"He's Just Not That Into You" Soundtrack Lyrics

"He's Just Not That Into You (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

How do you score nine intersecting love lives without losing tone? This 2009 ensemble romance builds its mood around an all-needle-drop compilation (New Line Records) plus a compact orchestral score by Cliff Eidelman. The song album leans on comfort-canon pop—Talking Heads, The Cure, The Replacements, Keane—while the score provides quick, lyrical buttons for revelations and reconciliations.

Two official releases anchor the project: a song compilation issued March 2009 and an original score album from Eidelman (WaterTower Music). Music supervision was led by Danny Bramson. Key credits and album particulars are consistent across IMDb credits, Apple Music pages, and the film’s Wikipedia entry. Billboard covered the project’s high-profile cover selection—Scarlett Johansson’s take on Jeff Buckley’s “Last Goodbye.”

Questions & Answers

Who composed the score?

Cliff Eidelman; the score was recorded with an 80-piece ensemble at the Newman Scoring Stage.

Who supervised the songs?

Danny Bramson served as music supervisor.

What label released the soundtrack?

New Line Records issued the songs compilation; WaterTower Music released the score album.

When did the film come out?

February 6, 2009 (U.S.). If you’ve seen “2008” elsewhere, that refers to production year—release was 2009.

Any notable originals or covers?

Yes—Scarlett Johansson recorded a cover of Jeff Buckley’s “Last Goodbye” specifically for the album.

What kind of songs dominate?

Indie/alt and classic pop: Talking Heads’ “This Must Be the Place,” The Cure’s “Friday I’m in Love,” Keane’s “Somewhere Only We Know,” plus contemporary acts like R.E.M., The Ting Tings, Wilco, Maroon 5.

Notes & Trivia

• The song album credits New Line Records; the score album credit reads WaterTower Music (Warner’s soundtrack arm).
• Cliff Eidelman’s cue “He’s Into Me” appears on digital editions of the song album as a bonus; it’s not on the original physical CD.
• Johansson’s “Last Goodbye” drew notable press attention—coverage in Pitchfork and trades.
• Several classics in the compilation (“This Must Be the Place,” “Friday I’m in Love”) help time-stamp the characters’ tastes without locking scenes to a single era.

Genres & Themes

Mixtape storytelling. The needle-drops skew warm and familiar—80s/90s alt, 00s indie—so the film can jump between vignettes without tonal whiplash (Cure/Kinks-school brightness for meet-cutes; Keane/James Morrison for quiet resets).

Score as glue. Eidelman’s brief cues (often under two minutes) steady scene transitions and give quick, melodic tags to “we finally talked” or “truth came out” beats. Think chamber-size strings, light winds, and gentle cadences.

Tracks & Scenes

“This Must Be the Place (Naive Melody)” — Talking Heads
Where it plays: Featured in-film during a domestic/reflective beat; non-diegetic.
Why it matters: A modern rom-com perennial—its gently circular groove underscores “maybe this is it” realizations.

“Friday I’m in Love” — The Cure
Where it plays: Heard in the film (and commonly associated with dating-montage energy); non-diegetic.
Why it matters: Instant optimism; signals that a storyline is about to choose hope over angst.

“Somewhere Only We Know” — Keane
Where it plays: Late-film reconciliation mood; non-diegetic.
Why it matters: Soft-focus catharsis that pairs well with confessions and apartment-door scenes.

“I’d Like To” — Corinne Bailey Rae
Where it plays: Early-film vibe setter for meet-cute rhythm; non-diegetic.
Why it matters: Soul-lite warmth that flatters the ensemble’s first-act optimism.

“Can’t Hardly Wait” — The Replacements
Where it plays: Cut into a mid-film momentum sequence; non-diegetic.
Why it matters: Adds grit and forward motion when characters try (and fail) to be decisive.

“Smile” — Lily Allen
Where it plays: Light-ironic counterpoint during post-fight cool-downs; non-diegetic.
Why it matters: Sweet-and-salty tone lets awkward humor land without cruelty.

“Last Goodbye” — Scarlett Johansson
Where it plays: Album-exclusive cover tied to the film’s release campaign; not a featured on-screen performance.
Why it matters: Star-driven spotlight track that broadened the album’s press reach.

Score suites — Cliff Eidelman
Where it plays: Transitional scenes across storylines; non-diegetic cues such as “Prologue/The Signs,” “No Exceptions,” “End Credit Suite.”
Why it matters: Keeps the anthology feeling cohesive, often resolving a clash with a concise, lyrical cadence.

Music–Story Links

Pop staples mark inflection points more than punchlines. When characters finally say the quiet part out loud, selections like Keane or James Morrison soften the landing. Brighter 80s cuts signal risky optimism—someone decides to call back, or to move on. Eidelman’s cues then “bookend” the moment with a short melodic resolution so the film can jump to another couple without emotional whiplash.

How It Was Made

New Line/Flower Films pursued a “mixtape + mini-score” approach: a recognizable, clearance-friendly playlist paired with compact orchestral cues. Eidelman recorded at Fox’s Newman Stage with the Hollywood Studio Symphony; WaterTower issued the score digitally soon after release. The songs album, on New Line Records, arrived the same month the film hit theaters.

Reception & Quotes

Critics were mixed on the film but generally warm on the music’s vibe: the compilation functions like an easy-playlist time capsule for late-2000s pop and alt. The star-sung cover drew the loudest reactions.

“Scarlett Johansson has covered Jeff Buckley’s ‘Last Goodbye’ for the soundtrack… it sounds pretty terrible.” Pitchfork

“The soundtrack rolls with Human League, The Cure, Talking Heads, Keane…” Apple Music editorial

Availability: the 17-track songs album and the 18-track score are widely available on streaming platforms.

Additional Info

• Song album highlights: Talking Heads, The Human League, R.E.M., The Replacements, The Ting Tings, Lily Allen, Keane.
• Score album: 18 cues, ~32 minutes; includes “End Credit Suite.”
• Label lineage: New Line Records handled the song compilation; WaterTower Music (Warner) issued the score.
• Common marketing cut uses the ensemble trailer with select album tracks; the theatrical trailer widely circulated on YouTube.
• Trusted sources used here: IMDb, Wikipedia, Apple Music, Spotify, Pitchfork.

Technical Info

• Title: He’s Just Not That Into You (Original Motion Picture Soundtrack)
• Film Year: 2009 (U.S. release)
• Type: Song compilation + original score
• Composer (score): Cliff Eidelman
• Music Supervision: Danny Bramson
• Labels: New Line Records (songs); WaterTower Music (score)
• Trailer ID (YouTube): RJIF0ng-g_M

Canonical Entities & Relations

Sources: IMDb; Wikipedia; Apple Music; Spotify; Pitchfork.

November, 10th 2025