Acclaimed composer Alexandre Desplat takes on the classic tune “Happy Birthday to You,” but with an innovative twist: the final note of “you” is significantly emphasized compared to the traditional rendition. This unique interpretation showcases Desplat’s creativity and respect for musical tradition.

What follows is a fascinating transformation of Igor Stravinsky’s “Greeting Prelude,” a serial variation of this well-known melody that was originally composed in 1955 to celebrate the 80th birthday of the esteemed French conductor Pierre Monteux. Stravinsky’s inventive approach inspired Desplat to incorporate elements from Stravinsky’s renowned ballet “The Firebird” into the score for the much-anticipated film “The Phoenician Scheme,” which is currently captivating audiences in theaters.

“The essence of the score draws inspiration from a piece by Stravinsky,” Desplat elaborates during a Zoom interview with Variety. “There’s a distinct, short melody that I’ve adapted, manipulated, and expanded upon.” He reflects on the depth of Stravinsky’s work, striving to immerse himself in the rich musical world that Stravinsky created.

As Desplat plays a brief yet impactful melody on his keyboard, this leitmotif is set to become the musical foundation of Anderson’s latest cinematic venture. The film’s narrative centers around the ambitious businessman Zsa-Zsa Korda, portrayed by Benicio Del Toro, who embarks on a daring project alongside his estranged daughter, a nun named Liesl, played by Mia Threapleton, and her entomology tutor, Bjorn, portrayed by Michael Cera.

Variations of this essential leitmotif, which is inspired by “The Firebird,” underscore the transition cards, enhancing the visual storytelling by illustrating the various locations the trio traverses while they attempt to secure funding for Korda’s expansive infrastructure project. This musical backdrop adds depth and richness to the plot.

“It could justifiably be named ‘The Russian Scheme,’” Desplat humorously quips, highlighting the cultural influences and thematic connections present in the film’s score.

The influence of Stravinsky permeates more than just the score; “The Phoenician Scheme” incorporates several pieces from the Russian composer’s oeuvre, including the “Apotheosis” from his ballet “Apollo,” which plays during the film’s opening credits. Additionally, audiences can enjoy works from classical legends like Bach and Beethoven, along with jazz arrangements from iconic musicians such as Gene Krupa, Gerry Mulligan, and Glenn Miller. This blend of genres enriches the auditory experience of the film.

Desplat aimed to navigate through these classical and jazz masterpieces while crafting the film’s score, ensuring a cohesive musical journey that enhances the narrative.

“There’s an abundance of musical elements at play, and I often find it challenging to create a seamless connection between them,” Desplat notes. “Therefore, I must allow these pieces to shine independently while I introduce my own flourishes as transitions. These compositions continue to flow, and I weave between them to maintain a dynamic musical experience.”

This intricate musical interplay is particularly evident because the only music that the film’s characters perceive comes directly from the tracks of other artists, which are heard through radios, bands, and turntables that are visually represented on screen.

“In an early scene, a turntable spins ‘The Firebird,’ creating a connection between what we refer to as diegetic music—music that exists within the film—and non-diegetic music, which is the score,” Desplat explains. “This interplay is essential to the film’s narrative structure.” [The music]

Despite the film’s diverse cast, which includes Cera’s quirky Norwegian insect specialist and Korda’s cunning half-brother, Uncle Nubar, played by Benedict Cumberbatch, Desplat opted not to create distinct musical themes for each character. Instead, his focus remained on developing melodies that contribute to the overall atmosphere of the film, enhancing its thematic depth.

“Creating individual musical identities for each character would feel like attempting to solve a Rubik’s Cube,” he admits, recognizing the complexity of intertwining themes in a multifaceted narrative.

Desplat’s collaboration with Anderson spans over a decade, beginning with the 2009 stop-motion animated film “Fantastic Mr. Fox.” Since their initial partnership, he has contributed his musical talents to several of Anderson’s films, including “Moonrise Kingdom” (2012), “The Grand Budapest Hotel” (2014), “Isle of Dogs” (2018), “The French Dispatch” (2021), and “Asteroid City” (2023). This ongoing collaboration highlights a unique creative synergy.

“From ‘Fantastic Mr. Fox,’ we have developed a sort of little toolbox that we keep handy,” Desplat shares. “This toolbox includes instruments like the glockenspiel, choir, mandolin, banjo, and recorders—all of which are readily available when we work together. We continuously seek out new sounds, but occasionally, we choose to incorporate instruments from our previous projects to add a familiar touch.” (For “The Phoenician Scheme,” they selected drums and piano from their collaborative toolbox.)

When asked to articulate what defines the “Wes Anderson sound,” Desplat describes it as “accessible, straightforward yet intricate, unapologetically melodic, obsessively repetitive,” and an “extravaganza of sonic textures.” This rich auditory palette contributes significantly to the film’s atmosphere and narrative engagement.

This distinct musical sensibility is vividly present in “The Phoenician Scheme,” which retains the whimsical charm and eccentricity characteristic of Desplat’s previous work with Anderson. However, the composer emphasizes that this score stands apart in one significant aspect: “Stravinsky became the core inspiration,” marking a distinctive evolution in their collaborative sound.