Don't Worry, He Won't Get Far on Foot (soundtrack)

Development

Danny Elfman reunited with frequent collaborator Gus Van Sant for their eighth film together, citing the trust Van Sant ensured as key to their collaboration across seven films regardless of budget or scale. Elfman found John Callahan's story fascinating and was further intrigued by Joaquin Phoenix playing the character, having admired his acting abilities. He approached the score with no preconceived ideas, maintaining a blank state of mind while discussing with the director and team and watching the complete film.

During initial discussions, Van Sant described the characters, which helped Elfman provide rough ideas, and Van Sant's willingness to experiment encouraged Elfman to follow suit. Elfman recalled creating a jazz piece for the opening titles, which pleased him, and noted that some pieces he wrote for specific scenes were placed by Van Sant in different scenes. A lullaby titled "Oliver's Lullaby," written when Elfman's son was born, was selected by Van Sant and included at certain points in the film.

As with his older films, Elfman often visited the sets to borrow ideas after witnessing production. The score uses piano, guitars, string quartet, and vocals by Petra Haden, with whom Elfman enjoyed collaborating due to her comfort and freedom to experiment and improvise. Due to monetary constraints, the producers could not afford an orchestra, so a string quartet was used instead of synthesizers as a cost-effective approach, as Elfman felt synthesizers would sound cheesy and remind him of his early television attempts to emulate film.

Reception

Filmtracks criticized the score as a collection of loosely affiliated ideas from Elfman's restrained modern dramas of the previous ten years, stating that the "throw it all at the wall and see what sticks" approach would not work for listeners except those dedicated to this mode from the composer, and that the music has no beginning, middle, or end, simply pontificating moment to moment without a story of its own. In contrast, Peter Debruge of Variety called it one of the warmest scores of Elfman's career.

Hannah Strong of Little White Lies described it as a "tinkly score." Tim Gilmer of New Mobility wrote that Elfman's edgy jazz score, while sparse, sets a fitting tone. Zachary Sosland of Mxdwn Movies stated that the music is probably one of Elfman's better works in recent years, elevating several of the film's more emotional moments. Peter Travers of Rolling Stone called it an "ebullient" score.

David Edelstein of Vulture described it as a stupendous score that is largely bebop but with alternately eerie and comforting orchestral noodling. Pam Nadon of Your Observer wrote that Elfman's jazzy scoring is paired perfectly with John's sporadic misadventures. Steve Macfarlane of Slant Magazine wrote that Elfman's generic score is laid over far too many scenes. Tom Shone of The Times called it one of Elfman's prismatic, gently uplifting scores.

Simran Hans of Sight and Sound called it "over-emphatic." Peter Stuart of Den of Geek wrote that the soundtrack does a great job of charting the journey into sobriety and sketching. Donald Clarke of The Irish Times called it a classy score that alternates free bop with tinkled piano chords.