THE LION KING
Production Notes (Continued)
Masai Mara, Kenya, which is part of Serengeti National Park, inspired
Lands. Filmmakers photographed iconic grasslands and acacia trees, as well as
ever-changing skies. Animals include lions, leopards, cheetah, wildebeest, cape
buffalo, zebra and antelope.
Chyulu Hills, Kenya, is a mountain range located in southeast Kenya
grassland and montane forest. The rock formations found here inspired Pride Rock
in the film.
Borana, located in north-central Kenya, was referenced for the area
Challenge Beach in Kenya served as reference for the watering hole
within the Pride
The tufas in Mono Lake, California, provided extraordinary reference
Elephant Graveyard in the story.
The geothermals of Dallol, Ethiopia, were inspirational, but
inaccessible due to the
toxic gases they release. So, filmmakers visited Yellowstone National Park in
Wyoming to photograph geothermal areas.
Sesriem Canyon in Namibia provided the perfect inspiration for the
scene where Simba practices his roar. The narrow canyon is more than a half mile
long and up to 100 feet deep.
The Sossusvlei, in Namibia's Namib Desert, and its spectacular sand dunes
as reference for the area that Simba finds himself in after leaving the Pride
Kenya's Turkana provided additional inspiration.
Mount Kenya, with its oversized flora, offered filmmakers the cloud-forest
needed for Simba as he grows up alongside Timon and Pumbaa. Lakes here served
as the perfect reference for Simba to see reflections of Mufasa.
The Aberdares' waterfalls, including Karuru Waterfall-the tallest in
provided reference for Nala's return to Simba's life.
According to visual effects supervisor Rob Legato, the experience transcended
needs for the film. "There's something spiritual about being in Africa," he
something about the collective of nature, how it balances, how one creature
and how the other animal either eats that thing or creates something that allows
ecology of the place to run. We realized there's a grand design somewhere. You
walk away from a trip like this without some spiritual feeling about the cradle
of all life."
Filmmakers Build Breathtaking World Inspired by
Real-Life Locations that Pay Homage to Original Film
The goal of the extensive research trip to Kenya, of course, was to capture
and beauty-as well as the rugged and sometimes ruthless reality-of the
The film called for the creation of several varied environments, including the
Lands that Mufasa reigns over, the Elephant Graveyards Simba and Nala explore,
imposing canyon where hundreds of wildebeest stampede, the desert and Cloud
where Simba escapes to, and, of course, Pride Rock, which director of
Caleb Deschanel calls "the anchor to the whole story."
According to production designer James Chinlund, it was important to
ground the film's settings in reality. "Our goal from the beginning was to
create a world
map that was cohesive-making sure the Pride Lands were located in relation to
Cloud Forest in relation to the Elephant Graveyard in a consistent way. We
viewer to feel secure and grounded in a stable sense of geography."
Each setting had to support and respect the storytelling, while also
photoreal look that promises to separate Favreau's film from the 1994 classic
"Much of the new technology is really procedural, where you use a tool in
populate the savanna with the assets or to create textures that will repeat and
can apply them everywhere," says MPC set supervisor Audrey Ferrara. "You still
the human eye to keep it in order because it can become really messy really
Then, sometimes, it just appears in front of your eyes and you think, 'Is this
animation? I can't really tell the difference right now.'"
Artists and technicians built and populated the environments with
vegetation, termite mounds, boulders and dirt-assorted elements that had to be
sketched, modeled, duplicated, positioned, lit and rendered for the final film.
Pride Rock is an iconic site ingrained in audiences' memories and hearts
since 1994. As
such, filmmakers wanted to create something that did it justice. Says Chinlund,
original film, Pride Rock stands as a tower of rock in the middle of a huge
landscape, entirely unmotivated by hills or other rocks. Building that in the
world, our concern going in was, where did those rocks come from?"
The question served as a starting point for Chinlund and his team. "How much
terrain, rock, landscape could we bring in to make Pride Rock feel familiar," he
"like the Pride Rock we know and love, but at the same time feel motivated by
and the terrain around it, so that you accept it visually? If you see a rock
formation in the
middle of an empty landscape, your eye immediately trips an alarm, saying
doesn't feel quite right. A lot of what we were doing on such spaces generally
trying to capture the romantic quality from the original film, while making it
"So, finding a way to anchor Pride Rock into the terrain that felt familiar
and real was a
challenge," continues Chinlund. "That's why our Pride Lands and Pride Rock are
amalgams of things we saw in Kenya. There are, in fact, rocks on the landscape
come directly from actual scans of rocks we found in Kenya, and the watering
based on a location that we found there. The textures and colors and qualities
rock that is Pride Rock were based directly on rock formations in Kenya."
THE MAGIC TOUCH
Filmmakers Create All-New Medium, Blending Live-Action Techniques with
Virtual Reality Tools and Photoreal Digital Imagery
Director Jon Favreau helmed 2016's box-office hit "The Jungle Book," which
Oscar for best achievement in visual effects. The eye-popping results of the
utilized for that film inspired the director to reach higher and farther with
"The Lion King."
"We had available to us the technology that, in the hands of artists, could
present these characters as if they were real living animals," says Favreau, who
to make environments and characters that would look and feel real. "I wanted to
this way because I was convinced people did not want to see a traditional
'The Lion King.' The original animated movie still holds up incredibly well.
"I thought it interesting that, even though people hold the animated film so
were extremely accepting of the acclaimed stage play," continues Favreau. "The
of the stage play did not deviate too much from the animated feature. I think
accepted it because it was an interpretation in an entirely new medium. Part of
responsibility here was to present this in yet another new medium-to tell the
story in an
entirely different way, and have the experience feel different, even as we
adhere to what
is really a timeless story."
Pairing great storytelling with technical innovation was a hallmark of Walt
Favreau has long admired. "It becomes this enigmatic puzzle of how do you
everybody's expectations and surprise them? I felt that I would use the approach
Walt Disney always used, which is engage on an emotional level, because that
through so much of the scrutiny. If you can connect, if you can make people feel
something, it turns the judgmental part off. And it engages the immersive,
emotional part that I contend is the key aspect of the film-viewing experience.
trick that Walt used so effectively is that he would constantly be curious and
The idea was to leave audiences wondering exactly what they've seen. Is it
Is it real? Says Favreau, "We set out to create something using these mythic
that also feels naturalistic and beautiful and real. We looked at a lot of
documentaries to see how beautiful it could all look and how lyrical it is, in
photographed and painstakingly edited with good music to create stories out of
Favreau's layered approach to making the film included a mind-blowing blend
traditional live-action filmmaking techniques, state-of-the-art virtual-reality
tools and the
highest-level CG animation. The end result is a wholly believable, photoreal
will transport moviegoers to the Pride Lands.
Joining Favreau are three-time Oscar-winning VFX supervisor Rob Legato,
Oscar-winning virtual production supervisor Ben Grossman, two-time Oscar-winning
supervisor Andrew Jones, production designer James Chinlund and director of
photography Caleb Deschanel. MPC Film was an integral part of the process from
beginning. MPC's VFX supervisors Adam Valdez (part of the Oscar-winning visual
effects team for "The Jungle Book") and Elliot Newman helped plan approaches on
the movie could be made-their virtual production team worked with the filmmakers
develop "The Lion King's" virtual production technology.
Following the team's extensive research trip, Favreau set up production of
King" inside an unmarked, purpose-built facility in Playa Vista, Calif., an area
been recently nicknamed Silicon Beach for its gaming and high-tech industry.
The facility was large enough to house everything under one roof, including a
virtual-reality volume. With two state-of-the-art screening rooms-dubbed the
Simba and Nala
theatres-the Los Angeles team was able to interact in real time with the MPC
team in London to collaborate on animation review and visual effects. Says
"On 'The Jungle Book,' I was bouncing around to different facilities, and it was
So, we concentrated everything and used the technology as a foundation to allow
freedom to more efficiently use our time and be in closer contact with people
collaborated with in other locations. That is also where we had our black-box
record our performances in the same room we used as our volume, where we scouted
and shot the film. We had different VR systems and a dozen different VR stations
around the bullpen. We wanted to make it feel more like a tech company than a
studio, so we created a campus environment. We had food trucks pull up for the
out front, or I'd be cooking upstairs."
Producer Karen Gilchrist says that the production itself mirrored live-action
"It very much felt like a traditional film," she says. "We had a call sheet. We
had an AD.
We had a DP who worked wheels. We had a dolly. We had a Steadicam. Even though
the art and the production design were driven by a video-game engine, we had an
department and a script supervisor. We had video playback. Other than not having
wake up at 5 in the morning and drive to a new location or worry about the
very much felt like a live-action set."
Everything that will ultimately be seen on screen was created in the
computer, but it is
anything but traditional animation. Says Favreau, "Where we departed from
beyond the photoreal look-was, at the point when you would normally operate the
cameras in layout on a computer, we stopped the process and brought the entire
into VR and let our live-action crew actually set up real camera equipment."
Legato says the unique approach is groundbreaking. "People are studying
reference and the animators breathing their life into these digital rigs. So,
an antiseptic digital medium and telling one of the most emotional stories that
in our tradition using these tools. That dichotomy and underlying tension
creates a lot of
creative opportunities. This is as close to practical filmmaking as you get with
Filmmakers kicked off production with a pre-visualization (pre-viz) phase
used in animated filmmaking. Animation supervisor Andrew Jones and the team of
artists created simplified animated sequences so that it could run in real time
These early versions of environments and characters became part of the Unity
system. Says Favreau, "Instead of watching it play on the computer screen, we
into the environment and stand next to an animated lion."
According to the director, the virtual production employed in "The Lion King"
extension of what they did on "The Jungle Book." Favreau and his team were able
don VR headsets and walk around within the virtual set, setting up shots,
choreographing movements, and adjusting lighting, characters and set pieces in
time before sending the version of each scene to editorial.
Says Favreau, "With 'The Lion King,' we are literally putting filmmakers
monitor, using a set of proprietary tools interfaced with the HTC Vive virtual
system and Unity game engine."
Ben Grossman works with Magnopus, a company that helped bring technologies,
hardware and software together to create a platform for the game-engine-based
reality filmmaking multiplayer game. "Since the advent of digital effects,
have struggled to bring those visuals to the stage to see the complete image in
says Grossman. "'Avatar' brought a small window to the stage, allowing the
to peek inside the world they were creating. 'The Lion King' turns that on its
putting the filmmakers-and the gear they have used for decades-completely inside
the world they are building for the film."
A world spanning hundreds of miles was constructed in the game engine.
devices are custom built, and traditional cinema gear was modified to allow
to 'touch' their equipment-cameras, cranes, dollies-while in VR to let them use
skills they've built up for decades on live-action sets," adds Grossman. "They
to point at a computer monitor over an operator's shoulder anymore-the most
sophisticated next-gen technology is approachable to any filmmaker who's ever
on a traditional set."
According to Favreau, the idea behind incorporating live-action language into
was to convince audiences that what they're seeing is authentic. "My generation-
people who grew up with video games-is very sensitive to photography and shots
look like they're entirely digital," he says. "You can sense the difference
visual effect that was added to a real live-action plate and one that was built
entirely in a
computer. How do you make it look like it was filmed? The way shots are designed
when they're digital are much more efficiently done. The camera move is planned
ahead of time. The cut points, the edit points, the performance, the camera
that stuff is meticulous and perfect. But that perfection leads to a feeling
artificial. Not every generation of filmmaker is sensitive to this. I find my
peer group has
the same standard where we want it to feel like something that was photographed,
instead of designing a camera move as you would in pre-viz on a computer, we lay
track down in the virtual environment.
"And so, even though the sensor is the size of a hockey puck, we built it
onto a real
dolly and a real dolly track," continues Favreau. "And we have a real dolly grip
that is then interacting with Caleb, our cinematographer, who is working real
encode that data and move the camera in virtual space. There are a lot of little
idiosyncrasies that occur that you would never have the wherewithal to include
digital shot. That goes for the crane work. It also goes for flying shots."
Favreau was the designated virtual helicopter operator on the crew. "We also
new rigs for something that emulates a Steadicam and something that emulates a
handheld by having the proper weighting and balance on this equipment," says
Says Legato, "In real photography, the cinematographer can tell which
operates a shot while you're into the nuance of watching dailies. We want to
inherit all of
those happy accidents, all of those human idiosyncrasies. How do you infuse
and humanity? Well, that comes from the humanity of the people operating the
Although Deschanel had never shot a film created totally within the computer,
his live-action experience was exactly what the project required. "My experience
is capturing images of real things happening," he says. "In a way, my job is to
the reality of what normally goes on in front of the camera-to understand what
does and how the camera behaves.
"When you're filming wild animals, obviously you have no idea what they're
going to do,"
Deschanel continues. "In order to preserve that reality for the animals that we
within the computer, we wanted to create that feeling that the camera operator
surprised at what they're doing. The performance is different than what might
expected, and that creates a wonderful jolt of excitement and understanding of
According to Deschanel, the trip to Africa both garnered footage that would
artists create authentic characters, and helped guide camera movement that would
mirror the real world, too. "There were times when I was following an animal and
would fool me. I'd make mistakes. Those elements later became part of the
how we made the movie."
Says Favreau, "Generally, with the higher tech films, they would use motion
the performances and then work the cameras with essentially digital tools
gives you maximum freedom. But we didn't capture the performances because it's
animals and is key-framed. We captured the camera movement. We're putting all of
work into capturing the camera data and showing that the virtual camera is being
by humans while allowing the naturalism of the performances to come from the
of the animators."
The data obtained during the virtual production was utilized by the animation
Scenes and recordings were exported to editorial as video files, and to visual
data files that gave clear direction to the visual effects crews around the
crafted the film's photoreal aesthetic. Preserving the invisible hand of the
throughout maintained the film's live-action style.
Once the camera shoot was completed and the voice performances recorded, the
production shifted to the animation phase. For animation supervisor Andrew
was all about improving upon the past. "In terms of realism, I think this is a
forward," he says. "We achieved a certain level that I was quite happy with in
Jungle Book'-but we wanted to push it even further in 'The Lion King.' We wanted
animals more believable. We wanted to take a really beautiful story that
already loves and tell it in a new, unique way. It feels a bit more documentary
because you're not anticipating everything the characters are going to do or
MPC Film is a worldwide visual effects house charged with spearheading the
effects for "The Lion King." MPC's VFX supervisor Adam Valdez says he took his
children to see the 1994 version and was excited to bring it to a new
language of the time they're growing up, the sophistication they're getting used
terms of the look of things-all of this means that old stories can be revived
accessible for a modern audience. If you think of it from a technology point of
are now able to create really sophisticated, lifelike animals.
"Jon's whole magic trick is taking human beings' fascination with the natural
representing it in a very straightforward way, but crafted for narrative,"
continues. "I don't know that it could be done with this degree of realism
before now that
allows an audience member to just believe as much as they do. It really does
difference in your perception of the story and how you read and engage with it."
Valdez reiterates that filmmakers didn't change the story, but instead
toolset. "The original 'The Lion King' pivots very deftly between drama and
color and mood," says Valdez. "There's something about that visual treatment
allows for that. When you go photorealistic, there's not as much agility to
So, while we lose some of the original tools, we replace them with others."
A team of 130 animators from 30 different nations helped bring the animals of
King" to life. Each character-which took about nine months to fully develop-was
derived from concept art, real-life references and the archetypal characters
original film. "Translating an animated character into a photorealistic creature
full rethink," says production designer James Chinlund. "Digging deep into
our experiences scouting [in Africa] was always the kickoff. Jon [Favreau] and
would land on a group of key images that captured the feeling we were pursuing,
that would launch our character illustrators. They would produce both paintings
sculpts of our characters, which went through rounds of reviews with Jon and the
Then, when we got close to final, we would output a 3D print of the character
looks using our in-house 3D printer."
Once character designs were approved, artists from MPC built each character
computer, paying close attention to anatomy, proper proportions, fur or
applying textures and color, shading eyes and ensuring their movement was
to their real-life counterparts. New software tools were developed by MPC R&D's
of more than 200 software engineers to better simulate muscles, skin and fur.
While building and animating authentic characters could be grounded in
them speak and sing could not. "We tried to tilt their heads down so we are not
directly into the mouth," says Jones. "At the same time, we did our best to make
that we were not adding attributes in terms of how each animal can physically
their mouths. So, every kind of muscle control we have around the mouth makes
move in the ways they can really move their mouths. We found lip-synch through
approach-moving mouths into shapes that, for instance, a cat can really do, and
to have the right kinds of sounds coming out to match those shapes."
According to Jones, artists also worked to time the characters' breathing
dialogue. "We had the belly muscles and diaphragm tighten so that you feel like
animal is forcing air out his mouth as he is talking, timed with particular
"With female lions, whose necks we can actually see because they do not have
Jones continues, "we added particular esophagus and neck movements to help sell
fact that they are talking, with tongue and larynx moving."
In all, the London-based MPC Film's VFX artists brought 86 different species
to life for
"The Lion King"-from the film's iconic characters like Simba, Nala, Rafiki,
Pumbaa and Timon, Scar and the hyenas-to the smallest creatures on the savanna.
"THE LION KING" ROARS
Original Motion Picture Soundtrack Includes New Song "Never Too Late"
By Elton John and Tim Rice, Performed by Elton John-
with Score Composed by Hans Zimmer
When director Jon Favreau decided to revisit "The Lion King," he knew the
music in the
new film would have to live up to its presence and power in the first film.
that music strikes you deeply," Favreau said. "Even if you don't know the film
show, there is a spiritual strength in it. But if you know the film, and if you
grew up with
this music-now it can suddenly and immediately evoke the story itself, as well
the connected memories and emotions that you have from your own past experience
with 'The Lion King,' or from the time of your life that you were in, or your
the life events it's connected to."
Music from the animated film released in 1994 won two Academy Awards (best
song and best original score), four GRAMMY Awards and two Golden Globes. The
soundtrack was No. 1 on the Billboard 200 album chart for 10 nonconsecutive
and was certified Diamond by the RIAA, for 10 million units sold.
Oscar- and GRAMMY-winning superstar Elton John, who says his experience on
Lion King" moved his career in another direction, describes the original
soundtrack as a
fresh approach to music in an animated movie. "The songs were more poppy," he
"'Can You Feel the Love Tonight,' 'Circle of Life' and 'I Just Can't Wait to Be
more traditional pop that we merged with the beautiful African music that Lebo M
wrote-that hadn't really happened before. It kind of modernized the whole
This summer's "The Lion King"-like the original 1994 version-features
music by an award-winning team, including John and Oscar- and GRAMMY-winning
lyricist Tim Rice, score by Oscar- and GRAMMY-winning composer Hans Zimmer, plus
African vocal and choir arrangements by GRAMMY-winning South African producer
composer Lebo M ("Rhythm of the Pride Lands"). Oscar-nominated and GRAMMY-winning
singer, songwriter and producer Pharrell Williams ("Hidden Figures"/producer,
"Happy"), produced five songs on the soundtrack.
Featuring song favorites like "Circle of Life," "Hakuna Matata" and "I Just
Can't Wait to
Be King," the new film will also introduce original songs, including the
Too Late," written by John and Rice and performed by John, which features an
choir. According to John, the song's message is applicable in the movie and
"It's never too late to change," says John. "And that's what Simba goes through
whole journey. It's never too late to change your mind about things-look at your
and say, 'I've got to change.' It happened to me during my life. I had an
1990. This is about having an epiphany in your life and saying, 'I need to take
look at what I'm doing.'"
When Disney first approached Zimmer about scoring the 1994 film, he wasn't
interested. "But my daughter Zoe at the time was 6 years old," he says. "I
never been able to take her to a premiere, so I thought, 'Oh, I'll do this for
But then I realized that the movie had a lot of substance to it. It was
this story about a father dying. My father died when I was 6, so I had to go and
the baggage that I had locked away quite carefully. It actually became quite an
In revisiting the score for "The Lion King," Zimmer realized that the
original themes and
music were the emotional spine of the story. "It surprised me that the themes
all those years ago actually held," says Zimmer. "What I had done 25 years
really knowing how an animated movie works-I'd written these huge, epic themes.
What happened this time by having this photoreal look and Jon's direction, we
opened it up so that the themes could really breathe."
The composer brought back many who worked on the original film, including
who recorded choirs in South Africa, orchestrator Bruce Fowler, conductor Nick
Glennie-Smith, arranger Mark Mancina, plus several singers from the choir
Carmen Twillie (who performed "Circle of Life" in the 1994 movie).
Zimmer wanted to approach the recording of the score differently for the new
enlisted the Re-Collective Orchestra (led by founders Matt Jones and Stephanie
Matthews), along with the Hollywood Studio Symphony (composed of Los
Angeles based session players) and his band. The goal was to rehearse and record
like a live concert performance. "I put 20 seats out front for the filmmakers-it
did feel like we were doing a concert. We would just do the movie like a show,
gave this energy."
Walt Disney Records' original motion picture digital soundtrack is set for
release at 8
a.m. PDT on July 11, and the physical album is available on July 19, the same
Lion King" opens in U.S. theaters. The track list follows.
1. "Circle of Life"/"Nants' Ingonyama" - Performed by Lindiwe Mkhize; African
performed by Lebo M; written and composed by Elton John and Tim Rice; "Nants'
Ingonyama" written by Lebohang Morake and Hans Zimmer; produced by Hans
Zimmer; vocals produced by Stephen Lipson
2. "Life's Not Fair" - Hans Zimmer
3. "Rafiki's Fireflies" - Hans Zimmer
4. "I Just Can't Wait to Be King" - Performed by JD McCrary, Shahadi Wright
and John Oliver; written by Elton John and Tim Rice; produced by Pharrell
co-produced by Stephen Lipson
5. "Elephant Graveyard" - Hans Zimmer
6. "Be Prepared" (2019) - Performed by Chiwetel Ejiofor; written by Elton John
Tim Rice; produced by Hans Zimmer and David Fleming
7. "Stampede" - Hans Zimmer
8. "Scar Takes the Throne" - Hans Zimmer
9. "Hakuna Matata" - Performed by Billy Eichner, Seth Rogen, JD McCrary and
Glover; written by Elton John and Tim Rice; produced by Pharrell Williams;
coproduced by Stephen Lipson
10. "Simba Is Alive!" - Hans Zimmer
11. "The Lion Sleeps Tonight" - Performed by Billy Eichner and Seth Rogen;
Luigi Creatore, Hugo Peretti, George David Weiss and Solomon Linda; produced by
12. "Can You Feel the Love Tonight" - Performed by Beyonce, Donald Glover, Billy
Eichner and Seth Rogen; written by Elton John and Tim Rice; produced by Pharrell
Williams; co-produced by Stephen Lipson
13. "Reflections of Mufasa" - Hans Zimmer
14. "Spirit" - Performed by Beyonce; written by Timothy McKenzie, Ilya
and Beyonce; produced by Beyonce, ILYA for MXM Productions and Labrinth
15. "Battle for Pride Rock" - Hans Zimmer
16. "Remember" - Hans Zimmer
17. "Never Too Late" - Performed by Elton John; African vocal and choir
created and produced by Lebo M; written by Elton John and Tim Rice; produced by
Greg Kurstin; additional production by Elton John and Matt Still
18. "He Lives in You" - Performed by Lebo M; written by Mark Mancina, Jay Rifkin
Lebohang Morake; produced by Lebo M and Mark Mancina
19. "Mbube" - Performed by Lebo M; African vocal and choir arrangements created
produced by Lebo M; written by Solomon Linda; produced by Pharrell Williams
ROCKING "THE LION KING" PROTECT THE PRIDE CAMPAIGN
Disney to Donate up to $3 Million to Help Double the Lion Population by 2050
To celebrate the release of Disney's "The Lion King,"
The Walt Disney Company
launched a global conservation campaign to raise awareness of the crisis facing
and other wildlife across Africa. "The Lion King" Protect the Pride campaign
protecting and revitalizing lion populations and the habitats they need to
has already donated more than $1.5 million to the Wildlife Conservation
(WCN) Lion Recovery Fund (LRF) and its partners and will make additional grants
well as invite fans to help double the donation for a total contribution of up
to $3 million.
Fans may participate by taking part in celebratory experiences and purchasing special-edition products as part of "The Lion King" Protect the Pride campaign.
It's been 25 years since Disney released the original version of "The Lion
during that time Africa has lost half of its lions, and only about 20,000
remain. Disney is
supporting the Lion Recovery Fund and its vision to double the lion population
through efforts that engage communities to ensure a brighter future for African
and their habitats. Protecting lions supports the entire circle of life in
Africa, from hyenas
to meerkats. Lions face rising threats; however, research shows their numbers
strengthened if they and the habitats they share with people and other African
are adequately protected.
"Disney is committed to supporting lion conservation efforts, and we believe
King' is the perfect story to remind us of the role we each have in helping
world where these majestic animals are treasured and protected," says Elissa
senior vice president, enterprise social responsibility for The Walt Disney
"Conservation has always been a core value of The Walt Disney Company, and that
commitment is apparent in everything from our films to our theme parks and is
created the Disney Conservation Fund. Through the stories we tell and the
we create, we have the power to reach people around the world and inspire them
take action with us."
The Disney Conservation Fund (DCF) has directed $75 million to save wildlife
since 1995, including $13 million to protect African wildlife spanning more than
countries. "The Lion King" Protect the Pride donation will be DCF's largest
contribution in its 24-year history, supporting WCN's Lion Recovery Fund and its
engage people in conservation solutions. The Lion Recovery Fund supports a
partner organizations working in Africa and employs a three-pronged approach to
recovery: investing in conservation projects on the ground, developing campaigns
build support for the protection and revitalization of Africa's lion
expanding and strengthening collaborations, as no single entity will be able to
"The Lion Recovery Fund has a vision to bring lions back across Africa, and
powerful storytelling is a perfect way to get even more people aware of the lion
and inspired to take action," says Charles Knowles, president and co-founder of
Conservation Network. "The Wildlife Conservation Network is proud to continue
longstanding collaboration with Disney to make a meaningful impact for people
wildlife across Africa."
Help Protect the Pride
It takes many different approaches, which differ by regions, habitats and
communities, to help protect lion populations. Fans can explore The Lion King
the Pride website to learn more about "The Lion King" Protect the Pride campaign
find ways they can get involved.
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