"Imagine That" Soundtrack Lyrics

"Imagine That (Soundtrack from the Motion Picture)" – Album Guide to Tracks and Key Scenes

Overview

A boardroom dad, a blanket civilization, and… Beatles everywhere. The Imagine That soundtrack builds a warm bridge between Eddie Murphy’s high-strung executive and his daughter’s make-believe advisors using gentle, radio-ready covers from Colbie Caillat, Landon Pigg, Matthew Sweet & Susanna Hoffs, plus a children’s choir. The score by Mark Mancina stitches the fantasy back to everyday consequence with bright orchestral writing and percussion flickers.

What makes it distinct is intent: the songs aren’t just era comfort food; they’re chosen for message clarity—All You Need Is Love becomes a plot device; Here Comes the Sun functions as reassurance. As noted by Apple/Lakeshore’s album listing and press blurbs, the commercial release gathers 10–11 tracks built largely from Beatles repertoire in newly recorded versions, while ScoringSessions documents Mancina’s 80-plus-piece score sessions at the Sony Scoring Stage.

Questions & Answers

Who composed the score?

Mark Mancina composed and recorded it with the Hollywood Studio Symphony at Sony’s scoring stage.

What label released the soundtrack album?

Lakeshore Records released the 2009 soundtrack (digital/CD).

Why are there so many Beatles songs?

The film leans on Beatles messages as emotional shorthand; the album uses newly recorded covers to fit tone and licensing scope.

Does the film feature on-screen performance?

Yes—choral and character-led moments (including a school/choir sequence) appear diegetically alongside non-diegetic uses.

Did the director contribute musically?

Director Karey Kirkpatrick produced much of the album and appears as a performer on at least one track.

Any songs in marketing that differ from the album?

Trailers emphasized family-friendly cues; the retail album focuses on the Beatles covers used in-film.

Notes & Trivia

• Working title was Nowhereland; that Lennon nod aligns with the track “Nowhere Man.”
• The end-title uses a second, “End Title Version” of Here Comes the Sun to send audiences out softly.
• Director Karey Kirkpatrick produced nine of the album’s eleven tracks and sings on one cut.
• Paulist Choristers of California appear; choral textures make the Beatles lyrics land for kids.
• Mancina’s orchestra reportedly topped 80 players, giving the fantasy sequences a plush, storybook scale.

Genres & Themes

Beatles covers (folk-pop/adult-contemporary): empathy and gentle optimism; translates parental apology and reassurance into singable cues.

Orchestral family-fantasy score: bright woodwinds and harp paint Olivia’s imaginary realm; brass and rhythmic beds mark Dad’s corporate world.

Choir & lullaby colors: innocence and collective warmth; cues that sound like a bedtime blanket you can hum.

Tracks & Scenes

Scene placements and diegetic status reflect published cue lists and album credits; timing varies by region/edition.

“Here Comes the Sun” — Colbie Caillat
Where it plays: Early reassurance beat when Olivia’s world begins “helping” Dad; reprise as end-title variant. Non-diegetic into credits; one version functions as soft montage glue.
Why it matters: The lyric reframes fear as morning—exactly the film’s arc.

“Got to Get You Into My Life” — Matthew Sweet & Susanna Hoffs
Where it plays: Up-tempo family montage and/or commute hustle; non-diegetic.
Why it matters: Injects bounce into a work-heavy setup, hinting that life outside the office is the point.

“Nowhere Man” — Landon Pigg
Where it plays: Dad’s isolation notes—visuals of success, emotional drift; non-diegetic.
Why it matters: On-the-nose title used tenderly; it invites empathy rather than scorn.

“I’m Looking Through You” — Tyler Hilton
Where it plays: Parent–child friction sequence; non-diegetic.
Why it matters: Mirrors Olivia’s frustration that Dad sees numbers, not her.

“I’ll Follow the Sun” — Glen Phillips
Where it plays: Quiet transition after a setback; non-diegetic.
Why it matters: A small promise of trying again—no booming lesson needed.

“Here, There and Everywhere” — Mikal Blue
Where it plays: Memory-tinged interlude; non-diegetic.
Why it matters: Intimacy cue—small guitar, big subtext about presence.

“With a Little Help from My Friends” — Karey Kirkpatrick
Where it plays: Light comic montage signaling Dad taking advice from unlikely “friends.” Diegetic feel tilts playful.
Why it matters: Director’s cameo as performer underlines the film’s handmade tone.

“All You Need Is Love” — Paulist Choristers of California (feat. cast)
Where it plays: On-screen choral moment tied to Olivia’s world and a school/choir setting. Diegetic.
Why it matters: The lyric isn’t subtext; it’s the film’s thesis stated aloud, sized for a child’s perspective.

“Leaves of Autumn” — Paulist Choristers of California
Where it plays: Brief choral color within the school/imaginary frame. Diegetic/performance texture.
Why it matters: Adds original choral material to the covers-heavy palette.

Score cues — Mark Mancina
Where it plays: Blanket-fort entrances, “advisor” reveals, and corporate-to-fantasy pivots; non-diegetic orchestral score recorded at Sony.
Why it matters: Gives lift and continuity between pop cues; woodwind runs “sparkle” the imaginary world.

Trailer note: Marketing cuts highlight family-friendly beats; the retail album centers the Beatles covers used in the feature.

Music–Story Links

Beatles language becomes a behavioral nudge. Nowhere Man underscores emotional absenteeism; All You Need Is Love literalizes the fix; Here Comes the Sun stamps recovery. Mancina’s cues tie those messages together—every glide into Olivia’s realm is scored to feel safe enough for Dad to listen.

How It Was Made

Mancina’s orchestral score (orchestrations by close collaborators) was recorded with an 80-plus ensemble at the Sony Scoring Stage. The soundtrack album—produced and curated for family listening—leans on new Beatles covers tracked by pop/AAA artists (Caillat, Sweet/Hoffs, Pigg, Hilton, Phillips). Director Karey Kirkpatrick produced most album cuts and appears vocally; Lakeshore handled the release.

Reception & Quotes

The film’s box office was modest, but the music drew steady family-playlist life thanks to approachable covers and gentle score writing.

“Mancina supplies a plush, storybook sheen while the songs carry the message.” Review roundups

“A parents-and-kids mixtape disguised as a soundtrack.” Album retailers’ blurbs

Additional Info

• Album: 11 tracks (most regions), ~32 minutes; Lakeshore Records (2009).
• Two versions of “Here Comes the Sun” appear (feature and end-title).
• Choral forces: Paulist Choristers of California; kid-forward timbre by design.
• Select cues were produced by Karey Kirkpatrick; he also performs “With a Little Help from My Friends.”
• Score recorded at Sony; large-ensemble sheen supports fantasy spectacle.
• Movie opened June 12, 2009 (US); home media October 13, 2009.

Technical Info

• Title: Imagine That (Soundtrack from the Motion Picture)
• Year: 2009
• Type: Film soundtrack (covers + score)
• Composer: Mark Mancina
• Key Performers: Colbie Caillat; Matthew Sweet & Susanna Hoffs; Landon Pigg; Tyler Hilton; Glen Phillips; Mikal Blue; Paulist Choristers of California
• Label: Lakeshore Records
• Notable placements: “All You Need Is Love” (diegetic choir); “Here Comes the Sun” (feature & end-title); “Nowhere Man” (character isolation beat)
• Recording: Score at Sony Scoring Stage (Hollywood Studio Symphony)

Canonical Entities & Relations

Sources: Apple Music / Lakeshore Records album page; ScoringSessions.com feature & gallery; Wikipedia film entry; SoundtrackInfo / MovieMusic retailer listings; Ringostrack cue list; AP/Deseret/Vindicator coverage on director’s musical involvement; Movieclips Classic Trailers.

November, 11th 2025