Here’s a shocking revelation that’s bound to stir up some debate: The creators of Phantom Thread are demanding their music be removed from the controversial Melania documentary, and it’s not just about copyright—it’s about principle. But here’s where it gets even more intriguing: Phantom Thread director Paul Thomas Anderson and Radiohead’s Jonny Greenwood, who composed the film’s haunting score, have issued a joint statement expressing their dissatisfaction with the unauthorized use of their work in Brett Ratner’s documentary about Melania Trump. According to a statement obtained by Variety from Greenwood’s representative, the pair claim that Universal Pictures failed to consult Greenwood before licensing the music, a move they say violates his composer agreement. As a result, they’ve formally requested its removal from the film.
This isn’t just a legal squabble—it’s a clash of artistic integrity and corporate oversight. Melania, which has raked in $13.35 million domestically after two weekends, is no small project. Yet, despite its impressive box office for a non-nature, non-music documentary, the film’s financial backstory is jaw-dropping. Amazon MGM reportedly spent a staggering $40 million acquiring the film and its accompanying streaming series, followed by a $35 million marketing blitz. These numbers are unprecedented for a documentary, leaving many in the industry scratching their heads. Is this a genuine attempt to explore the First Lady’s story, or a strategic move to curry favor with the current administration? And this is the part most people miss: with theater owners keeping roughly half of ticket sales, the studio’s return on investment looks increasingly uncertain.
Adding to the drama, Amazon MGM took the unusual step of releasing a statement addressing the film’s second-weekend performance, a move that only fuels speculation. Meanwhile, Greenwood’s career trajectory is worth noting: over the past 25 years, he’s shifted from rock music to film composition, scoring 12 films, including There Will Be Blood and Inherent Vice. His work on Phantom Thread was particularly acclaimed, with Variety’s Owen Gleiberman praising its ability to evoke a ’50s Hitchcock vibe through its blend of longing and anxiety.
But here’s the real question: Does the unauthorized use of Greenwood’s music in Melania undermine the artistic intent behind Phantom Thread? And more broadly, where do we draw the line between commercial licensing and creative integrity? Let’s hear your thoughts in the comments—do you think the studio overstepped, or is this just another day in the business of entertainment?
