Marrakech. But some costumes required a little more ingenuity.

“To make a costume, you design it, then the draper figures out how to make it. You get the fabric, you swatch it, you buy it. Only then can you make it, and after you make it, you have to age it so that it doesn’t look brand-new,” Kurland relates.

“I had a man named Yussef who wove many of my fabrics,” Kurland continues. “He could weave fabrics to the colors I asked. He made me six meters of fabric in two weeks, which is extraordinary. I was also very lucky to have some of the best ager-dyers working for us.”

The film’s many locations also required Kurland to design costumes for a Native American Ghost Dance. “The more research we did, the more we were able to find amazing photographs and histories that helped us to get it right,” he says. “There are subtle differences between tribes, in what their ghost shirts and dresses were made of. Some were made of animal skin, but for the tribe in the film, we decided that it was most likely that they were wearing muslin. This was, unfortunately, a time when the Lakota Sioux were destitute; there were no animals to hunt.”

The actual filming of Hidalgo takes place in a variety of locations, including Montana, Morocco, South Dakota, and California. Logistically, it proved to be a demanding task to transport the large crew around the United States and Africa. A film set in so many diverse locations required the crew to be flexible as they figured out how the main sequences – including the Buffalo Bill Wild West Show, the Ocean of Fire race in the Arabian Desert, the Wounded Knee tragedy, and the New York City docks – would be designed and filmed.

Robison, who previously worked with Johnston on critically acclaimed October Sky, was on the road almost constantly, having to build sets in California, Morocco, and South Dakota. “Hidalgo is like doing three or four separate movies,” notes the veteran designer. “We’ve got a New York dock. We’ve got a Wild West show. We’ve got the race. And we have the western town – the horse release, at the end of the film. It’s a rich film for a designer, because there are so many different looks to create.

“I get a special charge out of the scene at the New York docks,” Robison continues. “We flooded a parking lot in Southern California and built a boat to scale. It was a cool set to do – to recreate 19th century New York.”

“Joe’s an incredible visual director,” Robison notes. “He could have made the decision not to build all the great sets we had – he could have made them all CG, and we do have some CG in the film. But, for the most part, Joe made a decision early on in the film to create as much of this world as we could.”

Not surprisingly, the biggest challenge came with the sets in Morocco. Not only were the sets the largest and most complicated of the whole shoot, but the weather would often get in the way. “The dust was a huge problem for us,” Robison notes. “We were in some major, major windstorms. Every day, at one o’clock in the afternoon, the winds would kick up in the desert; and every night, we’d have to take down our tents for repairs. It really happened every day, but the first time, it was just horrifying.”

“It’s been a great shoot, though, and a chance to do something really different,” he concludes. “The first time Joe came to the set, he was walking around the casbah and asked, ‘Was this gate here?’ No, the gate wasn’t there – we built it. You couldn’t tell where the real ended and the movie began. That’s been great.”

About the Visual Effects

Director Joe Johnston is no stranger to visual effects in films. The veteran director has helmed a number of films that required a large number of visual-effects shots (including Jurassic Park III and Jumanji). In addition, before he became a director, Johnston won an Oscar® for his work in creating the visual effects for the classic Raiders of the Lost Ark. But Johnston, also the director of the more intimate drama October Sky, was determined that Hidalgo would blend the best of both worlds. With his experience on “Raiders,” Johnston was determined to shoot “practicals” whenever possible – and rely on visual effects only for those shots that required them. Johnston originally planned only 70 effects shots for the film, and though that number would triple in the end, it would still mean that Hidalgo had less than half the number of visual effects shots of most action films and one-tenth as many as a visual-effects-heavy film. For those elements, the filmmakers turned to Industrial Light & Magic’s Tim Alexander, who served as visual effects supervisor.

“In pre-production meetings with Tim, I gave him an unusual directive: I didn’t want anyone coming out of the theater saying what great visual effects they’d just seen,” says Johnston. “Tim knew exactly what I meant. The best visual effects are the invisible ones, effects that blend seamlessly with reality.”

“What I’m proud of is that out of 215 shots, there’s less than 20 that you might notice as being CG – the sandstorm, the locusts, the leopards – and even those, hopefully, don’t stick out like a
sore thumb,” says Alexander. “The rest are composites and bluescreens, and if we’re doing our job right, you won’t even notice that those shots have been worked on at all.”

“A large part of ILM’s work in Hidalgo was in helping the desert become a character in the film,” says Johnston. “One reason I wanted to shoot the film in a widescreen format was to
surround the characters with the terrible beauty of the desert landscape. The desert is always there, reminding us of the hostile environment of the race. But unfortunately, in moving an army that speaks five languages, it’s difficult to control all the
troops. One of the biggest effects jobs in the film is making the desert pristine and unscarred, using computers to remove tire tracks, distant trucks, tents and horses, even contrails from passing planes.”

Alexander’s job began during production, when he was able to use daily film footage and still photography to show Johnston what certain shots might look like after they were completed months down the line. “We could take video from the video tap – they were using mini-DV tapes – and I could just import that to my Mac. I could actually get moving footage of what we actually shot on my computer and mock things up that way. Other times, we would go out on a scout, and we would take still photos and come back and show Joe the still photos. In general, it made us really well-prepared,” Alexander says.

Upon returning to ILM, Alexander and his team – Sylvia Wong, Robert Weaver and Eddie Pasquarello – turned their attention to the film’s three major visual-effects sequences – the sandstorm, the locusts, and the leopard chase.

“At first, we didn’t know what we wanted the sandstorm to look like,” he says. “But then, there we were in Morocco, and we went through quite a few real sandstorms. It turns out that in real life, they’re very amorphous – there’s no edge to them; you just get foggy-looking and the light blooms out. At first, that was our original concept for the sequence, but Joe made the decision that it wouldn’t work for the storytelling that way – he

said, rightly, that it would be better for the story if the storm came in like a wave, rather than a shapeless blob. Still, we wanted to do something different, so we latched onto the idea that we would see the internal motion of the wave, giving the idea that the storm was almost like a vacuum cleaner, sucking up sand from the ground and blowing it up the face of the sandstorm.”

The locust swarm sequence had similar challenges. “We struggled with that first shot for quite a while as we tried to figure out what the light would do, how much they should block the sun, and what the shape of the swarm should be,” Alexander notes. “What we did in the end was to have the first shot as a horizontal cloud in the distance – then the locusts slam down on the camera very quickly. In the closer shot, we’d have them fly through camera. We were really trying to make it look sinewy, almost like schools of fish – if you look at it closely, you’ll see that they follow each other and change direction and shape.”

Alexander and his team found an unusual source for their research – the 1937 classic The Good Earth. “There’s a really interesting locust swarm in that movie, and that’s where we got the idea for the sinews,” he says. “It was obvious that they had gone and shot some grasshoppers or locusts or whatever they were able to get and then just composited those into the final film – you can tell that it’s done that way, but we liked it because it was really organic. It was real.”

For the scene in which the leopards attack Frank, though the filmmakers intended to use CG imagery from the very beginning, they were constantly aware of other choices. “At one time, we looked into doing them practically, but there’s just no way,” says Alexander. “You can’t get them anywhere near horses – they’re mortal enemies. After that, we considered split-screen work, but still, CG seemed the best way to go. The real leopards, it turns out, were pretty docile creatures. It was hard enough to make them snarl or growl, much less run or swipe when we wanted them to swipe. It turned out to be a good decision.”