A legal dispute has emerged over the use of music in the recently released documentary 'Melania'. Radiohead guitarist Jonny Greenwood and director Paul Thomas Anderson have demanded the removal of Greenwood's score from the 2017 film 'Phantom Thread', alleging a breach of agreement. However, the documentary's producer, Marc Beckman, maintains that all necessary protocols were followed and rights were secured for the music's inclusion.
Key Takeaways
- Jonny Greenwood and Paul Thomas Anderson demand removal of 'Phantom Thread' music from 'Melania' documentary.
- Greenwood's attorneys claim a breach of composer agreement regarding third-party use.
- Producer Marc Beckman asserts full legal rights and permission were obtained for all music.
- The 'Melania' documentary, directed by Brett Ratner, has exceeded box office projections despite critical panning.
- Two-thirds of the film's crew reportedly requested their names be removed from the credits.
Allegations of Breach of Contract
Jonny Greenwood, known for his work with Radiohead and as a film composer, stated earlier this week that the reuse of his music from 'Phantom Thread' in the 'Melania' documentary constitutes a breach of his composer agreement. The specific piece in question is a long excerpt of "Barbara Rose," a song Greenwood composed for Anderson's critically acclaimed film.
Representatives for both Greenwood and Anderson issued a joint statement. They confirmed that they were aware of the music's inclusion in the 'Melania' documentary. While Greenwood does not hold the copyright to the score, his attorneys argue that Universal, the film's distributor, failed to consult him on this third-party use. This alleged oversight forms the basis of the breach claim.
Fact Check
- Jonny Greenwood composed the score for Paul Thomas Anderson's 2017 film 'Phantom Thread'.
- The 'Melania' documentary features an excerpt from Greenwood's song "Barbara Rose."
- Greenwood's legal team points to Universal's alleged failure to consult him as a breach.
Producer Denies Wrongdoing
Marc Beckman, the producer of the 'Melania' documentary, has strongly refuted the allegations. He insists that his production team adhered to all necessary protocols and legally secured the rights to use every piece of music in the film. Beckman conveyed his position to Breitbart News, a right-wing outlet.
"It's a blatant lie. We have a legal right and permission to use every song and piece of music in the film. We have the legal rights to use it. We've done everything the right way. We followed protocol. We respect artists. We compensated everyone for their music," Beckman stated. "We have legally binding, fully executed contracts in place to use every song in Melania. This is just ridiculous."
Beckman's firm stance suggests a looming legal battle if an amicable resolution cannot be reached. The core of the disagreement lies in whether the existing agreements permitted the specific reuse of Greenwood's composition in a new project without direct consultation.
Documentary's Performance and Reception
The 'Melania' documentary, directed by Brett Ratner, has seen unexpected box office success despite widespread negative reviews. The film follows former first lady Melania Trump during the 20 days leading up to her husband's second inauguration. It depicts her meeting with stylists, interior designers, and political allies, culminating in her appearance at the swearing-in ceremony.
In its first two weekends, the film earned $13.35 million domestically, surpassing initial projections. This performance is partly attributed to organized groups of Republican women who have formed a significant portion of the audience. Despite this financial success, the film has been critically panned.
Film Background
The 'Melania' documentary marks director Brett Ratner's return to filmmaking. Ratner had previously moved to Israel following multiple sexual misconduct allegations in 2017, which he has denied. The documentary was acquired by Amazon MGM for $40 million, with an additional $35 million reportedly spent on marketing.
Critical Reception and Crew Discontent
Critics have largely dismissed 'Melania' as lacking substance and authenticity. Nick Hilton of The Independent gave the film a one-star review, describing it as "transparently not a documentary."
"Melania spends most scenes playing a staged version of herself, and shots of the first lady are composed with all the deliberateness Ratner brought to his work on X-Men: The Last Stand. This is somewhere between reality TV and pure fiction," Hilton wrote.
Beyond critical reviews, internal issues have also surfaced. A report from Rolling Stone indicated that approximately two-thirds of the crew members requested their names be removed from the film's credits. This suggests a significant level of dissatisfaction or disagreement among those involved in the production.
The Broader Implications of Copyright Disputes
This dispute highlights the complex nature of music licensing and composer agreements in the film industry. Even when copyrights are held by distributors, specific clauses in composer contracts can dictate the terms of reuse, particularly for third-party projects. Such cases often underscore the importance of clear communication and explicit contractual language to avoid future conflicts.
For artists like Jonny Greenwood, maintaining control over how their creative work is used is crucial. The perceived association with a controversial project, regardless of financial compensation, can be a significant concern. Conversely, producers like Beckman emphasize their adherence to legal frameworks, arguing that their agreements grant them the necessary permissions.
As the 'Melania' documentary continues its run, the legal challenge regarding its soundtrack adds another layer of controversy to a film already polarizing critics and audiences. The outcome of this dispute could set a precedent for future licensing agreements involving original film scores.
- The film made $7 million in its opening weekend in the US.
- Despite its box office performance, it is unlikely to recoup the estimated $75 million spent on acquisition and marketing.
- The legal battle could influence future music licensing practices in the film industry.