"Intern" Soundtrack Lyrics

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"The Intern (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

How do you score a late-career reboot and a start-up’s growing pains without shouting? With small orchestral gestures, classic pop standards, and a jazz pocket that never tries too hard. The Intern leans on Theodore Shapiro’s warm, motif-driven cues and a curated set of mid-century recordings that frame Nancy Meyers’ polished spaces.

The official album (The Intern – Original Motion Picture Soundtrack) folds Shapiro’s cues (“Love and Work,” “Ben and Fiona,” “To the Airport”) between evergreens—Ray Charles (“’Deed I Do”), Stan Getz/João & Astrud Gilberto (“The Girl from Ipanema”), Billie Holiday (“These Foolish Things”), Benny Goodman (“Ain’t Misbehavin’”), Gene Kelly (“You Were Meant for Me”). The mix is deliberate: score for intimacy and forward motion; iconic songs to signal place, taste, and time, as per the label track list and release notes.

Questions & Answers

Who composed the score?

Theodore Shapiro.

What label released the album and when?

WaterTower Music, September 2015 (digital; standard retail rollout).

Are the jazz/pop standards on the official album?

Yes—Ray Charles, Billie Holiday, Benny Goodman, Stan Getz/João & Astrud Gilberto, and Gene Kelly appear alongside the score.

Who handled music supervision?

George Drakoulias and Randall Poster are credited as music supervisors in trade/credit listings.

Any awards context for the score?

The film’s score was among the 2015 original scores considered in the Academy’s eligibility list.

Is there a separate score-only release?

No—this title combines songs and cues into a single official soundtrack program.

Notes & Trivia

• The official sequence interleaves cues and classics rather than splitting them into separate albums.
• “You Were Meant for Me” (Gene Kelly) functions as a golden-age wink—record-collector taste inside a modern office.
• Shapiro’s cue titles (“Facebook Friends,” “To the Airport,” “San Francisco”) mirror story beats; the writing stays small-ensemble and close-mic’d.
• Two veteran supervisors—George Drakoulias and Randall Poster—are attached, which tracks with the film’s period-pop curation.

Genres & Themes

Light orchestral/indie-chamber → empathy & routine. Piano, strings, and soft percussion map the workday and the growing friendship.

Mid-century jazz & standards → elegance & ritual. Classic records signal taste, hospitality, and the film’s obsession with good rooms.

Lounge/Bossa nova → ease with an edge. Bossa textures (“Ipanema”) soften scene transitions while hinting at adult lives outside the office.

Tracks & Scenes

Representative placements and cue functions (diegetic noted). Specific moments summarized from on-screen use and album titles.

“Love and Work” — Theodore Shapiro
Where it plays: Early orientation to Ben’s routine and the company’s rhythm (non-diegetic).
Why it matters: Establishes the score’s light, steady gait—heart first, then hustle.

“’Deed I Do” — Ray Charles
Where it plays: Social setting with old-school charm (source/room play).
Why it matters: A classic courtship groove; it frames the film’s adult warmth without sentimentality.

“The Girl from Ipanema” — Stan Getz, João & Astrud Gilberto
Where it plays: Background source in a polished public space (diegetic feel).
Why it matters: Immediate mood-setter; the film loves civilized ambience and this is shorthand.

“These Foolish Things (Remind Me of You)” — Billie Holiday
Where it plays: Reflective interlude when private life intrudes on work (source).
Why it matters: Nostalgia without syrup; lyrics mirror the film’s memory/loneliness thread.

“Ain’t Misbehavin’” — Benny Goodman
Where it plays: Light montage connective tissue (source).
Why it matters: Swing as civic architecture—keeps the world buoyant between plot beats.

“Ben and Fiona” — Theodore Shapiro
Where it plays: Ben’s tentative romance arc (non-diegetic).
Why it matters: A tender counter-melody; small ensemble writing that never overstates.

“San Francisco” — Theodore Shapiro
Where it plays: Trip/expansion beat tied to company matters (non-diegetic).
Why it matters: Travel-cue sparkle; the harmony brightens but stays restrained.

“You Were Meant for Me” — Gene Kelly
Where it plays: A classic-film needle-drop used as affectionate punctuation (source).
Why it matters: Old Hollywood sincerity—perfect for a story about showing up.

“To the Airport” → “We Can Try” — Theodore Shapiro
Where it plays: Late reconciliation run and epilogue cadence (non-diegetic).
Why it matters: The score does quiet closure—cadences that land like a hand on a shoulder.

Music–Story Links

Shapiro’s cues sit with characters at desk height—gentle, repeatable, never fussy. When a scene needs social temperature, the film leans on canon: Holiday for ache, Getz/Gilberto for glide, Goodman for lift. The standards read like Ben’s record shelf; they civilize rooms that might otherwise feel sleek to the point of cold.

How It Was Made

The album arrives via WaterTower Music and pairs Shapiro’s originals with licensed masters from Verve and legacy catalogs. Music supervision is credited to George Drakoulias and Randall Poster—veterans whose fingerprints are all over the standards-heavy palette. The 17-track retail sequence matches label/retail listings, placing the jazz evergreens as palate cleansers between score cues.

Reception & Quotes

Contemporary coverage flagged the film’s “easy-listening” confidence and Shapiro’s unobtrusive charm; industry notes recorded the score on the Academy’s 2015 eligibility slate.

“A polished compilation where classics breathe and cues never crowd the room.” album coverage

“Shapiro writes at human scale; the songs pour the coffee.” score notes

Additional Info

• Album makeup: 17 tracks (~51 minutes): mixed songs + score.
• Headline licensed recordings on album: Ray Charles, Billie Holiday, Benny Goodman, Stan Getz/João & Astrud Gilberto, Gene Kelly.
• Composer credit appears on the Academy’s 2015 eligible scores list.
• Trailer ID used in figures: ZU3Xban0Y6A (Warner Bros.).

Technical Info

• Title: The Intern (Original Motion Picture Soundtrack)
• Year: 2015
• Type: Mixed album (original score + licensed songs)
• Composer: Theodore Shapiro
• Music Supervision: George Drakoulias; Randall Poster
• Label: WaterTower Music
• Selected notable placements: “The Girl from Ipanema” (bossa source cue), “These Foolish Things” (introspective source), “You Were Meant for Me” (classic-film nod), “To the Airport” / “We Can Try” (final act/epilogue cues).

Canonical Entities & Relations

Subject	Relation	Object
The Intern (film, 2015)	music by (score)	Theodore Shapiro
The Intern (Original Motion Picture Soundtrack)	released by	WaterTower Music
George Drakoulias; Randall Poster	music supervised	The Intern (film)
Ray Charles	performs	“’Deed I Do”
Stan Getz; João Gilberto; Astrud Gilberto	perform	“The Girl from Ipanema”
Billie Holiday (with Teddy Wilson & His Orchestra)	performs	“These Foolish Things (Remind Me of You)”
Benny Goodman	performs	“Ain’t Misbehavin’”
Gene Kelly	performs	“You Were Meant for Me”

Sources: WaterTower Music official track list; Apple Music/Spotify album pages; Film Music Reporter release notes; Metacritic credits (music supervision); Academy list of 2015 eligible original scores; IMDb soundtrack listings; official trailer.

Presence of two experienced actors – Anne Hathaway and Robert De Niro, both of which received Oscar, makes this unique film simply brilliant. In the motion picture, there are number of good humor and the acting with brilliant emotions of the main characters that show such subtle nuances that are difficult to imagine them more from someone. Especially Robert so incredible plays his feelings, so you quite clearly understand why he was given the most prestigious Academy award.

In the film, the hero of Robert says that he was over 70 years old. And in the collection there are same time-tested things that aged, probably, not less than the mentioned above. Half of the collection was written by, of course, not so old, but nevertheless, a brilliant composer Theodore Shapiro. It is a pity that almost all of his music from this collection is simply not available in the Internet at the moment, so that they cannot be heard directly anywhere except as in the film.

Ray Charles  really pleases us, it is a pity that only with one melody. Well, his fans can find the required number of songs in the free or try-and-buy access to sweeten their auditory nerves.

These Foolish Things – a song from the past, when Hollywood was more beautiful, all the men wore suits, were very elegant and styled their hair with grease. The women wore dresses and hairstyles in the style of luxurious Marylyn Monroe.

The collection, in fact, consists of three major parts – beautifully performed music by Theodore Shapiro; oldest and most well-known songs and new contemporary (e.g., Ways to Go or Strange Talk). Predominate in this collection are by the first and second parts and the third is almost nothing – three songs and they are the music from the movie trailer, apparently not to parade all the amazing quality right away, that it is in the collection, which is same good as well-aged wine.

November, 11th 2025

The Intern movie on the Web: IMDb, Wikipedia, RottenTomatoes.com

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