Don't Worry, He Won't Get Far on Foot

Development

Danny Elfman reunited with his frequent collaborator Gus van Sant for Don't Worry, He Won't Get Far on Foot, which was their eighth film they worked together. He considered the working relationship with Gus, mostly with the trust he ensured with him that led to their collaboration on seven films irrespective of the budget and scale. Considering John Callahan's story as fascinating, Elfman added that Joaquin Phoenix playing the character intrigued him even more, having liked his acting abilities. Elfman did not have any preconceived ideas for the story and had a blank state of mind, discussing with the director and the team as well as watching the complete film.

During the initial discussions, Gus stated about the characters of the film, which helps Elfman to provide rough ideas and Gus' liking to experiment things led Elfman to follow suit. He recalled that there was instances on doing jazz music and a jazz piece was featured in the opening titles, which he felt really happy. Elfman further recalled that some pieces which he wrote for a particular scene was included by Gus in another scene. He added that a lullaby which was titled "Oliver's Lullaby" was written when his son was born. Gus selected that piece and included in certain points of the film.

Like his older films, Elfman often visited the sets of the production to borrow ideas for his music after witnessing the production. The score utilizes piano, guitars, string quartet and vocals by Petra Haden. Elfman liked the collaboration between Petra, as she was comfortable and free to work with and experiment with her vocals and improvise it, for a creative environment. Because of monetary constraints, the producers did not afford for an orchestra, but ended up utilizing a string quartet instead of using synthesizers as orchestra for a cost-effective approach, because it would provide a cheesy sound and reeminded of his early attempts at television to sound like film.

Reception

Filmtracks was critical of the score, saying "though, this soundtrack is a collection of loosely affiliated ideas from Elfman's restrained, modern dramas of the previous ten years, and the "throw it all at the wall and see what sticks" approach won't work for listeners aside from those dedicated to this mode from the composer" especially in consideration with Callahan's journey, "the music has no beginning, middle, or end, simply pontificating moment to moment without a story to tell of its own." In contrast, Peter Debruge of Variety called it "one of the warmest scores of Danny Elfman's career". Hannah Strong of Little White Lies called it a "tinkly score". Tim Gilmer of New Mobility wrote "Danny Elfman's edgy jazz score, while sparse, sets a fitting tone." Zachary Sosland of Mxdwn Movies wrote "Danny Elfman composes the music for Don't Worry and it's probably one of his better works in recent years as it elevates several of the film's more emotional moments."

Peter Travers of Rolling Stone called in a "ebullient" score. David Edelstein of Vulture called it "a stupendous score from Danny Elfman that's largely bebop but with alternately eerie and comforting orchestral noodling". Pam Nadon of Your Observer wrote "Danny Elfman's jazzy scoring is paired perfectly with John's sporadic misadventures." Steve Macfarlane of Slant Magazine wrote "Danny Elfman's generic score is laid over far too many scenes". Tom Shone of The Times called it as "one of Danny Elfman's prismatic, gently uplifting scores". Simran Hans of Sight and Sound called it "over-emphatic". Peter Stuart of Den of Geek wrote "Danny Elfman's soundtrack does a great job of charting the journey into sobriety and sketching". Donald Clarke of The Irish Times called it "a classy Danny Elfman score that alternates free bop with tinkled piano chords".

Personnel

Credits adapted from liner notes: