In the realm of animated princess songs, few names resonate as profoundly as Alan Menken. This is precisely why Skydance Animation enlisted the iconic eight-time Oscar winner to craft the captivating score and songs for their latest animated musical, “Spellbound.” Menken’s unparalleled reputation in the industry makes him a natural choice for such a grand project, promising a delightful blend of enchanting melodies and emotional depth that audiences have come to expect from his illustrious career.

The enchanting film is currently available for streaming on Netflix, featuring Rachel Zegler in the lead role as Princess Ellian. Ellian is a brave teenager determined to break a curse that has transformed her royal parents, portrayed by Nicole Kidman and Javier Bardem, into fearsome monsters. The voice cast also includes celebrated talents like John Lithgow, Jennifer Lewis, Tituss Burgess, and Nathan Lane, all contributing to this whimsical fairytale adventure filled with magic and heart.

Menken, renowned for his work on classics such as “The Little Mermaid,” “Aladdin,” and “Beauty and the Beast,” collaborated with his frequent partner Glenn Slater, the lyricist known for “Tangled.” Zegler praised their partnership in a recent featurette, stating, “Glenn Slater captures the emotions that accompany Alan’s music beautifully.” She emphasized that the collaboration between Menken and Slater feels like “a match made in heaven,” bringing out the best in each other’s artistic talents to create memorable musical moments.

Zegler’s journey with “Spellbound” began when she was initially cast as a scratch vocalist for demo recordings. However, she was eventually brought on to lend her voice to Ellian full-time, a process that spanned nearly five years. Reflecting on her experience, she shared, “I worked on it steadily throughout ‘Shazam’ and ‘Snow White,’ recording in various studios around the world.” Zegler described the unique joy of performing voiceovers from diverse locations, stating, “Javier was in Jordan filming ‘Dune,’ and he would come to the studio right after filming, sand still clinging to him!”

Kidman, who plays Ellian’s mother, expressed her admiration for Zegler, stating, “This girl is unbelievable. She has the most incredible voice.” She further praised the film’s music as “beautiful” and “classic,” highlighting the timeless quality of Menken and Slater’s compositions that resonate with audiences of all ages.

For Zegler, performing the music created by Menken and Slater represents her own real-life fairytale. “I’m incredibly grateful,” she remarked. “Alan composed the soundtrack of my childhood, and now his music is the soundtrack to my first animated film,” emphasizing the personal connection she feels to the project and its music.

In an insightful interview with Variety, Menken and Slater elaborated on their creative process in crafting the music for “Spellbound.”

How did you shape Ellian’s unique character through the lively opening number, “My Parents are Monsters?”

Glenn Slater: We were very mindful of incorporating real family dynamics into Ellian’s character. We envisioned her as a 15-year-old girl who, in this digital age, would naturally engage with her audience through her phone, breaking the fourth wall. It was crucial for us to capture the informal, slang-filled language typical of how teenagers communicate on social media. This contemporary approach was central to developing Ellian as a relatable character, steering away from traditional fairy tale princess stereotypes.

As the vibrant energy shifts to longing in her poignant ballad, “The Way It Was Before,” what was your approach to creating this emotional centerpiece?

Alan Menken: The animation beautifully illustrates the theme of longing, with visuals like a broken piano and water droplets falling onto the keys, symbolizing something precious that has been lost. The essence of the song reflects a deep yearning for what once was and the desire to piece everything back together.

Slater: This ballad was actually the first song we wrote for the film, even before we had the plot fully developed. We gathered around a table discussing Ellian’s character, her desires, and how she differed from typical fairy tale protagonists. Phrases like “longing and sad” combined with “hopeful and great” emerged in our discussions. Alan then sat down at the piano and began to play, and it was one of those unforgettable moments that sparked the creation of the song.

Menken: Sometimes the inspiration takes a little more coaxing!

Slater: Alan is like the world’s most sophisticated music AI. You provide him with emotional prompts—she’s happy but brave, she hasn’t seen her parents in a long time—and he responds with melodies that perfectly encapsulate those feelings. It’s a remarkable collaboration that always produces something special.

Menken: I often feel like I’m an audio animatronic version of Alan Menken!

What made Rachel Zegler the perfect choice for voicing Princess Ellian?

Slater: Rachel was essentially [director] Vicky Jenson’s top choice from the very beginning. We were all thrilled when she came on board because she embodies the essence of Disney princesses while also being an exceptional actress. Growing up with Disney films, she has internalized what it means to portray a Disney heroine. This unique combination allows her to add a personal touch to Ellian, making her feel like a real person rather than just a character. Rachel stepped into the studio and delivered an outstanding performance that truly resonated with the character.

Another highlight is John Lithgow’s captivating performance in “I Could Get Used to This.” It sounds like you had a lot of fun creating it, especially with lines like “It’s more than marvelous / How have I lived my whole life larva-less?”

Menken: Or “I could get used to this / Somehow I can’t help but shake my big fat caboose to this!”

Slater: That particular song was the last one we wrote. We were in the midst of a serious second act filled with emotional twists and turns when we realized we needed a lively production number. With John Lithgow on board, we thought, “Let’s create something special!” His incredible voice and comedic timing inspired us, and we built the song around his natural sound and charisma.

Menken: We also had to incorporate the Flinks as a humorous connection to a scene where this cultured character tries something completely new and unexpected, leading to delightful moments.

Is there a particular lyric from the songs that stands out to you both?

Menken: “Larva-less,” definitely stands out as a memorable phrase!

Slater: That might just end up on my tombstone: “Here lies Glenn Slater: Larva-less.”

Menken: The most impactful moments often come from the subtle lines that resonate deeply. It’s those instances that truly capture the heart of the narrative and become unforgettable.

Slater: We always believe that if we do our job right, audiences won’t remember the music or lyrics as separate entities; they will simply connect with the character’s emotions and feelings. The songs that stick in people’s minds are often those delivered by clever or witty characters. However, for characters like Ellian’s parents, who struggle to express themselves, the lyrics may not be particularly sophisticated, but they aim to convey the raw struggle of finding the right words and establishing an emotional connection.

What fuels the ongoing collaboration between you two on projects like “Tangled” and “Galavant?”

Menken: The collaborative process between us is incredibly enriching. We often find ourselves being quite opposite in our approaches. I tend to focus on the larger emotional narrative and the driving force of the song, while Glenn meticulously examines the dramaturgical structure to ensure everything flows seamlessly. Our shared experiences in the trenches of creativity make our partnership feel natural. It reminds me of my previous collaboration with the late Howard Ashman. Each project we tackle gets smoother and more intuitive as we continue to work together. We understand that with every new endeavor, we must break everything down and reinvent the wheel to find the unique voice of that particular project. The number of songs we’ve discarded for this film alone could fill an