ABSTRACT
This chapter explores relationships between existing musical works and newly written music by Alexandre Desplat in Wes Anderson's films Moonrise Kingdom and The Grand Budapest Hotel. The two films showcase an array of creative musical work with respect to existing music; this work centers on homage in the first case, and freer reinvention of found materials in the second. The chapter shows how the distinct development in Anderson's filmmaking, brought to florescence with the original music of Alexandre Desplat, depends both on the acts of choosing and compiling music, and transforming it. It suggests that hybrid scores provide a unique sense of orientation for the audience; in the patently fictive, unfamiliar settings of Anderson's films, existing musical works are poised to pop to the forefront of the audience's attention. Moonrise Kingdom, set in 1960s coastal New England, tells the story of twelve-year-old outcasts Sam and Suzy, and the adults with whom they struggle.
