Jonny Greenwood, the acclaimed composer known for his work with Radiohead, alongside director Paul Thomas Anderson, has formally requested that a segment of music from their 2017 film Phantom Thread be removed from the controversial Melania documentary. This documentary, which covers the life of Melania Trump during the weeks leading up to the 2025 presidential inauguration, has sparked debate not only due to its subject but also by allegedly employing Greenwood’s music without proper authorization.
In a joint statement released on February 9, 2026, Greenwood and Anderson expressed concern: “While Jonny Greenwood does not own the copyright in the score, Universal failed to consult Jonny on this third-party use, which is a breach of his composer agreement. As a result, we have asked for it to be removed from the documentary.” This situation sheds light on the complexities of music licensing, especially in projects that carry potential political implications.
The Melania documentary was produced by Amazon MGM and reportedly had a staggering production and marketing budget totaling $75 million. Since its release, it has earned about $13.4 million, leading to speculation about whether Amazon's involvement might be a strategic move to align with the Trump administration.
The segment from Phantom Thread features a piece titled “Barbara Rose,” initially used in a scene depicting a drunken stupor, a stark contrast to the documentary's intent, which has been criticized for its narrative and artistic integrity. The film features additional musical contributions from various iconic artists, such as The Rolling Stones and Michael Jackson.
Greenwood’s score for Phantom Thread received an Academy Award nomination and has been praised for its lush, atmospheric quality. The request to remove the music highlights the ongoing tensions within the entertainment industry regarding creative rights and the ethical implications of music usage in controversial contexts.
Further inquiries to both Universal Pictures and Amazon MGM for comments have gone unanswered, leaving the future of Greenwood’s music in the documentary uncertain as the situation develops.