Director Wes Anderson enlisted the talents of composer Mark Mothersbaugh for his first four films (1996-2004), but suddenly decided to turn to composer Alexandre Desplat for the following five films (2009-2021). The question arises as to why this would be the case. In this paper I explore the career backgrounds of Mothersbaugh and Desplat including their musical influences and styles. I then examine Mothersbaugh’s music for The Life Aquatic with Steve Zissou and Desplat’s score for The French Dispatch. I analyze the use of music in these films and how it relates to the characters, their feelings, and their thoughts as well as how the music is intertwined with Anderson’s unique direction style. Part of this investigation will highlight the musical styles used, the mixture between composed and borrowed music, and the function of the music in the film to discover the similarities and differences between the two composers. With this paper I hope to fill a gap in the literature on film studies focused on the work of Anderson.