Filmmaker Paul Thomas Anderson and composer Jonny Greenwood have asked that music from “Phantom Thread” be taken out of a new documentary titled “Melania,” setting off a fresh debate over music rights in nonfiction film.
The request surfaced this week, according to people close to the project, and centers on the acclaimed score Greenwood wrote for Anderson’s 2017 film. The producers behind “Melania” had included selections from the soundtrack, prompting the filmmakers and composer to seek its removal. The dispute raises questions about licensing, fair use, and the limits of artistic consent in documentary work.
Paul Thomas Anderson and Jonny Greenwood made a request for the ‘Phantom Thread’ music to be removed from the ‘Melania’ documentary
Background: A Celebrated Score Meets a New Project
“Phantom Thread,” released in 2017, won an Academy Award for costume design and received multiple nominations, including best picture and best original score. Greenwood’s music, performed with lush strings and delicate piano, became a signature part of the film’s identity.
Anderson, known for “There Will Be Blood” and “Boogie Nights,” has long collaborated with Greenwood, the Radiohead guitarist who has scored several of his films. Their creative partnership is central to the sound and tone of Anderson’s work, which may explain the care they place on where the music appears.
How Music Licensing Works for Documentaries
Using recorded music in a film often requires two sets of permissions: one for the underlying composition and one for the sound recording. Even brief uses can trigger the need for licenses unless they meet narrow fair use standards, which are risky to rely on.
- Sync license: permission to pair a composition with picture.
- Master-use license: permission to use a specific recording.
- Clearances: approvals from rights holders, which may include artists, publishers, and labels.
Documentaries sometimes argue fair use for short excerpts used for commentary or critique. But many distributors still require full clearances to manage legal risk. If a major artist or composer objects, productions often look for substitutes to avoid delays or takedowns.
Producers Face Editorial and Legal Choices
The makers of “Melania” now must decide whether to replace the music or negotiate further. Removal can mean re-editing scenes, adjusting pacing, and finding new cues with a similar emotional effect.
Music supervisors say replacements are common when rights are denied or costs are too high. One frequent approach is to commission original tracks that echo the mood without copying. That gives filmmakers control and shields the project from future claims.
Disputes like this can also affect release plans. Festival deadlines, streaming slots, or broadcaster requirements may force quick decisions. Delays can be expensive, and major platforms often will not accept films with open rights issues.
Why Artists Push Back
Artists often raise concerns about context, politics, or overuse of their work. Anderson and Greenwood have a history of close involvement with how their scores are presented. They may worry that music written for a fictional story could shift in meaning when paired with a real person’s life.
Similar pushback has surfaced in political campaigns and brand campaigns, where musicians object to associations they did not endorse. While public events fall under different rules, the principle is similar: artists seek control over how their work frames a message.
What Comes Next
If the music is removed, the documentary can proceed with alternate cues and fresh clearances. If not, the parties could try for a limited license with conditions on placement and duration. Either path requires care to avoid claims of infringement.
For viewers, the fallout may be subtle but real. Scores shape emotion and rhythm. A new soundtrack could shift the film’s tone, even if the story stays the same.
The request from Anderson and Greenwood signals a firm stance on creative control. It also offers a reminder to documentary teams: clear music early, prepare backups, and expect heightened scrutiny around high-profile subjects. The next step to watch is whether “Melania” debuts with a different score—and whether this dispute prompts others to tighten their licensing playbook.
