Drawing on two key sequences from Stanley Kubrick’s 2001: A Space Odyssey (1968) and Wong Kar-wai’s 2046 (2004), respectively, the introduction redefines the use of preexisting music in film as an expanded form of music composition. Like assemblage, collage, remix, and other appropriative practices, compiling a film soundtrack out of borrowed music is a poetic, empirical practice. For it isn’t until it is spliced to the image that the borrowed music is born qua film music. To capture in words Wong’s reinvention of existing repertories, Claude Lévi-Strauss’s concept of bricolage is revived—and defended against its critics. Like a bricoleur, Wong borrows indiscriminately what is ready-to-hand (“ready-to-ear”). On repurposing borrowed music for the big screen, moreover, he turns an individual, uniquely situated musical utterance into a broadly relatable “type.” In doing so, he effectively overwrites its past associations and subsumes it under his own brand of cinema.