By admin 
The recent controversy surrounding the inclusion of orchestral music originally composed for "The Phantom Thread" in the Melania Trump documentary, "Melania," has ignited significant interest among aficionados of music, film, and politics. The intricacies of music licensing are inherently complex, and the situation was amplified by the involvement of Radiohead member Jonny Greenwood, the composer of the disputed score, and acclaimed director Paul Thomas Anderson, who initially expressed displeasure. This high-profile dispute inevitably captured headlines, highlighting the often-unseen challenges in securing rights for creative projects.
Marc Beckman, a producer of "Melania" and a long-standing advisor to Mrs. Trump, initially addressed the licensing issue on Breitbart News, vehemently dismissing claims of improper licensing as "ridiculous" and "a blatant lie." In a subsequent, wide-ranging interview with Variety, Beckman delved deeper into the complexities of music acquisition for the film, offering a candid perspective on the hurdles encountered when curating music for a project as potentially divisive as this. His viewpoint suggests that the narrative presented in "Melania," which he characterizes as largely non-political and non-ideological, should render objections to the inclusion of specific musical pieces unwarranted, a perspective that may not resonate with all critics of the Trump administration.
The interview also explored various facets of the "Melania" documentary, including the stark divergence in reactions between paying audiences and film critics, projections for the film’s performance upon its streaming debut on Prime Video, and the potential return on investment for Amazon MGM. Furthermore, discussions touched upon the upcoming Melania Trump docuseries scheduled for release this summer, the duration of Amazon’s licensing agreement, and the broader strategic objectives of Muse Films, Beckman’s and Mrs. Trump’s production company.
Regarding the dispute between Greenwood and the Trump camp, it appears the parties are not entirely at odds regarding the sequence of events, although the Radiohead guitarist remains dissatisfied. Both sides concur that "Melania" properly licensed the orchestral cue from "The Phantom Thread" through Focus Gramercy Film Music, a subsidiary of Universal. Greenwood’s primary contention lies with the film studio, asserting that his contracts stipulate he be notified of any reuse of his music. However, even with such notification, his ability to legally prevent further use might be limited. This situation offers a compelling insight into the often-opaque world of music licensing.
Beckman candidly admitted to experiencing both successes and setbacks in procuring music for the film, with all selections reportedly chosen or at least approved by Melania Trump herself. The film successfully incorporated tracks by music legends such as Michael Jackson, Tears for Fears, Aretha Franklin, and The Rolling Stones, while regrettably failing to secure rights for songs by Prince and Guns N’ Roses. Beckman expressed particular pride in the inclusion of the "Phantom Thread" music, citing its impactful resonance and his personal appreciation for Radiohead’s work. When questioned about whether this appreciation might lead him to accommodate Greenwood’s request, Beckman’s response suggested a firm stance on the matter.
Describing his dedication to "Melania" as a passion project, Beckman stated, "I feel like I bleed that movie now." He elaborated on the film’s objective: "Regardless of all the nonsense back and forth in the media and the politics and all that, we wanted to create something that was unique as a story that has certainly never been told before—not just showing more of the life of a person who has been selective on what to share, but also to do it in what we think is a more rich visual and sonic experience than typical for a documentary." The subsequent Q&A session has been edited for brevity and clarity.
When asked about his current perspective on the controversy involving Greenwood and Anderson’s objections to the "Phantom Thread" music, Beckman acknowledged a sense of irony given his long-standing admiration for Radiohead. "It’s funny—Radiohead is one of my all-time favorite bands," he remarked. "For them to have come out publicly and distanced themselves, I think that’s just part of the unfortunate time we’re living in." He reiterated his belief that the film itself is apolitical, focusing on a narrative that is not tied to political policy. "The music at that moment is so perfect, honestly, I was so thrilled to be able to use it," he added. Beckman emphasized the rigorous legal and financial processes undertaken, stating, "Obviously, my background is as a lawyer. We work with the best lawyers; this is Melania Trump. We spent top dollars for all that music, and we’re thrilled to have that song included in the film." He concluded by expressing his disappointment if the distancing is politically motivated but affirmed his continued status as a fan.
Addressing the contractual stipulations regarding composer notification for music reuse, Beckman noted a near 50/50 split in contractual requirements: "On that issue, I found that it was like 50/50—like half the time, they needed to (inform the composer), half the time they didn’t."
Regarding the possibility of accommodating Greenwood’s request to remove the music from the streaming version, even without a strong legal basis, Beckman was resolute. "No, of course not," he stated unequivocally. "Please tell him he’s welcome to call me if he wishes to discuss. But that song is in the film forever, regardless of the infrastructure which delivers the content."
Beckman detailed the specific scene where the "Phantom Thread" music was utilized: "That edgy, kind of nailbiting music right at that moment is so perfect. It’s in that scene where Melania Trump walks in on the president and she helps him on his inaugural speech. He says ‘peacemaker,’ and she says, ‘peacemaker and unifier,’ and then that extends into him using her language at the inauguration. It was so good." He lauded the talent of Radiohead but highlighted his pride in the overall musical landscape of the film, which included a diverse array of artists like The Rolling Stones, Elvis, Michael Jackson, and the original composition "Melania’s Waltz" by Tony Neiman.
When asked about the most challenging licensing acquisition, Beckman identified Guns N’ Roses and Grace Jones as notable disappointments. He explained that political divisions within Guns N’ Roses prevented the use of a desired song, with one member granting approval while another refused. Similarly, Grace Jones’s music was unavailable due to perceived political hurdles, despite the film’s non-political intent. Beckman lamented, "It’s disappointing when people put politics so far ahead, and that happened a little bit with the film, for sure."
He then revealed a surprising discovery regarding artists’ personal sentiments towards the former President. "My music roots go deep into classic rock, jazz, blues," Beckman shared. "If you take some time to research the First Lady, she also loves classic rock, and was brought up a kid in the ’80s on Pink Floyd and this type of music. she loves." He continued, "And one thing we learned—like an Easter egg surprise for me in the music with regards to ‘Melania’—is that we found a lot of the classic rock artists that were true freedom fighters in the ’60s, who we never thought would go for it, came out and said that they were huge Trump fans. And then we would get blocked by the company that might have the ownership rights of that artist’s music." He described instances where artists expressed willingness to have their music featured, only for rights holders to deny permission.
The conversation shifted to the complexities of music rights ownership, particularly when estates or catalog owners are involved. Beckman cited the example of Prince’s music, where the estate’s approval was ultimately required, despite an initial agreement with the rights holder, Primary Wave. "Literally we were ready to go, and and this lawyer that manages the estate was like, ‘Prince would never want his song associated with Donald Trump,’" Beckman recounted, expressing his disbelief at the perceived political inflexibility.
Beckman expressed a desire to share the full stories behind these licensing battles, noting that some of his musical heroes expressed immediate willingness to have their music used, only to be thwarted by rights holders. He found this situation "shocking" and was impressed by artists who, contrary to expectations, were supportive. However, he declined to name these artists, citing promises of confidentiality and a reluctance to jeopardize their careers or fan bases.
The Rolling Stones’ inclusion of "Gimme Shelter" was a particular point of discussion. Beckman clarified that Mick Jagger personally gave his blessing, emphasizing a collaborative process rather than a unilateral decision. He highlighted the Stones’ positive reception of the film’s narrative and the production team’s efforts.
Beckman also pointed to the poignant use of a classical piece in the Arlington Cemetery scene, noting its previous appearance in "A Clockwork Orange." This piece, an excerpt from Rossini’s opera "The Thieving Magpie," was strategically employed during a scene depicting President Biden and his wife departing the White House for the final time.
He underscored Melania Trump’s deep involvement in the music selection process, stating, "She selected every single song in the film. She came up with the creative idea (for the movie), but then also worked deep in the production. She was in the edit room regularly, and every single song in that film was selected and approved by Melania Trump. She was very hands-on with the music." He elaborated on the choice of "Sunny" for the film’s finale, a decision driven by Mrs. Trump’s desire for an uplifting conclusion.
Regarding the use of Tears for Fears’ "Everybody Wants to Rule the World," Beckman explained that Mrs. Trump’s idea to use the instrumental version was strategic, aiming to prevent the vocals from competing with her voiceover. He dismissed interpretations suggesting the instrumental choice was a subtle political statement, asserting, "We put it in there because it just was a nice, catchy song to have there, and the vocals were removed only because we didn’t want the vocals competing with her voiceover. And that was her idea, a very good idea, actually." He acknowledged that audiences are free to interpret the music as they wish.
The producer then discussed the theatrical release strategy for "Melania," confirming that a cinematic launch was always the intention. "It was always Melania Trump’s and my plan to launch exclusively in theaters," Beckman stated. He explained the desire to create a "high-quality, rich cinematic experience" despite the shift in audience viewing habits post-COVID. The partnership with Amazon MGM was chosen for their understanding of Mrs. Trump’s creative vision and their ability to facilitate a wide theatrical release.
Beckman acknowledged the inherent risks of a theatrical debut, especially given the film’s polarizing nature. However, he drew upon his nearly 25-year working relationship with Mrs. Trump, indicating a seasoned understanding of how political detractors and supporters would likely react. He emphasized the film’s commitment to integrity and its unique visual and sonic presentation. From a commercial standpoint, Beckman expressed pride in the film’s opening, noting it as the highest for a documentary in 14 years (excluding concert films) and highlighting its A CinemaScore and 99% Popcorn Meter rating on Rotten Tomatoes. He deemed it natural that initial audiences comprised Mrs. Trump’s supporters.
He also offered a nuanced perspective on the film’s commercial performance, suggesting that its true value lies in its "long tail" and the comprehensive deal with Amazon MGM. This deal encompasses a worldwide theatrical release, extended streaming availability, and a subsequent docuseries. Beckman believes that the investment made by Amazon MGM will ultimately prove to be a sound one, given the film’s historical relevance and its potential for sustained viewership.
Beckman concurred that the theatrical release served as an effective "attention-getting teaser" for the broader streaming audience. He observed that the film had rapidly become part of American culture and garnered international attention, particularly through the controversy surrounding its music. He expressed gratitude for the relationship with Amazon MGM and commitment to promoting the film and the upcoming docuseries. He drew a parallel to the success of the Celine Dion documentary, which was credited with driving Prime Video subscriptions.
Regarding the licensing agreement with Amazon, Beckman confirmed it is a "short-term license," with the hope of negotiating an extension based on the film’s performance and the docuseries’ success. He indicated that other streaming platforms had expressed interest early in the negotiation process and would be considered if Amazon did not extend the deal. He reiterated that the goal is to monetize the film and ensure its "evergreen commercial success."
The docuseries is anticipated for a mid-summer release, with post-production nearing completion. Beckman described the docuseries as a distinct entity from the film, akin to the strategy employed with Mrs. Trump’s books, which included both a trade edition and a collector’s edition. While the film was crafted with a theatrical experience in mind, the docuseries will adopt a different approach, allowing for deeper exploration of Mrs. Trump’s family, business, and philanthropic endeavors. He noted that much of the unreleased footage from the 20-day filming period for the documentary would be incorporated into the docuseries.
Beckman clarified that the docuseries would not feature the typical "talking-head" interviews seen in many documentaries. Instead, it would offer more in-depth question-and-answer segments, providing a more comprehensive understanding of the subject matter. He also confirmed that Muse Films has a pipeline of stories beyond the docuseries, particularly appealing to conservative audiences interested in lifestyle topics through a conservative lens.
Addressing the significant disparity between the film’s audience scores and critical reviews, Beckman acknowledged that while they aimed to appeal to everyone, the initial reception from core supporters was anticipated. He criticized the current state of film criticism, suggesting that political ideology often supersedes objective evaluation, with some reviews focusing more on President Trump than on the film itself. He also highlighted Melania Trump’s humanitarian efforts, specifically the reunification of Ukrainian and Russian children with their families, as an example of commendable work that is often overlooked or criticized due to political affiliations.
Beckman expressed appreciation for the audience’s engagement with the film, noting that a college-aged viewer found inspiration in Mrs. Trump’s business acumen and dedication to family. He hopes that the film will inspire a similar commitment to family, career, and meaningful contributions among younger generations. As a newcomer to filmmaking, he expressed gratitude for the opportunity and the positive reception the movie has received.