Paul Thomas Anderson & Jonny Greenwood Demand Music Removal From Melania Trump Documentary
- The already troubled rollout of the Melania Trump documentary has hit another snag, this time in the form of a demand from Paul Thomas Anderson and Radiohead’s Jonny...
- According to the statement, Universal Music Group failed to consult Greenwood regarding the use of his score, a breach of his composer agreement.
- The request adds another layer of complexity to a project that has been largely dismissed by critics.
The already troubled rollout of the Melania Trump documentary has hit another snag, this time in the form of a demand from Paul Thomas Anderson and Radiohead’s Jonny Greenwood to remove music from their 2017 film, Phantom Thread. The director and composer issued a joint statement confirming they were unaware their work was being used in Brett Ratner’s controversial film, and have requested its removal.
According to the statement, Universal Music Group failed to consult Greenwood regarding the use of his score, a breach of his composer agreement. “While Jonny Greenwood does not own the copyright in the score,” the statement reads, “Universal failed to consult Jonny on this third-party use which is a breach of his composer agreement. As a result Jonny and Paul Thomas Anderson have asked for it to be removed from the documentary.”
The request adds another layer of complexity to a project that has been largely dismissed by critics. Xan Brooks of The Guardian delivered a scathing review, calling the film “deadly,” “dispiriting,” and lacking “a single redeeming quality.” The film purports to offer an inside look at the life of former First Lady Melania Trump, but has largely failed to resonate with audiences or critics alike.
Despite the negative reception, Melania has managed a surprisingly robust domestic box office haul of $13.35 million. This performance is partially attributed to organized efforts by Republican women who have embraced the film as a political statement. However, the film experienced a significant drop of 67% in the US, suggesting initial interest may be waning.
The financial investment in Melania is particularly noteworthy. Amazon MGM shelled out a staggering $40 million to acquire streaming rights, and then followed that up with an unprecedented $35 million marketing spend to promote the film in theaters – an extraordinary sum for a nonfiction film outside of the nature or music documentary genres.
This level of investment has fueled industry speculation about Amazon’s motivations. Sources suggest the purchase may be linked to a desire to cultivate a relationship with Donald Trump, who has reportedly been actively working to rehabilitate Brett Ratner’s career following numerous allegations of sexual misconduct during the #MeToo movement.
In , reports surfaced indicating that Rush Hour 4, a long-gestating sequel to the popular buddy-cop franchise, was back in development at Paramount Skydance. This revival allegedly came about after direct intervention from Trump, who reportedly lobbied Larry Ellison, the largest shareholder of Paramount Skydance, to secure funding for the project. Paramount Global had previously over a critical CBS News interview with Kamala Harris.
The situation with Melania echoes a broader pattern of unusual activity surrounding Ratner’s career resurgence. The film’s financial backing and the reported political maneuvering raise questions about the intersection of entertainment, politics, and power dynamics within Hollywood.
Adding another layer to the narrative, Paul Thomas Anderson recently expressed his admiration for The Guardian’s critical assessment of Melania. While accepting a screenplay prize from the London Critics’ Circle on , Anderson specifically praised Xan Brooks’ review, calling it “one of the best pieces of writing” and describing the film as “a gilded trash remake of Jonathan Glazer’s The Zone of Interest.”
The controversy surrounding the use of music from Phantom Thread is just the latest challenge for a documentary that has struggled to find its footing. The film’s financial performance, critical panning, and now, the public disapproval of its creative contributors, paint a picture of a project plagued by problems from the outset. The removal of Greenwood’s score, if enacted, will likely further diminish the film’s already tarnished reputation.
Phantom Thread itself was a critical darling, receiving six Oscar nominations, including one for Greenwood’s original score. The composer’s insistence on protecting his artistic integrity underscores the growing trend of artists asserting control over how their work is used, particularly in politically charged contexts.