For Wes Anderson’s seventh film, about two young runaways, a bespectacled boy scout and beautiful young girl, fleeing a group of bumbling adults, Anderson slates a score of playful classical music, including music by Alexandre Desplat, who worked with Anderson on Fantastic Mr. Fox, among scores of other films (everything from the “Harry Potter” films to The King’s Speech). For the film’s pop songs, Anderson continues his tradition of bold selections — a whole lot of Hank Williams, including the iconic “Ramblin’ Man,” along with Françoise Hardy’s ubercool French pop tune “Le Temps de l’Amour.” Perhaps no modern director uses songs so prominently and effectively to punch up subtext like Anderson (well, maybe Quentin Tarantino). The difference is Anderson often leaves much unsaid in his films, allowing music, along with elaborate sets and costume work, and the performers’ silent acting, to fill in the blanks. It’s part of what makes him so exciting — for all his outward creativity, Anderson lets us be a part of his imagination. Listening to the Moonrise Kingdom soundtrack on its own feels like a creative, childlike venture, as the orchestral movements and Williams’ cowboys-and-Indians imagery allow for the listener to imagine where Anderson’s protagonists might end up.