Pink Floyd - История создания альбома "Wish You Were Here"/ Pink Floyd - The Story of Wish You Were Here (John Edginton) [2012, Documentary, TVRip]

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DIRECTOR: End number, that was a wild track, applause, clapping, and all the rest of it, cut.
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ANNOUNCER: Now everyone try and look very sad. Awwww!
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Now, everybody, run out past the cameras. Go!
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I haven't seen colour, I live in a monochromatic world.
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I can't use colour.
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I can do everything.
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What do you mean by everything?
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Everything, everything... Oh, it was shape before, but now it's colour.
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If you look to your left, ladies and gentlemen, the view is not very inspiring.
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Ah, but if you look to your right...
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We didn't really want to do something that didn't represent where we were up to.
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However, people didn't know where we were up to,
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and it wasn't the kind of thing we could say, do a disclaimer before it and say,
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"Ladies and gentlemen, what you are about to see is the product "of our imaginations,
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and believe me, at this point they're quite vivid".
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You couldn't do that you know, you just had to be, "Here it is".
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Who is that man?
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Anyway, I tell you something, you ain't coming away with me any more.
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Who bought the tickets? I did.
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Yeah, with my money.
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I bought them, right, I'm taking you out, you're not taking me anywhere.
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Oh, ain't he lovely? Look at him,
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- look, just look at him.
- Who's that?
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- Ringo, one of The Beatles, he's marvellous.
- Oh, those fellas.
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He's smashing, plays the drums, goes out and earns five bob, not like you.
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Listen, I've heard a few stories about those boys.
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I don't care what you've heard, they're smashers and you shut up.
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If you learnt to play the drums you could earn an extra five bob.
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I'm not doing so bad, am I?
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Doing so bad?
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You're as skint as arm holes every week, what's the matter with you?
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What's the matter with you? You've moaned ever since we got on this bus.
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Well, I promised your father I'd take you, I'm sorry now,
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- I'm dead sorry.
- I'm sorry I came, believe me.
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'Just ad lib, I mean, there's no script.
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'We thought we could have something running through it
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'and it was me and her and we're always arguing,
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'and it sort of got us from one place to the next.'
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This picture probably reflects their state of mind more than
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anything else they had done at the time.
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That's the way they perceived the world around them
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MUSIC: "I Am The Walrus" by The Beatles
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For me, the freedom of the picture was something that was very
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very important, the sense of breaking all the form.
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Obviously some of it I didn't quite understand in terms of the humour,
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but it's the way it was in those days,
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I mean, people were trying everything
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and whether it fully succeeded or not was really beside the point.
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RADIO: 'In Scotland and Northern Ireland there'll be slight frost,
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'leading to icy patches on roads around dawn.
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'Afternoon temperatures will range from 5 degrees centigrade, 41 Fahrenheit, in northern Scotland,
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'to about eight degrees centigrade, 46 Fahrenheit, in southern England.'
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ANNOUNCER: 'The Val Doonican Show...
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'Top of the Pops...
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'These are just some of the BBC One programmes this Christmas.'
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# I'm in with the in-crowd
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# I go where the in-crowd goes
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# I'm in with the in-crowd
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# And I know what the in-crowd knows... #
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'In my family, Boxing Day was more often the party day really, lots of relatives around.'
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'Aunties and uncles,
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'and my sisters and brothers would have all been over, having had their
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'Christmas at home together, and then over to us on Boxing Day.'
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'It was tradition for us to go into the neighbour's house on Boxing Day
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'and we used to play Monopoly in the afternoon, and I was always
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'allowed a snowball with Advocaat and lemonade in, that was my treat.'
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The Christmas schedule is always a difficult thing to get together,
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and on that particular year in 1967 I had a gap on Boxing Day.
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And suddenly I got to hear of this film the Magical Mystery Tour.
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It was described to me as a film made by The Beatles,
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containing The Beatles, and containing a lot of music,
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and that as far as I was concerned was good enough.
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Sitting in front of the television, very, very close to the screen,
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no clue who was in the room with me apart from my dad, because
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he seriously didn't like The Beatles and spent most of his time grunting
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and saying it was a load of rubbish, "Why don't you turn it over?"
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and, "Why don't you talk to the visitors because we've got guests?"
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My dad said, "They should get their hair cut," and I said,
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"Dad, you "know Jesus had long hair, don't you?" and he just didn't know what to say.
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My parents didn't like it, my dad thought it was rubbish,
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and I'm pretty sure he turned it off before the end.
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I loved it, it was a great movie, to see The Beatles doing
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something different, as wizards and all that sort of thing.
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I was 15 years old, I remember we sat
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and we watched it right the way through in silence, and afterwards
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we looked at each other and we said, "What was all that about?"
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That was the beginning of the end of their innocence to me
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and my innocence.
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- DAVID FROST:
- 'I liked it, with reservations and so on,
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'but why were people so puzzled by it, do you think?'
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I think they thought it was bitty, which it was a bit, you know, but it was supposed to be like that,
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I think a lot of people were looking for a plot, and there wasn't one.
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I think the younger people would get it, the people who knew what
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was going on in society, would get it, and the older people who
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were expecting Morecombe and Wise or a British Variety Show,
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wouldn't get it and I think in a way quite rightly would be annoyed,
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it was like they'd been cheated out of their Christmas special.
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There was, it seemed,
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very little magic about this particular mystery tour,
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most reporting viewers in fact finding it virtually incomprehensible.
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There was no theme or storyline, they complained, the programme
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appearing to consist of confused, disconnected shots of the weirdest
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things, and suggesting a nightmare rather than a mystery tour.
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The following are just a few of the many outraged comments...
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"The biggest waste of money since the Ground Nut Scheme."
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"Positively the worst programme I can remember seeing on any TV channel."
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The small minority who did enjoy the programme hailed it
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as something completely different. A schoolboy had this to say...
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"It was one of the best Christmas programmes we've had for a long time.
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"The idea was clever as well as original,
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"it was very funny in parts, a marvellous programme in black and white,
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"in colour it would be indescribable."
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When they first toured they were touring with comedians and singers
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and stuff and it was part of a showbiz package deal,
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you know, so that was what, '63 they were doing that?
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So in the space of four years, which is nothing, we're in the world
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of Sergeant Pepper and kaftans and incense and San Francisco
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and all that kind of thing, so I should imagine some members of the establishment were rather sort of,
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perturbed, because it looked like
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The Beatles had gone from being Take That
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to "Take This" or something, you know?
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The entire nation had been let down by The Beatles.
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They hated it, at least the people who wrote in the newspaper
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hated it, you know. Don't forget that with all the success
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we'd had, every time something came out, a new record or whatever,
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they'd all try and slam it so that, you know,
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because once they'd built you up that high, all they can do is
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knock you back down again, I mean that's what happens, that's life,
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so they really didn't like it, but it's understandable too because
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it wasn't a brilliant scripted thing that was executed well,
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it was like a little home movie really, an elaborate home movie.
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I don't know, I should never have brought you, you're really getting on my nerves.
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There's no pleasure for me either, there really isn't,
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I've had the worst time of my life here.
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Worst time of your life?!
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Worst time of my life,
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it's the draggy-ist tour I've been on with you.
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Good God, I don't know.
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And it won't happen again, it's the last time I take you out,
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you come round to our house moaning
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and groaning, nothing to do, I take pity on you, "Come on, I'll take you on this tour."
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You take pity on me and I have to pay for you, oh, yes, very good!
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Well, that's fair, I'm taking you out, aren't I?
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Oh, you're a beautiful nephew, yes, you are.
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Anyway, just behave, there's a lot of nice people on this coach and they're all looking at us.
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I'll smack you, don't talk to your auntie like that.
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Don't you smack me down missus, I'll smack you down!
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- Don't talk to Auntie like that!
- Don't smack me.
- Now shut up!
- Please!
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It was Paul's idea really.
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We were hanging out in the studio, you know, looking for stuff to do,
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really, and he came up with this idea, he said, "Look,
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"I've got this idea."
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And we said, "Great!"
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And it actually moved from that circle...to this...to this...
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Then you can cut in the movie.
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'When a man buys a ticket for a Magical Mystery Tour,
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'he knows what to expect.
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'We guarantee him the trip of a lifetime
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'and that's just what he gets...the incredible Magical Mystery Tour!'
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It was basically a charabanc trip which people used to go on
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from Liverpool to see the Blackpool Lights, and they'd get, you know,
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loads of crates of beer and an accordion player and all get pissed.
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All the coach trips I went on to Blackpool,
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the lights were very fuzzy... but that's another story!
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INAUDIBLE SHOUTING
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'On your marks.
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'Get set.
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'Go!'
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This time I mean it. I can't breathe any more
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MUSIC: "I Am The Walrus" by The Beatles
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MUSIC: "Death Cab For Cutie" by the Bonzo Dog Doo-Dah Band
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The part of Magical Mystery Tour that I didn't get, and which I knew
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Americans would also not get, were the things that were very English.
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For example, the concept of a Mystery Tour, America didn't have,
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you had to know where you were going before you got on to a bus.
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It's a very English concept that you have old dears that
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you like to be around no matter how hip you are
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and that you have extended family that you're not embarrassed by,
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and the people on that coach were old dears and extended family.
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So it just seemed like a very odd thing for The Beatles to want to do.
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The Beatles were cultural mission control,
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they were where it was at, culture was them,
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they were culture...why are they hanging around with fat old women?
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Nothing against fat old women, but I'm talking
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about the prejudices of the time of the people who would be watching.
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I don't think Americans would have gotten it.
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It was made like an art film.
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The small narrative of the bus just sort of held it together again,
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but again, it wasn't... You weren't supposed to know where it was going.
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'67, August, I arrived, I thought it was kind of a dream come true,
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because it was like a gigantic...the part
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I was focused on was a gigantic costume ball, it seemed to me.
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People were just dressed outrageously, beautifully.
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I want to do some breeches,
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some gold breeches down to the knee but with buttons
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from about there upwards.
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What is this thing you've got here?
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This button? That's a button... it's green, and it says "go".
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I can see it's green.
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Yeah, but it means "go", instead of you know all the other
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- buttons that people wear that've got messages on them?
- Oh, yes.
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This one just says "go ahead" because it's green.
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What I loved was the contrast between the new generation,
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the music world, and the bowler- hatted, pinstriped city gents.
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Everything seemed to be nicely defined,
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which of course for an American, was fresh, because America,
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everything's supposed to be equal. People camouflage the differences.
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In England, it was clear what the differences were.
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Thing is, in the '60s, Britain was still very straight,
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there was the one British way of life.
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Businessmen still wore bowler hats and carried furled umbrellas,
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and if you deviated only quite slightly from how you were
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supposed to behave then you were very much frowned upon.
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This is still the period when they used to lock up
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children's swings on Sundays, we're talking about a very repressive,
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admittedly very benign, but still a very repressive society.
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# Cool Britannia
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# Britannia, you are cool
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# Take a trip
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# Britons ever ever ever shall be hip
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# Hit me, hit me... #
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I had a guy, and he came to paint on my wall of the extension,
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his idea of The Creation.
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And anyway, it went on and suddenly he's in the windows,
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he's all over the place, but anyway I come down...he's a hippie,
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a little hippie guy, and I see this guy and he's in the kitchen
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and he's got a suit and tie on, I said, "What happened?"
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He said, "Oh, I'm going home. Flower Power hasn't reached Leeds."
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The London sort of underground culture was really just a few
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hundred people probably, at the centre,
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and then maybe a few thousand all together.
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There were an awful lot of people who just used the sort of '60s ideas, just to have fun,
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I mean it was a hedonistic movement, very much, I mean, it wasn't
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a political movement in any of the normal senses of the word.
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Most of it was to do with hanging out on the King's Road
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and wearing frilly clothes and taking a lot of drugs
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and having a lot of sex basically.
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In London, it's still embryonic, the scene hasn't got very far at all.
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In Amsterdam, it's reached very large proportions,
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it's becoming a very big force there,
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people are getting worried by it, the older generation.
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But of course the answer they have is perfect.
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The young people are quite prepared to wait for the older generation to die out.
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This is Alexandra Palace,
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the people's palace or Ally Pally as it's known to everyone.
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And in the summer of 1967 we had a big benefit here for
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International Times, which we called The 14 Hour Technicolour Dream.
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It was because International Times had been busted for obscenity and
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we really thought that we had a big court case on our hands and needed
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to raise money, and 42 different bands and performance acts
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offered their services, all for free.
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Of course a huge number of people used it
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as an excuse to take acid, which was nice in a way because it's
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a beautiful location, you know, the grounds here are absolutely gorgeous.
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# Revolution
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# Revolution
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# Revolution
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I really wish the people who look with anger at the weirdos,
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at the happenings, at the psychedelic freak outs,
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would instead of looking with anger, just look with nothing
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and with no feeling you know, be unbiased about it,
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because they really don't realise that what these people are talking
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about is something that they really want themselves, it's something
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that everyone wants, you know, it's personal freedom to be able
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to talk and to be able to say things and it's dead straight, it's a real
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sort of basic pleasure for everyone, but it looks weird from the outside.
267
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So this is the original premises of Indica Books and Gallery,
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which was started by Peter Asher, John Dunbar
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and myself back in 1965 and it had a lot of very close Beatles connections,
270
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Paul McCartney for instance, helped put up the shelves
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and paint the walls, he was very good at filling in holes in concrete.
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There's always this gang of people from International Times,
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Indica and the whole scene, you know, it's trying to do,
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trying to see where we are now, you know it's just a straightforward...
275
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endeavour kind of thing, just to do something, other than what's been
276
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done before because what's been done before isn't necessarily the answer.
277
00:22:30,200 --> 00:22:34,080
John Lennon of course, famously met Yoko Ono here
278
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when we gave her her very first show in Europe.
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In addition to that, we used to have a big settee
280
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when it was a book shop, on the ground floor
281
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and that's where John Lennon first encountered the work of Timothy Leary
282
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and in Leary's re-writing of The Tibetan Book Of The Dead
283
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is where he found the line, "Turn off your mind and drift downstream."
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MUSIC: "Tomorrow Never Knows" by The Beatles
285
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# Turn off your mind, relax and float downstream
286
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# It is not dying
287
00:23:07,920 --> 00:23:10,040
# It is not dying... #
288
00:23:11,880 --> 00:23:17,200
People like Andy Warhol are trying to integrate themselves with
289
00:23:17,200 --> 00:23:20,400
a commercial world, to become a part of it,
290
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but also do what they want to do, this is what a breakthrough is.
291
00:23:27,760 --> 00:23:31,720
So here we are in Duke Street and at number 69 is where
292
00:23:31,720 --> 00:23:34,640
Robert Fraser had his celebrated gallery in the late '60s.
293
00:23:34,640 --> 00:23:37,240
He introduced them to a lot of artists
294
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and people surrounding the sort of Hollywood and New York art scene,
295
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people like Andy Warhol, Claes Oldenburg.
296
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This is the story of your lives!
297
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The old dreams, the left placenta...
298
00:23:52,600 --> 00:23:56,560
I had a period of a few years, when I was living in London
299
00:23:56,560 --> 00:23:58,800
and I wasn't married like the other guys,
300
00:23:58,800 --> 00:24:04,000
they were living outside of London, so I would kind of probably see more
301
00:24:04,000 --> 00:24:10,040
cinema, see more theatre, go to more events, just because I was there.
302
00:24:10,040 --> 00:24:16,840
And one of the things that I got was a Super 8 camera,
303
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started off just doing snapshots, doing your home movies
304
00:24:21,920 --> 00:24:25,640
to go on holiday, but then I got more and more interested in it, and
305
00:24:25,640 --> 00:24:31,080
I found one that you could rewind so you could then go through again.
306
00:24:31,080 --> 00:24:35,280
I did a film that I wish I had now which was out of my hotel
307
00:24:35,280 --> 00:24:41,360
window in Paris, I filmed a gendarme on traffic duty
308
00:24:41,360 --> 00:24:46,160
and he's just stopping all the cars, so that was one roll through,
309
00:24:46,160 --> 00:24:49,960
and then the second time, he'd gone so I then just filmed all
310
00:24:49,960 --> 00:24:53,280
the traffic, so it looked like this impossible job where the
311
00:24:53,280 --> 00:24:56,720
traffic was just going through him all the time, which was nice
312
00:24:56,720 --> 00:25:00,000
enough for ten minutes, it was amusing enough for me.
313
00:25:00,000 --> 00:25:03,360
But then the nice thing was I found a soundtrack with a jazz
314
00:25:03,360 --> 00:25:07,120
saxophonist called Albert Ayler who did a wonky version
315
00:25:07,120 --> 00:25:11,000
of the Marseillaise, so while this guy is,
316
00:25:11,000 --> 00:25:15,640
"Oh, no, no, no, monsieur, oh la la," you hear this...
317
00:25:15,640 --> 00:25:18,360
HUMS THE MARSEILLAISE
318
00:25:19,760 --> 00:25:21,440
MIMICS DRUMBEAT
319
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FANFARE
320
00:25:25,080 --> 00:25:31,600
I was doing a lot of that, which I think is part of why I wanted to do Magical Mystery Tour.
321
00:25:43,120 --> 00:25:47,760
SAXOPHONE PLAYS THE MARSEILLAISE
322
00:26:01,480 --> 00:26:03,360
McCartney always had his antennae out,
323
00:26:03,360 --> 00:26:06,440
so those would be the avant garde kind of things he would do, but he
324
00:26:06,440 --> 00:26:11,120
would also go to the various kind of night clubs and hear torch singers
325
00:26:11,120 --> 00:26:13,840
and he used those words, that he always had his antennae out,
326
00:26:13,840 --> 00:26:17,360
stuff would go in and it might not come out for years and years.
327
00:26:21,400 --> 00:26:27,680
I went with him for instance to a concert by AMM, which was a sound band,
328
00:26:27,680 --> 00:26:33,440
which there was no noticeable rhythm or melody or anything like that.
329
00:26:33,440 --> 00:26:35,680
And McCartney after a while started to join in,
330
00:26:35,680 --> 00:26:37,840
he banged on the radiators and stuff like that.
331
00:26:37,840 --> 00:26:41,040
It was only a small group, about ten people in the audience,
332
00:26:41,040 --> 00:26:45,120
it was one of those sitting on the floor in the Royal College of Art sort of gigs.
333
00:26:50,480 --> 00:26:52,520
They've got all these rules for everything,
334
00:26:52,520 --> 00:26:56,960
rules of how to live, how to paint, how to make music, and it's
335
00:26:56,960 --> 00:27:01,080
just not true any more, you know, they don't work, all those rules.
336
00:27:01,080 --> 00:27:04,040
I think what happened with The Beatles is,
337
00:27:04,040 --> 00:27:09,840
we always thought, "Ooh, the people back home would love to know this,"
338
00:27:09,840 --> 00:27:13,720
so we felt like we were the megaphone,
339
00:27:13,720 --> 00:27:16,760
so if it was happening to us and we liked it, we thought,
340
00:27:16,760 --> 00:27:19,600
"We should let them know," because they're not down here hanging
341
00:27:19,600 --> 00:27:24,400
out with the artists but it would be good to pass on the good news.
342
00:27:24,400 --> 00:27:27,880
It was a 50/50 thing, they were influenced by what was
343
00:27:27,880 --> 00:27:31,280
going on in the underground but they themselves, by taking some of those
344
00:27:31,280 --> 00:27:35,240
ideas on board, spread the ideas so rapidly and so quickly through
345
00:27:35,240 --> 00:27:39,000
their fame, that they became sort of leaders of it, in a curious way.
346
00:27:39,000 --> 00:27:42,600
MUSIC: "A Day In The Life" by The Beatles
347
00:28:13,200 --> 00:28:18,600
I was going there and I asked Derek, "Is there anything I can bring?"
348
00:28:18,600 --> 00:28:23,200
With the emphasis on "anything", obviously pot,
349
00:28:23,200 --> 00:28:27,640
I was thinking maybe, and he said, "No, no, no, we have everything,"
350
00:28:27,640 --> 00:28:33,440
so I arrived and there's Cros and McGuinn and I was introduced to the
351
00:28:33,440 --> 00:28:39,760
lads, and then they announced that we were all going to take LSD, and
352
00:28:39,760 --> 00:28:44,040
I thought, "Hmmm, far out, I wonder how I'm going to drive this car home?"
353
00:28:44,040 --> 00:28:50,800
I assumed that it was the first time that they all had taken acid,
354
00:28:50,800 --> 00:28:51,920
it wasn't my first time,
355
00:28:51,920 --> 00:28:54,960
I doubt it was Crosby and McGuinn's first time either...
356
00:28:56,960 --> 00:29:02,000
No, I know it wasn't their first time, but for the boys, I don't know.
357
00:29:02,000 --> 00:29:04,080
# She said
358
00:29:04,080 --> 00:29:08,040
# I know what it's like to be dead
359
00:29:08,040 --> 00:29:12,440
# I know what it is to be sad
360
00:29:12,440 --> 00:29:18,480
# And she's making me feel like 00:28:51,920
it wasn't my first time,
355
00:28:51,920 -- I've never been born... #
361
00:29:27,880 --> 00:29:34,120
# Well, in a villa in a little old Italian town... #
362
00:29:34,120 --> 00:29:37,960
Some beautiful underground stuff was happening, but it was underground
363
00:29:37,960 --> 00:29:39,600
and we needed to get above ground.
364
00:29:39,600 --> 00:29:45,520
# Many yearn to love her but their hopes all tumble down... #
365
00:29:45,520 --> 00:29:49,560
I was already a tremendous fan of Bruce Conner,
366
00:29:49,560 --> 00:29:54,240
he had a style of editing that was very influential on me
367
00:29:54,240 --> 00:29:57,320
as a shooter and as an editor and as a performer,
368
00:29:57,320 --> 00:30:02,000
because I spent a lot of time with him looking at his films.
369
00:30:02,000 --> 00:30:04,200
# Just a cold and lonely
370
00:30:04,200 --> 00:30:07,760
# Lovely work of art...#
371
00:30:07,760 --> 00:30:15,680
We had our own art, we had our own poetry, our own music and songs, lyrics,
372
00:30:15,680 --> 00:30:21,600
we had our own books, we had our own costumes, we had our own music,
373
00:30:21,600 --> 00:30:26,520
everything, we had all these... Whoa, we don't have our own film.
374
00:30:28,120 --> 00:30:30,680
Paul and Brian were sitting on a big settee,
375
00:30:30,680 --> 00:30:34,320
very long red settee similar to this and they had a number of papers
376
00:30:34,320 --> 00:30:38,520
in front of them, particularly Epstein had a pie chart
377
00:30:38,520 --> 00:30:43,280
and they were already planning who would do what in a film.
378
00:30:50,280 --> 00:30:54,320
Epstein was delighted of course because they'd just finished
379
00:30:54,320 --> 00:30:56,240
a major album, they were no longer touring,
380
00:30:56,240 --> 00:30:58,720
they hadn't really got a great deal to do,
381
00:30:58,720 --> 00:31:02,040
and he was quite clearly very, very enthusiastic about the whole thing.
382
00:31:14,880 --> 00:31:18,680
He was just a beautiful fella you know, and it's terrible.
383
00:31:18,680 --> 00:31:21,800
- What are your plans now?
- Well, we haven't made any,
384
00:31:21,800 --> 00:31:25,240
I mean, we've only just heard, haven't we?
385
00:31:26,760 --> 00:31:30,200
Epstein had a little office in an ultra modern building with
386
00:31:30,200 --> 00:31:34,040
a parking space underneath it, and they were all in there,
387
00:31:34,040 --> 00:31:38,600
I didn't know what the hell it was all about, and they said to me,
388
00:31:38,600 --> 00:31:42,360
"We've said to Epstein we want to make this film," and I think
389
00:31:42,360 --> 00:31:45,360
they thought that now that he was dead they would go ahead,
390
00:31:45,360 --> 00:31:50,000
they wanted to go ahead and make it anyway, and this was an important
391
00:31:50,000 --> 00:31:54,120
sort of genuflection to the work that they had done with Brian,
392
00:31:54,120 --> 00:32:00,840
and they did try at that point to express, they wanted to be free and easy and
393
00:32:00,840 --> 00:32:04,640
not be constricted by the studio system and the things that were in it.
394
00:32:04,640 --> 00:32:06,000
They had the opportunity
395
00:32:06,000 --> 00:32:09,480
and the money to do something that nobody else would have been
396
00:32:09,480 --> 00:32:14,040
able to do, and therefore it is a unique piece of filmmaking.
397
00:32:14,040 --> 00:32:16,760
You could almost call it a vanity, like a vanity publication
398
00:32:16,760 --> 00:32:20,600
of what they were doing, but it was more than that.
399
00:32:30,760 --> 00:32:34,760
# Walking down a very narrow alley in the street
400
00:32:34,760 --> 00:32:40,560
# I saw an old man standing by a wall
401
00:32:40,560 --> 00:32:44,760
# Hastily, I ran up to the old man
402
00:32:44,760 --> 00:32:49,320
# And I said to him in phrases very small
403
00:32:49,320 --> 00:32:52,840
# Get away from the wall
404
00:32:52,840 --> 00:32:56,480
# Get away from the wall
405
00:32:56,480 --> 00:33:02,280
# Get away from the wall... #
406
00:33:03,520 --> 00:33:07,280
Ivor Cutler we knew, of course, because he had those great records.
407
00:33:11,320 --> 00:33:15,360
I'm sure somebody saw, Nat Jackley, was his name?
408
00:33:15,360 --> 00:33:17,320
You know, on a show or something.
409
00:33:35,080 --> 00:33:37,840
MUTTERS QUICKLY
410
00:33:42,240 --> 00:33:45,360
The other thing we used to do, at night,
411
00:33:45,360 --> 00:33:49,480
we'd go through the Artists Need Work books
412
00:33:49,480 --> 00:33:53,400
and we'd go, "Oh, yeah, he looks good," or "Oh, yeah look at that person!"
413
00:33:53,400 --> 00:33:55,120
and we'd just pick 'em out the book.
414
00:33:57,520 --> 00:34:02,760
# Oh, baby, you made me love you
415
00:34:02,760 --> 00:34:07,560
# I didn't wanna do it I didn't wanna do it...#
416
00:34:07,560 --> 00:34:10,320
ACCORDION MUSIC PLAYS
417
00:34:19,080 --> 00:34:22,080
APPLAUSE AND CHEERY ORGAN MUSIC
418
00:34:29,920 --> 00:34:33,440
MARCHING BAND MUSIC
419
00:34:43,080 --> 00:34:45,640
Good morning, lads and lasses,
420
00:34:45,640 --> 00:34:48,440
my name is Miss Winters. I just wanted to say,
421
00:34:48,440 --> 00:34:52,080
if there's anything I can do to be of assistance,
422
00:34:52,080 --> 00:34:53,720
you know what to do.
423
00:34:53,720 --> 00:34:57,360
I think what happened with The Beatles was, if you were around,
424
00:34:57,360 --> 00:34:58,840
you were on the bus, you know,
425
00:34:58,840 --> 00:35:01,440
if you'd been wherever the bus set off from that day
426
00:35:01,440 --> 00:35:04,680
and they thought you were all right, you'd have been on the bus.
427
00:35:04,680 --> 00:35:08,640
Would you like to come on a coach trip with The Beatles?
428
00:35:08,640 --> 00:35:10,400
They're making a film.
429
00:35:10,400 --> 00:35:13,680
They're making a film, that's it, that's all we knew.
430
00:35:13,680 --> 00:35:16,160
I think we had two days' notice
431
00:35:16,160 --> 00:35:19,360
Yeah, we got it on the Friday and had to go on the Monday
432
00:35:23,800 --> 00:35:26,600
I left my job on the Friday, and I didn't go back on the Monday.
433
00:35:26,600 --> 00:35:30,480
And I did lose it, but it was worth it.
434
00:35:30,480 --> 00:35:33,000
Yeah. Yeah.
435
00:35:35,120 --> 00:35:36,600
I don't know the rest of the words.
436
00:35:36,600 --> 00:35:39,000
You can 'la-la' it darling.
437
00:35:39,000 --> 00:35:42,040
Yeah, just sing, if you don't know the words...
438
00:35:42,040 --> 00:35:45,000
- Are we on?
- Yeah we're running
439
00:35:47,760 --> 00:35:50,640
# Oh, yesterday... #
440
00:35:50,640 --> 00:35:53,640
Do you like your old Auntie, darling?
441
00:35:53,640 --> 00:35:56,280
Oh, you're all right, you're one of the best.
442
00:35:56,280 --> 00:35:59,720
# All my troubles seemed so far away... #
443
00:36:01,640 --> 00:36:03,120
That bus was hysterical!
444
00:36:03,120 --> 00:36:07,000
All the people on the bus, too, whoa, you know, what a great thought.
445
00:36:08,920 --> 00:36:12,160
There was something very musical, very dance-like about the
446
00:36:12,160 --> 00:36:15,520
editing of the Magical Mystery Tour number on the bus.
447
00:36:15,520 --> 00:36:18,520
The freedom of the camera along with the restraint of the characters
448
00:36:18,520 --> 00:36:21,560
looking towards the lens. For me this has always stayed,
449
00:36:21,560 --> 00:36:24,040
it's one of my favourite moments in movies.
450
00:36:25,520 --> 00:36:29,280
And that stayed with me over the years and I think actually looking back at it,
451
00:36:29,280 --> 00:36:32,120
has influenced a lot of the work I've done.
452
00:36:45,560 --> 00:36:48,080
- Listen, this film.
- Oh, yeah
453
00:36:48,080 --> 00:36:52,080
Tell me something about the storyline?
454
00:36:52,080 --> 00:36:56,000
Well, you see, it's about a group of common or garden strange
455
00:36:56,000 --> 00:37:00,360
people on a coach tour, around anywhere, really,
456
00:37:00,360 --> 00:37:04,640
and things happen to them, you see, something will go diddly dee,
457
00:37:04,640 --> 00:37:07,720
di diddly dee, Magical Mystery Tour, and there's a little scene...
458
00:37:07,720 --> 00:37:10,040
You've got them!
459
00:37:10,040 --> 00:37:11,800
I've got what?
460
00:37:11,800 --> 00:37:13,200
You've got them on your head
461
00:37:13,200 --> 00:37:16,680
- Oh, where are they, do you want to knock 'em off?
- Yeah.
- Go on then.
462
00:37:19,840 --> 00:37:25,720
It was lovely to see John being so comfortable in playing with
463
00:37:25,720 --> 00:37:29,840
this little girl, but it's a side of John that you never really saw.
464
00:37:29,840 --> 00:37:33,360
Put it on your hat!
465
00:37:33,360 --> 00:37:38,640
And I must say I don't think I'd really seen it much to that point.
466
00:37:43,200 --> 00:37:47,040
I'd love to say there was this incredible master plan,
467
00:37:47,040 --> 00:37:49,400
but, er, there wasn't.
468
00:37:53,080 --> 00:37:56,560
We thought it might be a good idea to go towards Cornwall,
469
00:37:56,560 --> 00:38:01,520
where I think we'd had fond childhood memories.
470
00:38:01,520 --> 00:38:06,480
I'd hitchhiked down there when I was a kid, George and I had done that.
471
00:38:08,240 --> 00:38:11,560
I don't think we ever really were told the reasoning
472
00:38:11,560 --> 00:38:15,920
behind much of it, it was just, "This is going to happen and
473
00:38:15,920 --> 00:38:19,280
"so and so is going to be doing this and so and so is going to be doing that."
474
00:38:19,280 --> 00:38:23,200
And we just did it, to be honest, it was...spontaneous
475
00:38:23,200 --> 00:38:24,960
- I think is the word.
- Yes.
476
00:38:24,960 --> 00:38:28,240
- Spontaneous.
- That's a very good word, yeah.
477
00:38:36,360 --> 00:38:39,560
You didn't have time to think about it because it was all sort of happening,
478
00:38:39,560 --> 00:38:44,080
but then if you analysed what was happening, you really didn't know anyway, did you?
479
00:38:44,080 --> 00:38:46,560
You couldn't really put your finger on what was happening.
480
00:38:52,200 --> 00:38:56,960
Paul always had a tremendous interest in spontaneity and random
481
00:38:56,960 --> 00:39:03,000
events and effects, a very '60s thing of course, but random in his
482
00:39:03,000 --> 00:39:08,920
sense would be an accidental trick of the light or a superimposition.
483
00:39:08,920 --> 00:39:15,240
# Oh, whoa, whoa...
484
00:39:15,240 --> 00:39:18,600
# Round and round and round
485
00:39:18,600 --> 00:39:21,120
# And round and round
486
00:39:23,280 --> 00:39:26,480
# He never listens to them
487
00:39:26,480 --> 00:39:28,720
# He knows that they're the fools... #
488
00:39:28,720 --> 00:39:31,760
How do you frankly feel about all the reporters and all the rest of us
489
00:39:31,760 --> 00:39:35,720
- following you around?
- It's OK.
- You don't mind us?
- Well...
490
00:39:35,720 --> 00:39:38,280
- We don't get on your nerves?
- No, you're not all that bad.
491
00:39:38,280 --> 00:39:40,960
What's the film going to be all about?
492
00:39:40,960 --> 00:39:42,960
It's a mystery...to me.
493
00:39:45,800 --> 00:39:48,840
Keep back, please. Excuse us.
494
00:39:50,240 --> 00:39:54,200
Well, what one could see very clearly were the sequences,
495
00:39:54,200 --> 00:39:59,360
but how the sequences related to each other, how they juxtaposed
496
00:39:59,360 --> 00:40:04,240
themselves in terms of an overall story, I could never see.
497
00:40:10,360 --> 00:40:11,640
There was almost like,
498
00:40:11,640 --> 00:40:14,840
improvisation where everyone gets into the groove and then
499
00:40:14,840 --> 00:40:17,880
they start expanding on that, and to be honest with you, I don't remember
500
00:40:17,880 --> 00:40:21,080
if they mimed to play back, I guess they did, actually they must have.
501
00:40:21,080 --> 00:40:24,600
Because all of a sudden, I remember the first time the sound guy testing and you
502
00:40:24,600 --> 00:40:27,840
hear one of the tracks booming out over the Kent countryside, it was amazing.
503
00:40:27,840 --> 00:40:32,200
And everybody was like galvanised, the energy that the music gave them.
504
00:40:32,200 --> 00:40:34,400
# I am the eggman
505
00:40:34,400 --> 00:40:37,120
# They are the eggmen
506
00:40:37,120 --> 00:40:41,040
# I am the walrus, goo goo goo joob... #
507
00:40:41,040 --> 00:40:44,160
Already there was abstract qualities in their humour and their writing
508
00:40:44,160 --> 00:40:47,600
and their approach to all sorts of stuff and I think the film
509
00:40:47,600 --> 00:40:51,680
was a sort of natural progression, all came out of that culture.
510
00:40:56,640 --> 00:41:00,760
I thought it was brilliant, I did, I just thought it was like anarchic.
511
00:41:03,400 --> 00:41:05,880
# Crying
512
00:41:05,880 --> 00:41:09,960
# I'm crying... #
513
00:41:09,960 --> 00:41:13,120
When we were doing, what was it, it was the Walrus scene or
514
00:41:13,120 --> 00:41:16,680
something like that, Paul got me up about two in the morning,
515
00:41:16,680 --> 00:41:19,960
he said, "We want a dozen midget wrestlers for tomorrow."
516
00:41:20,960 --> 00:41:23,800
Dozen midgets, you know. I said, "How the hell do
517
00:41:23,800 --> 00:41:28,240
"I get a dozen midgets down here in time to shoot tomorrow morning?" He said, "I don't know."
518
00:41:28,240 --> 00:41:30,840
I mean, it was worse than the Hollywood system, you know,
519
00:41:30,840 --> 00:41:33,040
because Hollywood had real power.
520
00:41:33,040 --> 00:41:35,520
But that's what I did, and they were produced.
521
00:41:40,160 --> 00:41:45,080
The sequences were just suggested,
522
00:41:45,080 --> 00:41:48,760
often by memories from our childhood, things that we'd
523
00:41:48,760 --> 00:41:53,280
remembered or we'd remembered seeing or doing ourselves.
524
00:41:53,280 --> 00:41:55,960
Action!
525
00:41:55,960 --> 00:41:58,400
So, for instance, a tug of war
526
00:41:58,400 --> 00:42:03,320
was something you'd see at all the village fetes,
527
00:42:03,320 --> 00:42:06,720
there'd often be a tug of war between
528
00:42:06,720 --> 00:42:10,120
the burly men of the neighbourhood.
529
00:42:10,120 --> 00:42:14,400
So, a lot of these things found their way in as ideas.
530
00:42:17,240 --> 00:42:21,720
I suppose the whole film has a bit of a village fete atmosphere to it.
531
00:42:24,920 --> 00:42:27,920
It's all their childhood memories, all being jumbled up
532
00:42:27,920 --> 00:42:32,480
and juxtaposed, coming out as a series of fairly surreal images.
533
00:42:34,920 --> 00:42:38,600
Don't get upset, don't expect something other than
534
00:42:38,600 --> 00:42:42,400
The Beatles, if you expect The Beatles, you're getting them,
535
00:42:42,400 --> 00:42:45,800
full force, they are really there, much more than
536
00:42:45,800 --> 00:42:49,440
they were in Help and much more than they were in Hard Day's Night.
537
00:42:49,440 --> 00:42:52,800
They were really there because it was all their thing, they were
538
00:42:52,800 --> 00:42:56,920
shooting, they were deciding what to say, what to wear, how to do this.
539
00:42:57,960 --> 00:43:01,360
In that way it was a Magical Mystery Tour of them.
540
00:43:01,360 --> 00:43:04,000
# Sitting on a cornflake
541
00:43:06,000 --> 00:43:10,320
# Waiting for the van to come
542
00:43:10,320 --> 00:43:13,720
# Corporation tee-shirt Stupid bloody Tuesday
543
00:43:13,720 --> 00:43:17,680
# Man, you've been a naughty boy You let your face grow long
544
00:43:17,680 --> 00:43:22,560
# I'm the eggman, they are the eggmen
545
00:43:22,560 --> 00:43:26,360
# I am the walrus, goo goo goo joob... #
546
00:43:42,000 --> 00:43:47,000
It seems to me now that Magical Mystery Tour is an attempt
547
00:43:47,000 --> 00:43:50,880
to fuse those elements of quintessential Englishness,
548
00:43:50,880 --> 00:43:57,840
which made The Beatles feel like the people they were,
549
00:43:57,840 --> 00:44:01,680
with the advanced psychedelic elements
550
00:44:01,680 --> 00:44:06,800
that they had introduced into the culture. It's a graft.
551
00:44:06,800 --> 00:44:11,720
# There's a fog upon LA
552
00:44:11,720 --> 00:44:17,840
# And my friends have lost their way... #
553
00:44:17,840 --> 00:44:21,040
Well, shooting Blue Jay Way was great, George had written
554
00:44:21,040 --> 00:44:24,280
that song because he'd stayed on Blue Jay Way in America.
555
00:44:25,280 --> 00:44:31,120
And I was just always interested in cameras and lenses,
556
00:44:31,120 --> 00:44:37,880
and I had all those prism lenses and close-up macro lenses
557
00:44:37,880 --> 00:44:41,920
and things, and so it sort of went with it,
558
00:44:41,920 --> 00:44:46,600
"Oh, I'll bring my cameras, and you'll sit over there, and it'll be
559
00:44:46,600 --> 00:44:50,640
"you know, smoky or whatever, and I'll just shoot it through these."
560
00:44:52,360 --> 00:44:56,960
And in those days, thanks to...
561
00:44:56,960 --> 00:44:59,680
some medication,
562
00:44:59,680 --> 00:45:03,360
it was the most exciting thing we'd ever seen!
563
00:45:04,400 --> 00:45:09,080
# Ask a policeman on the street
564
00:45:09,080 --> 00:45:13,240
# There's so many there to meet... #
565
00:45:14,560 --> 00:45:16,960
I think you can really feel the influence of the
566
00:45:16,960 --> 00:45:20,400
avant-garde cinema at the time, they all took their own home movies, etc,
567
00:45:20,400 --> 00:45:25,840
and always experimenting with this imagery and so it seemed natural
568
00:45:25,840 --> 00:45:29,120
that they would try to create something that was certainly not
569
00:45:29,120 --> 00:45:32,680
the traditional narrative they had worked with in the Richard Lester
570
00:45:32,680 --> 00:45:36,800
films which were quite wonderful, but in a very, very different way.
571
00:45:36,800 --> 00:45:40,320
Almost like making their own movie paintings, music pieces,
572
00:45:40,320 --> 00:45:44,480
dance pieces, and it wasn't cinema, it was something else.
573
00:45:44,480 --> 00:45:48,200
# Please don't you be very long
574
00:45:48,200 --> 00:45:51,800
# Please don't be long... #
575
00:45:51,800 --> 00:45:54,720
There was always good songs, there was a couple of good songs,
576
00:45:54,720 --> 00:45:57,480
and there was a few funny scenes.
577
00:45:57,480 --> 00:46:00,880
I mean, the scene to me that stands out, is the one of John
578
00:46:00,880 --> 00:46:04,720
shovelling the spaghetti onto the fat woman's plate.
579
00:46:04,720 --> 00:46:07,320
I mean, that was the best bit of the movie for me.
580
00:46:08,360 --> 00:46:11,400
Paul showed me what his idea was and this is how it went,
581
00:46:11,400 --> 00:46:14,320
it went round like this, the story and production.
582
00:46:14,320 --> 00:46:18,360
He says, "Here's the segment, you write a little piece for that."
583
00:46:18,360 --> 00:46:23,160
And I thought, "Fucking hell, I've never made a film, what does he mean?" He said, "Write a script,"
584
00:46:23,160 --> 00:46:25,720
so I ran off and wrote the dream sequence for the fat woman
585
00:46:25,720 --> 00:46:27,800
and all the thing with the spaghetti and all that.
586
00:46:30,560 --> 00:46:32,600
Action!
587
00:46:34,800 --> 00:46:39,280
John and Paul basically would put their heads together
588
00:46:39,280 --> 00:46:43,440
and come back and they'd say, "Right, this is what we want to do tomorrow."
589
00:46:43,440 --> 00:46:46,000
Something as simple as you know, half a tonne of spaghetti,
590
00:46:46,000 --> 00:46:48,560
and you have to get George Cook out of bed and say,
591
00:46:48,560 --> 00:46:53,280
"George, first thing you do is send your buyer down to get as much spaghetti as there is."
592
00:46:54,560 --> 00:46:57,520
I do remember watching John on rehearsal or whatever,
593
00:46:57,520 --> 00:47:01,400
and the pleasure he got, like a kid playing with mud.
594
00:47:01,400 --> 00:47:05,160
Slopping out all this spaghetti on that woman.
595
00:47:05,160 --> 00:47:09,360
ACCORDION MUSIC PLAYS
596
00:47:24,720 --> 00:47:28,880
I mean, there are bits of it that are silly, and a bit self-indulgent but on the other hand
597
00:47:28,880 --> 00:47:32,360
it's not pretentious, I don't think they ever were.
598
00:47:32,360 --> 00:47:35,240
They always managed to keep the right side of that line
599
00:47:35,240 --> 00:47:42,080
and where you had Paul wanting to reflect his background,
600
00:47:42,080 --> 00:47:45,840
John would come along, literally Spaniard In The Works and give it
601
00:47:45,840 --> 00:47:50,920
that edge and made it sinister, and bits of Magical Mystery Tour
602
00:47:50,920 --> 00:47:54,920
are actually quite frightening, and quite scary, and that's John.
603
00:47:54,920 --> 00:47:57,520
I can hardly get my breath.
604
00:47:59,680 --> 00:48:03,880
It's intake, Jessie, not output.
605
00:48:03,880 --> 00:48:10,920
I am, I am! I am already, three times this week already.
606
00:48:10,920 --> 00:48:14,000
For goodness sake, Jessie, sit down.
607
00:48:16,320 --> 00:48:22,640
When you talk about Bunuel, everyone was so shocked to see that shot of
608
00:48:22,640 --> 00:48:24,480
him apparently cutting an eye.
609
00:48:29,200 --> 00:48:31,640
and I remember how shocking it was to see that.
610
00:48:31,640 --> 00:48:35,680
Now you look back on it and go, that was a very important thing in
611
00:48:35,680 --> 00:48:41,000
the history of cinema. You probably couldn't have had Psycho without that.
612
00:48:41,000 --> 00:48:44,000
And that's the nice thing that happens with these things.
613
00:48:44,000 --> 00:48:47,160
I mean I don't want to elevate Magical Mystery Tour
614
00:48:47,160 --> 00:48:49,320
to the great heights of, you know,
615
00:48:49,320 --> 00:48:51,520
the most important things in cinema history,
616
00:48:51,520 --> 00:48:54,560
but I think in a lesser way,
617
00:48:54,560 --> 00:49:00,000
it did set a tone that then people could pick up,
618
00:49:00,000 --> 00:49:03,120
and sort of say, "Well, if they've done that, we could do this."
619
00:49:11,280 --> 00:49:14,480
It's not worrying too much about your public image at that point I think.
620
00:49:14,480 --> 00:49:17,480
It's about what you want to do. Here's an opportunity to make a film,
621
00:49:17,480 --> 00:49:20,880
what do you want to put in this film, what scene do you want to do?
622
00:49:20,880 --> 00:49:23,760
So, I admire it from that point of view.
623
00:49:23,760 --> 00:49:26,840
Ladies and Gentlemen, when the coach stops,
624
00:49:26,840 --> 00:49:31,880
would the gentlemen please follow Mr Johnson, and the ladies, stay with me?
625
00:49:31,880 --> 00:49:34,600
It is immensely entertaining because you don't know where
626
00:49:34,600 --> 00:49:37,080
it's going to go next, suddenly you're in a strip club.
627
00:49:37,080 --> 00:49:39,960
Off we go, a jolly evening with jolly Jimmy.
628
00:49:53,040 --> 00:49:55,440
Come on, where are they?
629
00:49:55,440 --> 00:49:59,880
I do remember Viv being rather sort of miffed at the thought,
630
00:49:59,880 --> 00:50:02,560
because Paul suggested he wore a kind of chiffony scarf
631
00:50:02,560 --> 00:50:04,160
to look more trendy.
632
00:50:04,160 --> 00:50:08,640
And I don't think Viv took kindly to that, but he did it.
633
00:50:12,440 --> 00:50:16,320
# The cab was racing through the night, mmm-mm-mm
634
00:50:16,320 --> 00:50:19,600
# Baby, don't do it
635
00:50:19,600 --> 00:50:23,920
# His eyes in the mirror, keeping Cutie in sight, uh-huh-huh
636
00:50:23,920 --> 00:50:26,920
# Baby, don't do it... #
637
00:50:26,920 --> 00:50:30,160
I think we related to them because they were mischievous and funny,
638
00:50:30,160 --> 00:50:33,600
but we didn't care about show business particularly.
639
00:50:33,600 --> 00:50:35,680
# Baby, curves can kill
640
00:50:35,680 --> 00:50:38,000
# Death-cab for Cutie...#
641
00:50:38,000 --> 00:50:41,480
We had a lot of that kind of art school world in common,
642
00:50:41,480 --> 00:50:44,080
you know, we'd all seen the art movies,
643
00:50:44,080 --> 00:50:47,200
we'd all seen the certain paintings. We knew Magritte and things
644
00:50:47,200 --> 00:50:51,480
like that, and you know, when you're twentysomethings, you like them
645
00:50:51,480 --> 00:50:55,400
so you want to kind of embrace them in a way and use them in things.
646
00:50:55,400 --> 00:50:57,840
And so if, you know, we had,
647
00:50:57,840 --> 00:51:02,960
robots or masks or things like that, we offered them up as images.
648
00:51:02,960 --> 00:51:07,120
# Someone's gonna make you pay your fare
649
00:51:10,600 --> 00:51:14,840
# Someone's gonna make you pay your fare
650
00:51:18,120 --> 00:51:25,200
# Someone's gonna make you pay your fare! #
651
00:51:28,960 --> 00:51:34,080
We have no idea what the film was going to be like, but there was
652
00:51:34,080 --> 00:51:37,880
a kind of clue in the title, you know, Magical Mystery Tour,
653
00:51:37,880 --> 00:51:41,000
it's a clever title because you can pretty much do anything, you know.
654
00:51:41,000 --> 00:51:43,360
# Death-cab for Cutie
655
00:51:43,360 --> 00:51:46,800
# Death-cab for Cutie...#
656
00:51:46,800 --> 00:51:48,720
I was sitting in front of my dad on the floor,
657
00:51:48,720 --> 00:51:50,640
he was sitting in the chair and I was like,
658
00:51:50,640 --> 00:51:54,360
resting against the arm of the chair and the stripper came on and
659
00:51:54,360 --> 00:51:57,160
as it started to get sort of, more and more risque I suddenly found
660
00:51:57,160 --> 00:52:00,520
this hankie being draped across my eyes, which was quite embarrassing
661
00:52:00,520 --> 00:52:03,360
for me because obviously I thought I was so grown up at 11 years old.
662
00:52:05,240 --> 00:52:10,000
Magical Mystery Tour, I think it was telling the older generation
663
00:52:10,000 --> 00:52:12,640
that things were changing, that's how I felt,
664
00:52:12,640 --> 00:52:17,080
that the old routines were going to change.
665
00:52:17,080 --> 00:52:20,120
I think probably my dad may have found it a bit scary.
666
00:52:44,160 --> 00:52:49,320
Sir, I am sorry that Mr Norman Hare disliked Magical Mystery Tour.
667
00:52:49,320 --> 00:52:53,160
We are an elderly couple and had never seen or heard of The Beatles.
668
00:52:53,160 --> 00:52:57,960
The film entranced us and was all too short.
669
00:52:57,960 --> 00:53:02,000
I thought it a clever blend of all too real life and pure magic.
670
00:53:03,000 --> 00:53:06,280
They achieved the atmosphere of a coach tour perfectly,
671
00:53:06,280 --> 00:53:09,960
the surge of humanity from the coach at each stop, the sad wet sands
672
00:53:09,960 --> 00:53:13,520
of the inevitable dead low tide on West Country beaches.
673
00:53:14,960 --> 00:53:18,320
These and other points were cleverly heightened by the fantastic
674
00:53:18,320 --> 00:53:20,560
dream or nightmare sequences,
675
00:53:20,560 --> 00:53:23,440
also familiar to the coach tourer who has nodded off.
676
00:53:24,920 --> 00:53:27,240
The photography was imaginative and original
677
00:53:27,240 --> 00:53:31,480
and I laughed till I cried several times.
678
00:53:31,480 --> 00:53:35,000
But I fear they will not make another film like it,
679
00:53:35,000 --> 00:53:38,240
and perhaps they had better not try.
680
00:53:38,240 --> 00:53:43,120
Yours faithfully, Ann Lee Michelle (Mrs). Milverton, Somerset.
681
00:53:46,360 --> 00:53:48,880
FIDDLE MUSIC
682
00:54:05,320 --> 00:54:10,760
I think there is within them, a kind of English idea of subversion,
683
00:54:10,760 --> 00:54:14,640
rather than the American idea of subversion, of stone throwing
684
00:54:14,640 --> 00:54:18,280
and that sort of thing, so it's much subtler,
685
00:54:18,280 --> 00:54:20,960
because England as itself is a very different place,
686
00:54:20,960 --> 00:54:25,160
observing it for 50 years as a foreigner, an outsider.
687
00:54:25,160 --> 00:54:29,760
The way the English respond and change is quite different
688
00:54:29,760 --> 00:54:32,800
from the way other nations, they don't actually go at it head on.
689
00:54:42,360 --> 00:54:45,560
It's a sort of travelogue, it's a sort of documentary,
690
00:54:45,560 --> 00:54:48,720
it's a sort of slice of British working class life.
691
00:54:48,720 --> 00:54:53,680
It has so many goodies in it, but I can understand why establishment
692
00:54:53,680 --> 00:54:57,960
felt threatened by what The Beatles were doing, because you know,
693
00:54:57,960 --> 00:55:00,800
if everyone grows their hair long who's going to be in the army?
694
00:55:00,800 --> 00:55:04,600
Get your bloody hair cut!
695
00:55:05,880 --> 00:55:08,320
For me, it certainly still holds up.
696
00:55:08,320 --> 00:55:12,960
The imagery was created without CGI at a time when it was
697
00:55:12,960 --> 00:55:16,600
all photochemical, and some of it we may have gotten used to now.
698
00:55:16,600 --> 00:55:19,120
Now of course, the emphasis on professionalism,
699
00:55:19,120 --> 00:55:23,320
and polish and politeness is very, very...has come back now
700
00:55:23,320 --> 00:55:27,880
with a vengeance, it's expected and there's a tendency to forget
701
00:55:27,880 --> 00:55:32,240
that's really only one choice, you know, one way of going.
702
00:55:35,440 --> 00:55:37,920
I think it's brilliant, I think it's just a laugh,
703
00:55:37,920 --> 00:55:40,800
and I don't think that's just because of our memories,
704
00:55:40,800 --> 00:55:43,400
I think it's just a piece of film that would be enjoyable.
705
00:55:43,400 --> 00:55:48,920
- I don't care what the people think about it, I'm still proud to be part of it.
- Yes, yeah.
706
00:55:48,920 --> 00:55:52,720
THEY SING
707
00:55:57,080 --> 00:56:03,120
It's a charming acknowledgement, and indeed perhaps a profession,
708
00:56:03,120 --> 00:56:06,400
in a very positive way, of these are the people we are,
709
00:56:06,400 --> 00:56:10,320
and these are the people we've become, mixed together.
710
00:56:13,760 --> 00:56:16,680
# Let's all get up and dance to a song
711
00:56:16,680 --> 00:56:20,120
# That was a hit before your mother was born
712
00:56:20,120 --> 00:56:25,760
# Though she was a born a long, long time ago... #
713
00:56:25,760 --> 00:56:28,440
Ha. God, he's the worst dancer!
714
00:56:29,520 --> 00:56:32,680
# Your mother should know
715
00:56:32,680 --> 00:56:35,840
# Sing it again... #
716
00:56:35,840 --> 00:56:39,240
Yeah, Your Mother Should Know, the dancing boys.
717
00:56:39,240 --> 00:56:41,840
How great.
718
00:56:41,840 --> 00:56:45,520
# Before your mother was born...#
719
00:56:45,520 --> 00:56:47,880
Who choreographed that?
720
00:56:47,880 --> 00:56:51,240
I don't know if we did that or not, it looked too real for us,
721
00:56:51,240 --> 00:56:57,080
because it was all...you know, I'd like to say I did but I don't know.
722
00:57:09,640 --> 00:57:12,440
You can see that in some of the segments we'd had no idea,
723
00:57:12,440 --> 00:57:14,920
there's just a smiley face in number four,
724
00:57:14,920 --> 00:57:18,120
so that was like, "We'll think of something fun."
725
00:57:24,160 --> 00:57:28,320
And I think we thought that just to have an improvised film would give
726
00:57:28,320 --> 00:57:35,280
us a lot of freedom and would also show the kind of playfulness and the
727
00:57:35,280 --> 00:57:38,520
freedom that we were experiencing as The Beatles at that time.
728
00:57:40,200 --> 00:57:43,400
However, we realised we had to have something to show people,
729
00:57:43,400 --> 00:57:46,360
and when the cameraman would say, "Where do you want me to be?"
730
00:57:46,360 --> 00:57:49,440
you'd say, "On the coach, in the morning, 9 o'clock,"
731
00:57:49,440 --> 00:57:51,920
and then we thought, well, that's enough information.
732
00:57:51,920 --> 00:57:54,560
# Your mother should know
733
00:57:54,560 --> 00:57:58,560
# Your mother should know
734
00:57:58,560 --> 00:58:01,000
# Your mother should know... #
735
00:58:01,000 --> 00:58:03,720
You know, you could argue that, oh, The Beatles caught the bus,
736
00:58:03,720 --> 00:58:08,200
but The Beatles didn't catch the bus, they were the bus.
737
00:58:08,200 --> 00:58:11,240
# Roll up
738
00:58:11,240 --> 00:58:14,800
# Roll up for the mystery tour
739
00:58:14,800 --> 00:58:18,520
# Roll up And that's an invitation
740
00:58:18,520 --> 00:58:22,480
# Roll up for the mystery tour
741
00:58:22,480 --> 00:58:25,680
# Roll up To make a reservation
742
00:58:25,680 --> 00:58:29,320
# Roll up for the mystery tour
743
00:58:29,320 --> 00:58:37,040
# The magical mystery tour is coming to take you away
744
00:58:37,040 --> 00:58:41,040
# Coming to take you away
745
00:58:41,040 --> 00:58:48,280
# The magical mystery tour is dying to take you away
746
00:58:48,280 --> 00:58:53,080
# Dying to take you away Take you today. #