"Get a Job" Soundtrack Lyrics

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"Get a Job (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

How do you score a quarter-life crisis without turning it into a dirge? Get a Job keeps the groove light and modular: short cues, upbeat syncs, and pop-&-indie placements that match the film’s quick-cut job-hunt vignettes. The soundtrack favors compact, motivational energy—songs that can drop in for a montage, land a punchline, and move on. TV Guide and The Numbers list Jonathan Sadoff as the film’s composer, while some databases credit Christian Moder; on-screen and industry listings consistently point to Sadoff’s authorship of original score cues.

Most needle-drops are low-profile indie and production-label pulls—useful for tone-setting rather than brand-name nostalgia. That keeps focus on character momentum: end-credit uplift via Young Brother, retail ambience when Roger (Bryan Cranston) retreats to a coffee shop, and a handful of slick beats for office hustle. For reference, see Whatsong and IMDb’s soundtrack page; both enumerate the syncs used.

Questions & Answers

Who composed the film’s original score?

Jonathan Sadoff is credited on industry listings and home-video metadata as the original music composer; some databases list Christian Moder, but trade/credit aggregators (and library records) support Sadoff.

Is there an official, standalone score album?

No widely distributed score album surfaced; the film uses brief cues alongside licensed songs.

Which songs are verifiably in the movie?

Examples include “Man Up” (Young Brother) and “Heat It Up” (Kid Simple), plus cuts by Space Capone, Great White Buffalo, Aceyalone & Bionik, Howard Pfeifer, and others documented by Whatsong and IMDb’s soundtrack page.

What plays over the end credits?

“Man Up” by Young Brother—Whatsong lists it as the first end-credits cue.

Any scene-specific placements noted publicly?

Yes: “Dance Disco” by Autumn Twilights is tagged to Roger walking into a coffee shop; “Man Up” starts the end credits.

Who handled music supervision?

Multiple supervisors are credited across databases (e.g., Liz Lawson, Danny Zook, Todd Sullivan), with Shie Rozow as music editor.

Is the 2012 Hawaiian film with the same title related?

No. That’s a different movie with a Barefoot Natives soundtrack; avoid mixing those credits with the 2016 Dylan Kidd film.

Notes & Trivia

• Shot in 2012 but released in 2016; the needle-drops skew toward then-current indie/production catalog rather than costly chart hits.
• Library and TV listings attach “composer (expression)” to Jonathan Sadoff for the 2016 film’s home-video release.
• “Man Up” functions as thematic punctuation: resilience after the chaos.
• IMDb’s soundtrack page lists more than a dozen licensed cues; they’re mostly short scene-stingers.
• Don’t confuse the 2016 soundtrack with Get a Job (The Motion Picture Soundtrack) by Barefoot Natives (2012)—that’s a different production entirely.

Genres & Themes

Indie pop/alt rock → optimism under pressure; montage-friendly momentum for résumés, interviews, and “try again” beats.

Hip-hop/beat-driven cues → hustle and bravado in office or startup spaces; quick rhythmic beds that lift dialogue-driven comedy.

Light electronic/funk-influenced cuts → breezy lifestyle texture (coffee shops, open-plan offices), signaling “millennial LA” without name-brand singalongs.

Tracks & Scenes

"Man Up" — Young Brother
Where it plays: first song under the end credits.
Why it matters: a straightforward, hooky send-off that reframes the film’s stumbles as forward motion. (Whatsong)

"Dance Disco" — Autumn Twilights
Where it plays: Roger Davis walks into the coffee shop.
Why it matters: bright, lightweight texture that contrasts his midlife job anxiety. (Whatsong)

"Heat It Up" — Kid Simple
Where it plays: listed in the film’s official soundtrack credits.
Why it matters: uptempo, beat-centric underscore for quick-cut workplace scenes. (IMDb Soundtracks)

"I Just Wanna Dance" — Space Capone
Where it plays: listed among the film’s cues.
Why it matters: nightlife sheen for party/celebration beats. (Whatsong)

"Likely Story" — Great White Buffalo
Where it plays: documented as included in-film.
Why it matters: indie edge for scenes about ambition vs. reality. (Whatsong)

"Workin’ Man’s Blues" — Aceyalone & Bionik
Where it plays: documented usage.
Why it matters: wordplay and groove underline the film’s blue-collar subplot. (Whatsong)

"Worth It" — Howard Pfeifer
Where it plays: listed in the cue roster.
Why it matters: aspirational tone to bridge setbacks with small wins. (Whatsong)

"America" — No Ego
Where it plays: credited on the film’s soundtrack page.
Why it matters: compact, rhythmic filler that keeps montage pace. (IMDb Soundtracks)

Trusted references used for placements: Whatsong, IMDb Soundtracks, TV Guide credits.

Trailer music note: Trailer cuts vary by channel; the promotional spots don’t map 1:1 to the in-film album and include standard trailer-library cues.

Music–Story Links

End-credit uplift (“Man Up”) reframes the scattered arcs—Will’s startup choice, Roger’s return to work—as collective recovery rather than individual triumph. Coffee-shop ambience (“Dance Disco”) highlights Roger’s dislocation: cheery music in a space where he feels invisible. Elsewhere, beat-forward tracks prop up “fake it till you make it” scenes, nudging the comedy toward momentum instead of cynicism.

How It Was Made

Composer: Jonathan Sadoff (credits and catalogs). Music editors: Shie Rozow among others. Music supervision: multiple supervisors across departments (e.g., Liz Lawson, Danny Zook, Todd Sullivan) handled licensing/clearances, per production databases. The approach: short, license-friendly cues to track the film’s sketch-like structure.

Caveat on credits: Some public databases list Christian Moder as “music.” Cross-checked crew aggregators, library records, and trade pages attribute original music to Sadoff. Where sources conflict, on-screen or library/catalog data weigh more heavily than scraped summaries.

Reception & Quotes

Critics were cool on the film, but even negative reviews acknowledged its brisk, episodic energy—music contributes to that pacing.

“A shallow, insipid young cast… but the film keeps moving.” The Hollywood Reporter

“It probably should have stayed on the shelf.” The A.V. Club

Availability: the movie is on major digital storefronts; no official multi-track score album is listed for 2016’s film. (Rotten Tomatoes, Apple/retail pages)

Additional Info

• Production period (2012) vs. release (2016) likely influenced music choices: lean, licensable tracks dominate.
• “Man Up” is also available as a standalone single via streaming platforms.
• Several cues are credited to library/production outfits (e.g., In the Groove Music).
• Music editor Shie Rozow’s involvement appears across multiple credit aggregators.
• The similarly titled 2012 Hawaiian comedy has a completely different, song-forward album (Barefoot Natives).

Technical Info

• Title: Get a Job (Original Motion Picture Soundtrack)
• Year: 2016 (U.S. release March 25, 2016)
• Type: Film with original score cues + licensed songs
• Composer (original music): Jonathan Sadoff
• Music Supervision: Liz Lawson; Danny Zook; Todd Sullivan (departmental credits)
• Editors: Shie Rozow (music editor), among others
• Notable placements: “Man Up” — Young Brother (first end-credits cue); “Dance Disco” — Autumn Twilights (coffee shop scene); “Heat It Up” — Kid Simple; “I Just Wanna Dance” — Space Capone
• Label/album status: No widely released 2016 score album; songs appear via artist/label releases
• Distributor: Lionsgate Premiere (film)

Canonical Entities & Relations

Subject	Verb	Object
Jonathan Sadoff	composed	original music for Get a Job (2016)
Dylan Kidd	directed	Get a Job (2016)
Liz Lawson	music-supervised	Get a Job (2016)
Young Brother	performed	“Man Up” (end credits)
Autumn Twilights	performed	“Dance Disco” (coffee shop scene)
Shie Rozow	edited	music for Get a Job (2016)
Lionsgate Premiere	distributed	Get a Job (film)

Sources: Whatsong; IMDb Soundtracks; The Numbers; TV Guide; Rotten Tomatoes; Teen Vogue.

Anna Kendrick, who plays the lead female role here, has very little height – 5 feet and 2 inches only, which is about a foot lower than normal growth of modern humans. It is often noticeable in all her movies, because with such a growth, she has disproportionately large head, and she herself is terribly thin. This type of person has own followers. It is obvious that the main character of the film is one of them. He is shorty with similar features. But he still may pretend 22 years-old fellow, whereas she is 30-year-old actress and does not look as 22-year-old anymore. So, we have a comedy (at least, it becomes clear out of such dialogue: - You have to pass drug-test. - Drug-test? Is there multiple choices?). The comedy is about how difficult to find a job, especially if you do not know much and just recently graduated from college. Besides, you have a girl-shopaholic, who owes almost 100 000 dollars to banks, and on the eve of dismissal she bought fantastically expensive shoes for 2750 dollars. With this money in any country of the 3rd world, like Thailand or Cambodia, a family of three can feed for 16 months! Well – each follows his own and now the heroes are trying to stay afloat somehow by selling their stuff, and keep cheer. Well, almost all the time. Really. To such easy film attached frankly not heavy lyrics and melodies like Space Capone, who did I Just Wanna Dance or Landon Williams with his Tonight. A lot of songs in the collection that directs our spirits up, no matter in what deep hole we are in at the moment, along with the characters of the film. But there is a place for lyrical things like God Rest Ye Merry Gentlemen. In general, another bijou (as well as all movies with Anna Kendrick), with which you may kill your time while you are waiting for something really good in cinemas.

November, 09th 2025

Read user reviews on IMDb, more info on Wikipedia

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