In Devo, Mark Mothersbaugh mastered the art of the catchy hook; in Hollywood, the Los Angeles composer excels at setting scenes. He began by scoring Pee-wee’s Playhouse in the ‘80s, then broke through in a big way with his soundtrack to Wes Anderson’s 1998 film Rushmore, where his oddball chamber folk complemented the characters’ quirks. Whether it’s the video-game blips of his The Lego Movie “Prologue” or the haywire accordions of Hotel Transylvania’s “Chasing Quasimodo”, zaniness is his stock in trade. The wilder the action, the more gleefully unhinged his accompaniment.