Alexandre Desplat Discusses Stravinsky's Influence on 'The Phoenician Scheme' Score

In a detailed exploration of the creative process behind the score of Wes Anderson's latest film, 'The Phoenician Scheme,' composer Alexandre Desplat reveals how the legendary Igor Stravinsky’s work significantly shaped his musical contributions. The film, which premiered in theaters on June 9, 2025, features a unique narrative centered around business magnate Zsa-Zsa Korda, played by Benicio Del Toro, and his estranged daughter Liesl, portrayed by Mia Threapleton. As they navigate an ambitious infrastructure project, Desplat's score interweaves Stravinsky’s thematic elements to enhance narrative depth.

Desplat’s use of Stravinsky is particularly pronounced in the transformation of a melody from 'The Firebird,' a ballet that remains a hallmark of the composer’s repertoire. “The seed of the score comes from a piece by Stravinsky, and there’s this little, short melody that I’ve used, and twisted and expanded,” Desplat stated during a Zoom interview with Variety. This approach exemplifies the composer’s intent to stay within the sonic landscape created by Stravinsky, thereby enriching the film's emotional and thematic resonance.

Stravinsky’s influence permeates the film beyond mere reference; it serves as a foundational element that Desplat meticulously crafted. Desplat noted, “It should be called ‘The Russian Scheme,’” humorously alluding to the heavy reliance on Stravinsky's work throughout the score. In addition to Stravinsky, the film features well-known classical pieces by composers such as Johann Sebastian Bach and Ludwig van Beethoven, alongside jazz arrangements from the likes of Gene Krupa and Glenn Miller.

The challenge for Desplat was to create a cohesive musical atmosphere while incorporating these diverse influences. “There are too many things happening, and I just can’t musically link them,” he explained, emphasizing the need to navigate through different genres and styles. This resulted in a score that intertwines diegetic music—music that is natural to the film’s setting—and non-diegetic music, which serves as the score.

Desplat’s long-standing collaboration with Anderson, dating back to 'Fantastic Mr. Fox' in 2009, has cultivated a unique musical toolkit that both artists draw upon for their projects. Desplat described the collaboration as an ongoing exchange of ideas, with a shared toolbox that includes instruments like the glockenspiel and mandolin. He stated, “Since ‘Fantastic Mr. Fox,’ we have this kind of little toolbox...and we try to find something new.” This iterative process allows for an evolution of sound that remains consistent with Anderson’s artistic vision while also allowing for innovation.

When considering the essence of the 'Wes Anderson sound,' Desplat articulated its character as “accessible, simple but not simplistic, unashamedly melodic, obsessively repetitive,” highlighting the extravagance of sounds that define Anderson’s films. This signature style continues to resonate in 'The Phoenician Scheme,' which aims to captivate audiences with its whimsical charm and intricate musical layers.

As audiences delve into 'The Phoenician Scheme,' they will encounter a narrative enriched by Desplat's thoughtful composition and Stravinsky's enduring legacy. The integration of these influences not only enhances the film's storytelling but also reflects a broader trend in contemporary cinema where the score plays a pivotal role in shaping viewer experience. Desplat’s commitment to honoring Stravinsky while crafting a distinct soundscape speaks volumes about the dynamic interplay between cinematic music and narrative form, a relationship that continues to evolve in the landscape of modern filmmaking.