Filminspelningen av ’A Hard Day’s Night’ fortsätter
Onsdagen ägnades åt filminspelningar utanför The Scala Theatre i London och på den intilliggande gatorna Scala Street, Tottenham Street och Charlotte Mews.
The Scala Theatre var platsen där de framförde sitt konsertframträdande i filmen A Hard Day’s Night som filmade den 31 mars 1964.
Paul McCartneys första soloframträdande i engelsk tv
Paul McCartney spelade in sitt första soloframträdande i tv denna kväll. Han blev intervjuad i en samtalsshow som presenterades av David Frost, som på den här tiden var en snabbt stigande ung stjärna på Brittisk tv. Programmet hade titeln A D e g r e e O f F r o s t, och sändes mellan kl. 22.15 och kl. 23.00 onsdagen den 18 maj 1964 på BBC 1 Network. Helt nyligen hade BBC-sändningarna fått sina suffix 1 respektive 2. BBC 2 startade först den 20 april 1964.
Programmet spelades in från kl. 20.30 inför en livepublik i studio 4 på the BBC:s Television Centre-området i White City, på Wood Lane i västra London. Repetitionerna började redan kl. 10.30. Eftersom Paul var upptagen med att spela in filmen A Hard Day’s Night utanför The Scala Theatre kan man anta att Paul anlände till repetitionerna något försenad. Producent för tv-programmet var Joe McGrath.
Programmet sändes i repris tisdagen den 1 september mellan kl. 20.00 och kol. 20.45.
Här är en del av intervjun som gjordes i tv-programmet:
David Frost: Paul, it’s great to see you here, we’ve already touched on one topic today, and I was surprised that, it turns out, you were always confident that things would go well for you, as it really is. When you became a band, did you think about these kinds of things?
Paul: No. When we first started playing in the Cavern and similar places, I thought at that time: ”I would like to sign a record contract.” We all wanted it. After we got the record deal, we said, ”Now we need to record hit number one.”
David Frost: (skrattar) I heard that … yes.
Paul: Like this … we were just performing. But we never really thought about it.
David Frost: After you had your number one hit, you wanted to record the next number one hit, right?
Paul: Hmm, something like a show at the Royal Variety. Now … what happened after that … America, I think.
David Frost: … which was amazing, and after America?
David Frost: Finishing the film is going to be a big success too, I think, but then what?
Paul: I don’t know. Maybe another movie.
David Frost: And it will be a success too, and then what?
Paul: Oh, don’t ask me, we haven’t finished this one yet. (skrattar)
David Frost: Do you want to prove yourself in some way in other spheres of activity? Would you like to become, for example, the Prime Minister one day?
Paul: (skakar på huvudet och skrattar) No! No, I don’t want to become … no, nobody like that, no, … let’s leave, that’s all …
David Frost: When do you think you would have such desires?
Paul (skämtsamt): This happens every year or so (skrattar). I don’t think …
David Frost: When people ask you, “What good are the Beatles getting from the stage,” you usually answer “Money” as the first answer. But what else is good after them?
Paul: To be able to do what you enjoy more than … if … you know, you get strength when you are on stage … where you get strength … and after that you can say … offer something that you want to do to people. You know, you can go to Brian [Epstein] and say that you could do these and such things … like a movie … and he can say, ”Okay, let’s try and do it, boy!” to that.
David Frost: Helpful person.
Paul: Oh, he’s cool.
David Frost: So you draw strength, and that’s the strength you need.
Paul: Yes, it’s definitely better than fighting the unknown and trying to do what we are not capable of, now our capabilities are even greater than we want. I think it is good.
David Frost: When you write music … that has a lot of collaborative work with John Lennon, you write a lot, and amazingly, in keeping with the idiom. Do you feel that later, when you are in a different period … say, five years from now, will you write using idioms? Or change? Will you change over time?
Paul: Uh, I think the point of this is … the melodies that we write … they are not idioms. I think it’s just an arrangement, a similar arrangement today … like From Me To You . It might be some kind of old ragtime melody … especially mid-eight … well, we don’t write melodies according to idioms. In fact, in about five years we can change the arrangement of the melodies … but, probably, we will write all the same old stuff!
David Frost: How do you determine if a song you wrote has turned out well?
Paul: When we like it, and John and I, if we both decide it’s good. This is a shared opinion of tastes … and that it will be commercially successful … and that we believe that everyone will like it too.
David Frost: Maybe a song is good if no one wants to buy it? This have not happened before?
Paul: It’s always good for us if we like it … we really don’t like bad songs and that kind of thing.
David Frost: Of course everyone, as I imagine it, tells you that pop music in the world is fleeting … and it all ends, and … what will you do when the peak of popularity passes … do you think that popularity will wane? Are you worried about this?
Paul: No. Of course, I cannot be completely light-hearted about this! But I don’t think … if we fall tomorrow … you know, it will be sad … but by and large it doesn’t bother me.
David Frost: Could you come back then and do something else?
Paul: Ooh, I don’t know … I would have missed doing that. But I guess I would have thought to do something else, something that I would like to do.
David Frost: What would you like to do?
Paul: Hmm … writing songs for people.
David Frost: Anything else done?
Paul: Completely different? Uh … you know … I’ll retire. (skrattar)
David Frost: Okay, thank you very much, actually it will be a great pleasure for us to see Paul McCartney in private, but it will probably be in 2010, thank you.