All language subtitles for Sage of Quay™ - Paul Jansen - Analyzing Peter Jackson’s ‘Get Back’ Trailer (Nov 2021)

welcome my friends this is mike williams

will peter jackson's get back

documentary rewrite and revise beetle

history film and video researcher paul

yanson joins me to break down and

analyze peter's recent get back trailer

to see if there are any clues embedded

in the promo and so without further ado

here's the interview with paul and

thanks for listening

hey friends we have a great show as

promised paul who is a film and video

researcher

it has joined me for

this episode and we're going to

go through

peter jackson's most recent trailer

of his get back documentary which is

going to premiere later this month on

november 25th 26th

and 27th three days

and this is the film where we supposedly

have 55 56 or 57 hours of unseen footage

so

paul being a video and film buff is

going to give his analysis we're going

to step through

the trailer and i have it at um

one-third speed paul so we can take it

nice and slow

okay and what we're going to do and

mostly paul

we're going to comment on what's taking

place or what paul believes is taking

place so he can share his insights as to

what peter is doing

with the film so did you want to add

anything paul

uh now just that i'm i'm dutch uh

english is not my native speech but i i

hope i can manage and if some errors may

occur

and please forgive me it's not my

yeah you'll do fine

it's not my daily language so anything

anyway okay all right so we're going to

get started so the first

screen we have up paul yeah so explain

to us about the text you you talked

about this with me about a week ago or

so what what is doing with the way the

font is being presented

it's it's a it's a font typically of

newspaper or also

as it is being used in um

hollywood uh scripts movie scripts

but it's a typical phone that sort of

announces us this is a documentary if

they would have used a different uh

happy font then

it doesn't work they use this typically

font

and also by using text cards

they sort of indicate to us this is a

documentary and we're using tax cards

another voice over

so the mindset for the viewers is is

sort of preset with knowing that what

now follows is the truth because we are

watching a documentary

and now the first shot is

the deconstruction of the scene and the

twickenham studios so we see the studio

in its entirety

uh the four lads with their instruments

we see

um

boom microphones we see speakers we see

some other stuff in the background we

see some guy walking through the frame

so the set is pretty much as we would

expect for an opening scene for

documentary let me ask you paul we know

that the original film was shot in 16

millimeters so

this type of shot the clarity um the

colors are just popping out

is this possible with the original 16

millimeter film

i think so yes they would have known

what to shoot i i think not everything

is sort of

off the cuff they especially these

background colors it's a projecting

screen

and they they sort of project i think

with a rear projection they

they project colored

lights uh to it

and the effect is that the foreground

can be lit with separate lights so the

guys are not green or yellow or

red

it's just a background but it's this

this is a created shot

this is a created shot so you don't

think that this was part of the original

footage

uh yes well no it could be a part of the

original footage but this is as as a

shot it is it is constructed someone

thought of using um a purple green and

red colors in the background are you

saying the way they set it up

the other way to set it up okay gotcha i

can say about the clarity of the shot

that indeed can uh can be done with a 60

millimeter higher film okay so i'm going

to hit the play button and like i said

folks this is going at one third speed

so that we don't miss

anything so

see guys busy walking around in this in

the shot

it's sort of

indicating

the documentary style everybody's moving

cameras zooming in

or better yet the camera is uh

dulling

dollying in

okay so we have that dolly effect right

yeah yes okay and then it says this

resulted in over 57 hours of the most

intimate footage every shot of the band

and as i mentioned in a video i did

recently

paul that number is 55 56 57

depending upon

the

the promo

or the press release

that's being put out but now we have 57

hours and of course i mentioned this in

my previous video folks 5 7 is 12 1 plus

2 equals 3 and this goes back to billy's

mccartney 3 album but in any case so we

have the same font

yes right and i'll move forward

and now we're open with

the first shot of john playing don't let

me down

very emotionally singing

but look he's wearing a green shirt and

now we cut to him wearing a blue and

yellow striped shirt all right let me go

back for a second

yeah okay so all right so here yes he

has a

degree a green shirt you can see off his

right shoulder would be on your left

watching

and then as we go forward they cut to a

different scene from a different session

right now some of the audience might be

thinking okay so why is that a problem

they just used clips from different days

so how would you

answer that question yes i think this is

um

uh

we see this throughout the whole promo

uh there are some um

examples later on they also what they

also do is they

use a continuous sound in this case the

the song don't let me down

but they added uh different images to it

and they

sort of gave the suggestion

that it's all in one session but we can

clearly see that it's not

so you could argue

why is that why why do they why do they

use different scenes from different uh

days of uh filming

um

it sort of indicates to me at least

that not not everything what we see is

like it happened

or

maybe to push it further

they added it in a way

that gives a narrative that maybe didn't

happen

okay so what you're saying is it's not

contiguous so they actually copy and

paste it to use layman's terms to

actually piece together

a storyline or visual at least for this

trailer now at least on trailer right

right

we cannot say how the

the end result will look but for this

trailer they they sort of cut it in this

way and

if people watch the trailer at normal

speed with sound they sort of um see

that that that's a little movie in

itself

they they preset the text with uh three

weeks of of the the guys recording in

the studio to record an album and to

prepare for a live show

and halfway through we got

all the disturbances of george

and

of some other things so

they they have to edit it to to tell a

story within the promo

and by by using different images maybe

they could uh

get that story for the promo

to work to function maybe later on in

the

final documentary they use complete

different editing that's possible but at

least for the promo this is my

observation they they

manipulate images

to create this storyline okay and when

you talked about disturbances were you

referring to when george walked out of

the sessions between january 10th and

january 15th

exactly exactly and like you probably

will um illustrate later on how many

days he left and when he left and when

he returned

it's sort of it's in between

sessions or maybe um

at least it created a very difficult

time for the guys right okay it

definitely would have impacted the

schedule right and we'll get to the

calendar in a moment

yes because it pops up in the in the

trailer so let's move on here and just

let me know when you want me to stop

this shot of billy

um this is some

something to illustrate what you

said in your earlier analysis

of

the

this the the way the microphones are

used in studio

and what we see here is two different

types of microphones and one on the

horizontal stand

and the one on the on the lower stand

which is a typical classical type of

microphone not sure about which type

and what you said um

is that these microphones pick up if

they are sensitive they pick up any

sound in the

and the surrounding so when we see the

guy in the in the rear that's probably

michael lindsay hawk

who's famous and at least in this promo

for smoking a cigar

you could argue

why is he in the studio during a

recording his sound of maybe lighting up

a cigar or walking about

is packed up on in the microphones so in

the recordings they get disturbed with

uh with noise with on what it sounds

right because what i had said was if

this is rehearsal it's fine

that's fine for a rehearsal rehearsal

right but if they're trying to depict

a scene or a scenario where they're

actually laying down recorded tracks

this does not work

because these microphones will pick up

everything the other thing i want to

to point out michael lindsay hogg you

could see the cigar right here right

above billy's head but look at his hand

it's in his pocket the hidden hand of

freemasonry

okay so we'll move on

we've got this scene here

yeah this is interesting of for a couple

of reasons

this is the first scene where we see

um ringo playing behind these sound

barriers

for his drum sound not to

be

predominant in the in the recordings of

the guys

um but later on in some other shots we

clearly see that he's not playing behind

sound barriers so

there's a discrepancy between the use of

sound barriers for drums which we all

know are very uh

yeah

dominant in the sound

yeah and if we look at this

this image as well we have a microphone

here to the upper right

we have a microphone here in front of

john

billy of course has a microphone which

we can't see

george's microphone is right here we

have a microphone here and both uh

george and john are playing electric

guitars which means they're playing

through amplifiers and even though

ringo is behind the baffling here

uh the problem is is that his symbol is

actually right even with maybe a little

above it

so anytime he hits that symbol it's

going to crash right through

yeah and all these microphones are going

to pick up

exactly the symbol crash and

the truth of the matter is because he's

so close to where they are

anyway it doesn't matter that this

divider or baffling is here

it's just going to ring through so the

point again being that

for rehearsal purposes not a problem but

if we're to believe or we're trying to

be told to believe that this is some

kind of recording session

that's not the case

and the other thing paul you and i

called out when we spoke last week is

look at the the piano and all the

codes and the mess yeah

and now it's it's only codes and you

could argue codes won't affect the sound

of a piano but later on we will see

that the guys are having lunch at the

piano

and um

what we know about blutner blutner is

one of the

major piano

manufacturing companies

if i'm correct this would equate to a

nowadays instrument of more than one

hundred thousand dollars

so to put your clothes or

lunch or drinks on top of the

top lid of the piano

would wouldn't make sense to say the

least and would be very

unwanted

okay let me move on here

okay so we have this eight track reel

here

yeah

what we said uh what i talked about

earlier is that we don't know if

these are true shots

they these could could have been made

last week we don't know

but they are they use them as an insert

to

link

one scene to a next scene so if there is

not a natural

transition between two scenes you can

use an insert to move that to make that

transition happen to to make the

audience

uh sort of get give her a point of rest

for your attention to

to easily

move into the next scene

that's useful inserts

and the other thing i've noticed paul is

when i watched the the original film

going back to 1970

these types of shots were zooming in

close-ups and sweeps and all of that

you don't see that in the original film

so to me this is something that

obviously that peter has created for

effect

yeah like like we said we

we cannot say for sure but at least in

the promo it works it works for the

effect of uh connecting two scenes

together

but okay since this is

that this is a shot that has no

reference to any time frame

um

they could have been made last week or

last month or last year when they when

they edited the whole promo

so they they and further in the promo we

see some other scenes

with billy preston

which are typically used to to to move

the story forward

okay

yeah i'll click forward

yeah

then we see

okay in the sound

of this shot

we see this is

ringo playing in the twickenham studio

and the shout previous to this was in

the apple studio

but the sound soundtrack again is still

playing don't let me down

so they they now we can for sure say

that they used sever several scenes

to create one

sorry several shots to create one scene

and again this is

yeah what what he um very strong

powerfully uses to to create the story

one of the things i wanted to point out

paul

is in the first trailer

they play get back and of course

the what's being implied is that that is

the recording or one of the loss

recordings or enhanced recordings that

peter jackson has brought back to life

based upon the

unseen footage but the thing is

when i uploaded that to youtube

youtube

identified the song as get back from

the beatles let it be naked album

which was the let it be album that

billy redid going back a number of years

ago because he didn't like the whole

phil spector production

so the point i'm trying to make folks is

that

the first trailer was

i think a little misleading because you

know we're thinking oh okay well this is

a

a new version of the song it's been

remixed remastered or whatever and uh

only to find out at least i found out

that no

that version of get back has existed for

several years

going back to when

let it be naked was released so

you know

what i'm saying is these songs that

we're hearing

in the trailer and i will put the link

down below so you can listen to the

whole thing we don't want to have the

sound here because otherwise it would

interfere with what we're trying to say

um

is that i don't know it's not new stuff

is what i'm saying

it's it certainly appears like it's been

released before

and uh it's not

new and unheard

okay well i guess we'll move forward

here

yes

okay so then we have this part of the

video which says the footage has been

locked and evolved for over half a

century

unseen

and then you want me to move forward and

john does a little something right

yes john makes a a gesture

we're we're at one third speed folks

though

okay so that's he's kind of

his hand is going forward

he's emphasizing

a a thing a moment uh something special

and then we see the tax card until now

okay this is

this is very powerful editing um

peter jackson connects john's moving to

this text until now so it

sort of anchors in our brain um a visual

and a text

and that's very uh interesting how that

works you want me to move forward

yes please okay

this is still in the twickenham studio

what i what i noticed here is that in

all the twickenham sessions we see

rango playing without

the sound baffling

um

and also what i

thought strange is why is he on a

platform

why isn't he on on the same level as the

uh the other guys

but please stop here this is interesting

but it does make sense to have a typed

out lyrics and a handwritten written

lyric

from two different songs on one sheet it

doesn't make any sense yeah so i don't

know whether peter's putting you know

the two together for some kind of an

effect or but what i pointed out was the

the type text was it's very it's not

very clear it's a bit blurry

yes whereas the handwritten text is

sharp sharp

all over the board yes and the other

thing too folks is that

get back was written by billy and if

he's supposed to be paul mccartney he's

left-handed and what we see here is

handwriting

that is written by somebody who is

right-handed

i think so too yes yeah because if it

was a left-handed person writing this

then you would have the left-handed

slant

yeah on the letters and we don't see

that what we have is right-handed and

the other thing paul i wanted to ask you

about is

again if i go back to the 1970 film

there were never close-ups like this

and so this seems to me to be another

piece of

footage

that was created

and inserted into the trailer

in order to create some kind of an

effect

like um like in the shot of the um the

recording wheels

the tape recorder we we cannot

um we have that we don't have any other

reference from this um what we see here

then only the the typed text and the

written text so this could be a shot

indeed like you say that peter jackson

has inserted recently just to to create

a narrative we cannot

visually connect it to any other thing

if there's maybe a shot that follows up

we see written text that is picked up by

a hand and the sheet of paper is lifted

off but here we see just as a

standalone shot of a piece of paper with

written and and typed text so

it could indeed be a

made-after

effect

the official story tells us that the

songs were works in progress which means

that they came into the studio

without complete songs and so

it would seem weird

that billy finishes the long and winding

road and then he hands it off to

somebody and says hey go type this up

yeah i mean i guess it could have been

done right but

sure but it you you

the argument against it would be that

that takes time you have to uh

you have to wait for the type text to to

get back to the to the studios to hand

out to the guys to play the song right

well as you if you would

uh say to the guys well this is this is

the lyrics uh

we're going to play it from my

handwritten lyrics

it saves time and you could

i don't know it doesn't it seems strange

to have it typed out okay so let's take

a look here

then we get a shot

i think of

yeah this is interesting

you pointed out earlier in your first

analysis that the um

this image seems strange because john is

looking sort of

with a slant eye

and um

right eye is kind of drifting

yeah sort of a drifting eye um the other

thing that you noticed is that the

microphone is in focus and john and

billy are out of focus

technically that would be indeed

like it is because the camera has

focused on the mic and not on on john it

could what you said in your earlier

analysis that the microphone could have

been a added

on um effect in a different in a

different image layer they can easily um

edit this into this

this shot but what's interesting is that

when we play it

that john is giving what i think to

billy uh the side eye

sort of a disapproving side i um

as you move forward yeah so just before

we leave this particular shot here folks

what i had mentioned as paul

just stated

is that we we don't really have super

clarity here with john when we see his

eye is drifting to the right here and

but look at the microphone

i mean it's it's very very clear

you know so and yeah it's it i don't

know it just seems to me like this was

inserted into the uh

into the bridge yeah yeah yeah with a

different layer and image

and and then and then post other thing

they can easily put it in in a different

image layer

and

it

does it doesn't affect the the total

appearance of the scene but we we as a

viewer know okay the guys are singing so

see

what's happening yeah and and

again paul just so that uh

i talk about this eye a little bit i i

had

suggested that this was some kind of

glitch

with the technology

um as it was trying to rebuild or

recreate facial features and stuff like

that the artificial intelligence or you

know whatever technology peter's using

you know it didn't quite catch it

now somebody wrote me and said that hey

you know

if somebody is a heroin addict

that one of the symptoms of

of having that addiction is that you

could have

a lazy eye

now

the question i would have with that is

that

when i watched the original let it be

film

and

seeing these trailers

i'm not seeing a john lennon who appears

to be a heroin addict he seems to be

very active

very playful

you know so i don't know um again

i take the whole story about lenin being

addicted to heroin him and yoko

um i'm not sold on that i'm really not

and the reason why

is because

as i've mentioned in a previous video

i know somebody

who is addicted to heroin

and the only thing that

that person

thinks about

is their next fix

all they're looking for is heroin and

you know i don't know it just doesn't

seem to fit with me based upon my own

personal experience of knowing somebody

who is an addict

and then watching john in both the

original film and in these trailers so i

guess i'll move forward and you said

that going forward billy kind of gives

john a

a side eye

now john gives billy the side eye here

yeah we can see john's eyes shift over

to him yeah so it's a very powerful

um how do you say it confrontation

between the two it's not not even a

spoken dialogue but the the eyes

says it all

it's kind of an interesting look

yeah yeah yeah very much okay so let's

move on here

now this this amazes me how clear this

is right here yeah

well

what we see in the background is this

purple color referencing back to the the

opening scene where we saw these uh

three colors purple

red and and green so this is in the

twickenham studio and the lighting in

the twickenham studios is different

the the lights are more

um from a lower angle

directly to the faces of the of the guys

whereas in the apple studios the lights

have been um pointed to the ceiling and

we get reflected and

indirect light so the indirect light is

more softer and here we have the direct

light and it's more harsh so we have a

clearer image of the faces but also it

gives a harder shadows but as a result

it indeed it looks more clear that's a

that's a fact

then we got the text

card of the three weeks recording time

you will see by the way the um

the boom

microphone that's only being used for

the recording of the cameras the film

cameras

have a

separate audio recording

and they um

they have to use a boom microphone

because they don't get a feed from the

mixing desk they have their own

standalone recording for the for the

film cameras

okay and here we now we see the uh the

tax card for the

let's say the main premise of the whole

story

at least for the

for the promo but i guess also for the

the whole series of three episodes

there's three weeks recording a writing

time

yeah so it's another one of these

crazy time frames in which the beatles

are going to pull off a miracle so they

have less than three weeks they actually

have about two and a half weeks to write

and record a new album

at least at rubber soul

they said 30 days

and here they're saying less than three

weeks so

the 30 days that i believe was uh 30

work days

if i'm correct if i with robert soul no

it was october 11th to november 11. so

it was okay it included weekends okay

including weekend so here are two

three weeks is including weekends but as

we see later on

later on we see a shot of the calendar

and we see the exact

timeline appear

now we got some um

okay so we have this scene here

this is again twickenham studio and what

you see now is that the lighting has

completely changed they have just

switched off the background colors or

maybe this is a different setting i'm

not sure but at least it's it it's still

a rainbow on the on the platform and the

guys sitting around

and uh yoko is reading a shopping list

or something

now we see george writing

and in the next shot following this so

we cut to a sheet of paper with lyrics

here

we see the lyrics of um i've got a

feeling and this is being picked up by a

hand and lifted out of the frame

right so and so the person watching this

trailer would think that it was george

it was george you wrote i've got a

feeling but you know at least

at least as far as the credits go that

it's a

song by uh john and

paul oh really

okay

this shot here um

it could have been a real shot

but also and like you said before these

shots were not included in the original

documentary

so what we

in imagery what we see here is hey uh

copy has been served okay guys let's

have a break

and in the shot billy preston is

just

relaxing on the piano and i'm not sure

if this is a real shot they could have

easily

mixed two layers into one shot

and

if the

shot of billy preston is is a real shot

which we must assume since he is

periodically um

correct in his dress and in his

appearance

the shot of the four coffee cups in

front of the the thunder roads is

it's maybe an afterwards made shot we

we cannot know but

it could be

yeah it's another one of these shots

that you don't see in the original film

and the reason why i bring that up folks

is that

why would the filming technique be

different

right so

if these are

outtakes

if this is footage that

was

shot during the original film

back in 1969

then

why were these types of shots not

incorporated in the original film

that that that's my question

you know what why were they only

in the

in the footage that was cut or the

outtakes

i don't know to me it just seems very

very strange

but here it adds

let's say in

404 as an image it adds to the

overall atmosphere

of the guys having a good time recording

being relaxed

relax there's time enough to have a

coffee to hang on the piano just to take

it easy

while in in the back of our minds we

know that they are stressed out because

they only have three weeks for a

completely new set of songs and a

recording

so the the the imagery

um

sort of

makes an effort to show us the viewer

the relaxed atmosphere

right so it's a scene that really

conflicts with the

official story

uh yeah until

peter started showing us his version of

the story or billy's version of the

story right

uh we know that the let it be sessions

were very tense

they were stressful

yeah and uh the lads weren't getting

along too well

and like you said paul this scene is

showing us oh it wasn't so bad cups of

coffee billy's just hanging out

okay

exactly all right let's move forward

here we move forward um we get a scene

where

george's okay this is the mala hanging

over a guitar to billy

if i may comment on this type of shots

the

promo of

let's say the preview of peter jackson

also shows

typical shots where in the foreground we

see

either billy or

john or whoever

playing or doing something with it with

their instruments and in the background

we see two other

guys of the band

still playing singing in the microphone

and here as well we see george and john

[Music]

playing while billy is handed his guitar

by mal

um it's a typical how do you say it

this this could have been done like i

said in the other shots

by adding an a different image layer

and it sort of

emphasizes the the group

atmosphere

so everybody is relaxed

making music

billy is

discussing something with mel about the

guitar

george and john are playing

this this group feeling this atmosphere

of the group being a tight group

is

emphasized by these types of shots

now move forward

yeah

if we move forward now we get the famous

um

shot of george asking

how many

songs have we recorded already good

enough

okay yeah so maybe i should turn the

volume up for that but here is a uh

another insert

yeah

so here again

we don't know

whether this tape recorder is uh

my guess is that it's a tape recorder

used by the camera crew so the film

camera have their own recorder for the

sound and what you see here is typically

a smaller tape size

what you said earlier the 8-track size

tape are these very wide

gauge

tapes but this is a smaller gauge tape

and i think it's only for recording the

sound of one microphone of the um the

micro the boom and microphone for the

film cameras okay

all right

and so we're coming up on the uh the

question that george asks

yeah all right let me let me just

increase the volume a little bit so that

folks can hear it

what we hear we hear george asking how

many

have we already regarded good enough but

we don't actually see george

speaking these words

and then later in the next shot we see

john answering to billy

none

so the dialogue is how many have we

recorded and john answers none

right but the way it is the way the the

camera

records it and how the the guys are

facing each other

doesn't make any sense

yeah and the other thing too paul is uh

it also creates a problem for the

narrative right less than three weeks

for 14 songs and then george is asking

the question how many are in the hopper

how many are done and john says none

none yeah so so here this is let's say a

classical plot point in a normal movie

um script

where the drama gets

gets there how do you say it

it moves it moved forward

surrounding a plot point

how many have we already recorded good

enough no

[Music]

so how many have we recorded good enough

and john lennon says

no no let me go back folks play it again

how many have we already recorded good

enough no

[Music]

george in my view is standing next to

billy wearing his fur coat so first he

has a jacket on and a jeans jacket and

in the next shot he wears his fur coat

and john is not answering

george he's answering billy

so the eye lines don't match up

so the imagery and the and the sound

don't match up and here again i think

it's very powerful editing

of something that

possibly didn't happen

all right so let me play this again how

many have we already recorded good

enough no

oh yeah

so they will film a concert of the new

songs for a tv show and a documentary

[Music]

um

you want me to go back

yeah if you if you can

i wanted to explain something okay what

we see here in

the clapper board is what you already

explained there's this classical two and

a one

numerology what you

most often have explained what the

meaning of that is

but we see it on the clapperboard and

the clapperboard in this shot disappears

by what is called a jump cut

so it seems like a um a continuing shot

but the

jump cut is made in between so they they

they cut out the the moment the clapper

board has been removed and what we see

is a clapper board and the next

moment we see no clap aboard we don't

see it being taken away from the shot

in my view but that's my view

it is a kind of a hint a clue

to people who know

uh look we have edited it this whole

sequence this whole promo the whole

movie

is clever editing and this is an example

an openly and

showing in plain sight openly telling us

at least people who are able to see it

this is clever editing

so if you play it mike yeah let me just

uh let me just

reduce the playback again

so there you go yeah there you go

it's a it's a

it's a

normally um considered a editing mistake

if you make these types of edits in your

final result

but here it is clearly being shown so

you could argue

or you could ask yourself the question

why is that why do they show it like

they do and then but also they roll away

the beatles drumhead

i don't know if there is a meaning

behind it but i sort of

well

okay you just

get back yeah i don't know if there's

any meaning behind it but the rolling

away of the beetles

yeah it's kind of a weird type of cut

it's it's yeah now it's there and then

it's not right and then it's not so you

you it's normally considered a jump cut

and it's an

added error it's not something you would

want to have in your final film

okay

unless

you want it in your film

so

okay anyway

we see here the location scouting on top

of the building and what we see billy is

making this arm gesture of being uh

something huge

and on the soundtrack but you don't have

to show it it's it's quite obvious the

soundtrack

says billy and voice over none of us had

the idea of what the show is going to be

and then we see billy making this

gesture so the show is going to be big

that's

also nice editing

okay

all right so then we have this scene

here

yeah

um

michelangelo who has what i

read about the planning of the rooftop

concert was

what i read it was his idea to have it

on top of the apple building

if that's true this sense may this scene

makes sense he's showing billy um some

plans

and if we play it out we

um we clearly see

here in this shot right here

what i think is a section view of a

building a hallway or a doorway

where where a

man figure a person is standing inside

this hallway or this building

sort of as um you can sort of get a

sense of size

of

a plan

showing billy

how what i think the concert is going to

um how it's going to take place where

it's going to be held how it will look

uh what has to be done in preparation

stuff like that and

having this little

diagram in the right side the bottom

right side of this plan

we see it in the

yeah what i'd say i think a

section view of a building with a person

standing in it

the other thing that's interesting about

this piece of the footage

paul is that it's clearly showing billy

in charge because here's mal he is

michael right

and they're they're covering the plans

they're discussing the plans with him

yeah and what does he do

he stays seated at his piano

and

what i

thought of this scene is it clearly

shows the

indeed like you say the power of billy

he's the man he's going to he's making

remarks of the

of the building plans for the the

concert

the two guys are standing up

are standing and billy is staying seated

so the power

uh position between the three is very

clearly shown here right normally if if

someone shows you plans and they ask

your opinion

you would also stand up to show them

respect and getting to the same level of

face to face that's at the typical uh

how do you say it um

interpersonal uh behavior right

but in this case what you're saying is

it's a there's a hierarchy in place

exactly yeah billy's demanding really

stay seated i'm not going to be bothered

to

to stand up to to you or to your level

i'm just staying right where i am i'm

the man

okay

want me to move forward yes please

without saying something i'm not sure

quite what

all right so the mood is getting a bit

lower

ringo leaning over he thinks it's all

right for me

okay

this shot

this this is the side door of the

recording room of the apple studio and

later on we will see um george no john

uh fooling um

about in front of this door

the

lighting inside

we know this is the basement of the

apple building

so they're walking up the stairs but the

lighting inside the stair well is enough

for us to see

um clearly billy

and he's

looking over his shoulder as george is

closing the door

and like you said before george is very

i'm not sure it seems that george is not

in focus

yeah and george is not in focus billy

would be even more out of focus

only the door seems in focus so this is

a very

much

um

reworked uh shot to get uh sharpness and

clarity

that's a good point because the doors

are in very good focus

yeah they're clear yep

and george is kind of out of focus and

if george is already then

billy must be completely out of focus

yeah

we saw billy just

over looking over his shoulder

and then they tell us they haven't

played live for an audience in three

years so of course this goes back to

1966 and this is 1969

exactly so this is also kind of a setup

for the the the drama that already has

been announced and the previous text

card for this recording time frame

so

this emphasizes the drama

yeah this is

what we discussed previous but i'm not

sure if it's of any meaning but what

this this was a very

the flash

sort of a flash

frame

it only takes uh

less than half a second

right and now remember folks this is at

one third speed so this goes by very

fast if it's at normal speed and we

don't we know it's john but we don't

clearly see it so we could argue why why

is it in the promo

what purpose does this see this shot

serve well in my view it's just to

disturb the audience

and disturbance is a way of

a tool of storytelling then we've got

somebody standing back here and i i

honestly cannot make out who that is

now some of the the studio crew yeah

yes but is is something that we later on

uh can see in several other shots as

well that there's always people standing

in the background

in the shot so

but that's maybe it's something that

doesn't have any further meaning but

it's

it stands out

now we see um

a little montage this leads up to

the this is the the section what i call

the cauliflower section george is asking

everybody

about his lyrics

what he where he doesn't seem to find

the the right words and

john is

jokingly saying well just use the word

cauliflower for any any version of the

words you don't seem to find

this is this bit

i say what we see also here um again the

um

the sound area

next to the sound barrier we see in this

shot is the the lastly speaker

of the uh the hammond organ and in some

later shots i have a nice uh interesting

comment on that as well

okay it's not clear in this shot but we

come to

come back to that later

okay here's the piano again too paul

right yeah already we see here some

stuff on the piano

what you could ask yourself would you

would you like to see uh wine glasses on

top of a 100 000 instrument

i'm not sure if i if it were my my piano

i wouldn't be so happy about it but

anyway maybe these these are the missing

reels of the unseen

exactly

[Laughter]

okay

i'll move forward

and now we get a shot of the uh

of the calendar

okay first this is yes this

the the calendar obviously is a

afterwards um made shot this is not an

actual calendar from

those days

it has printed text font live shows

next later on we see printed type of

george meeting and we see printed type

of

george leaving

so this is an

this is purely a insert to move the

drama forward it's not an actual

calendar

right so folks just

to recap

so the beatles came in to the studio on

january 2nd

and this calendar is telling us that

they have live shows scheduled for the

19th and the 20th

and of course that's

two and a half weeks

and the other point we wanted to make

here is that

george according to the official

narrative

he walked out of the studio on january

10th and he was gone

through the 15th

because he had that argument with billy

on monday january 6th

and then

tensions continued to mount

george threw in the towel and said i'm

done with this so he left at around

lunchtime on the 10th and he was gone

through the 15th and he returns on the

16th

so

this makes this schedule

even

more impossible

because one of your guitar players

is gone

for a week

and you only have two and a half weeks

you know

so it's just craziness and the other

thing i wanted to point out

i should have mentioned this in my my

one video paul and

uh that january 19th when

it's the first day of the live shows

that's january which is 1 and the 19th

so when you put the numbers together you

have 11 9 or 9 11. so it's another

9 11 reference right there as to where

they're going to do the first day

of the live shows yeah

yeah but in fact another

shot we will discuss later

if billy is beneath the clapper board

the date on that clap aboard and the

date of the live show also have very

very large meanings

yeah and the other thing i want to point

out folks the beatles did the rooftop

concert on

january 30th so when we take january

which is one plus

the 30th 1 plus 3 is 4 plus 1969

it reduces down to the number 11.

we see some

dates will will be crossed out to

increase the tension and the drama

okay now it's if you three is here okay

they are having lunch at the piano

[Laughter]

it's well it's it's strange for many

reasons normally uh maybe you do it as

well mike i did it also uh if you have a

certain place where you work

usually you have another place where you

have your lunch sort of get off gonna

have a little distance from your

workplace so you make a little walk or

you go to a kitchen room of a dining

room or lunchroom whatever

but here they are seated they stay

staying seated in the recording room

having lunch there right on top of the

piano

so that's

already maybe not like you would expect

but then we have all the stuff on top of

the piano drinks coffee um cigarette

cases

napkins all kinds of stuff

it seems strange to me it looks like

they're in a garage that's what it looks

like to me it does not look like a

professional recording environment now

of course someone's going to say well

that's what it looked like and i agree

that's what it looked like but i'm

it is it is very surprising

to see this recording environment when

you're talking about the greatest band

of all time

yeah i mean

later on we see when the discussion with

george uh happens there's a shot where

john where george arrives when in his

mercedes 600

a very expensive car one of the top-line

cars next to maybe bentley or

rolls-royce the guys had money so the

studio had money

um and then they have a having lunch

inside the recordings a room doesn't

seem fitting to the

status of the band yeah okay in the

background now we see again this leslie

speaker

and we see a microphone standing on top

of the amplifier

a guitar

amplifier uh this and recording uh

technically

this doesn't make any sense whatsoever

to have your microphone on top of an

amplifier so you get vibrations or or

even worse you get

circuit interference whatever

and another thing is that the

what i

researched was that if you make a

recording of a leslie

speaker

you at least have two microphones to get

that typical

leslie speaker sound

so this setup of recording microphones

at the lesley speaker doesn't make any

sense whatsoever

and again all of these microphones

i mean take a look at this picture folks

we have a mic here we got a mic here we

got a mic there there's one here there's

one

ringo here this is to catch the the

snare he's they got a mic up here

there's a mic going down here we have

more microphones over here here's one

here again this i guess to get the toms

yeah right i mean there's microphones

all over the place and again if you're

rehearsing no problem no problem

but

for recording

you couldn't record this way you could

not get

a good recording

exactly

with this type of microphone set up

okay do you want me to go forward paul

yeah but let's please uh

uh

and we got john

we got john goofing and in the

background we see the door which we uh

talked about earlier

the door where george was a little out

of focus but the door was in focus

exactly and now we see

in this shot we see george sorry john

uh clowning about

and what i noticed is that the the

lighting on his face is

very yeah it seems

overworked uh with the with the uh

with the

restoring um

what they did it it doesn't seem real

of course the shortcoming can be real

but it it

it calls questions uh

in my taste well also it goes back to

what i was saying before you know

he was supposed to be a heroin addict

and here we are

and you know he's you know he's very

active and

in fact the trailer before this he he

pulls his pants over his kneecaps and

he's hopping up and down on the ground i

mean we don't see in this

recent trailer but the one before this

we do so

i don't know

you know

yeah

it doesn't seem okay if that shot

ah okay

now it's getting interesting we see the

um

the shot of billy standing next to the

um the 10

number yep

the number of completion new beginnings

he has a big old smile on his face

yes

um

just for reference in the background we

see ringo's drum kit

without the uh the sound baffling

right that's strange because i think

this is again in the apple studio

so why is he in one shot he is

uses these sound barriers and in next

shot here

he doesn't it doesn't make any sense

whatsoever anyway we have john and yoko

down here

yeah

but the meaning of this shot is

kind of what you are

expert in

well the meaning of this shot is first

of all he's dressed in black and white

duality the number 10 number of

completion

new beginnings

i think this represents

bose is very uh authoritative yes

he has a smoke smile on his face

he knows exactly what's been

shown here

and then the next shot we got the uh the

other one even this one this is great

this this is um

interesting for many reasons

um

first of all we have the um the number

18. that's that's your territory mike

maybe can uh explain a little bit on

that well it's the number nine so one

plus eight equals nine and when when

billy plays the role of paul mccartney

he's all about the nines when he's

himself as william or billy he

associates himself with the number six

so he we could see him pointing up

exactly number nine

now he himself is

very much in the um

let's say

an image that is very well known as

iconography

uh for the jesus uh figure what we all

know

the he and and and a few tens of seconds

before this he is looking up to the to

the sign and he's almost exactly in this

typical iconically iconography

type of image of the jesus figure

that's

you could say well it's just uh it

happened like that

that's true but then we go to the next

meeting on the clapperboard

um we we see here on the clapperboard

the text beetles show

let me go back paul you talk about ice

cream exactly yeah i'm sorry

yes

we see here uh it says apple film

limited beatles show

and i thought i thought

with a camera crew a filming and a

documentary crew would they use

the term

show

on the clapperboard wouldn't they just

say um

it's recording

beatles sessions get back sessions uh

whatever or just the beatles or just

beetles but beatles show imp implies

something which with a very different

meaning

okay so you want me to move forward paul

yet please okay

um

okay here we have billy's got his yellow

shirt on you want me to move past this

yeah this is a little montage i'm not

sure what um

[Music]

okay adam this is

this is yeah this is the the scene where

billy off camera is saying uh it's going

to be such a comical thing like in 50

years time

and then we see yoko and

and john dancing but billy's

billy's line of it's going to be such a

comical thing like in 50 years time

and it sort of makes a reference to the

the timeline we are now in we are now 50

years later right

right so billy's seeing that in 1969

is also i don't know maybe it doesn't

mean anything but it's it's

i noticed this yeah maybe a little

predictive who knows right

yeah yeah who knows but then we've got

uh still this is still a montage of the

um we got the calendar again of the

calendar so

and now uh things um how did they say it

the plot thickens yeah they said they

have a meeting with george and as i

mentioned the

narrative in wikipedia says george was

out of there between the 10th and the

15th they did meet with him

and when they met with him he decided to

come back on the 16th so

yeah but of course with george being out

of the studio for a week as i mentioned

before paul

that makes this whole 19th and 20th

uh those dates

impossible totally impossible but

another interesting thing is

um in in the imagery we see while we

know now now we know that he's there is

a meeting with george so george's uh

have been having an argument uh he's

threatening to leave and in fact he he

does leave

and we know that this is taking place

um over five days time and in imagery we

see still if you play it now we still

see the guys playing here

discussing playing but this is still the

twickenham studio

so what they are implying here is that

the the argument with george is still

the band still in the twickenham studios

so when george returns

is that still in the twickenham studios

or not we are not sure we don't get any

information on that we can only conclude

it from the imagery imagery over here

so when he returns

if it is still in the twickenham studios

and later on we know they moved to the

apple studios

um moving the whole entire crew

the instruments amplifiers all the gear

including

the grand piano the bluetner what we

talked about earlier

although the apple building is only 10

miles away from the

twickenham studios

this probably would take

let's say a day

at least

moving a complete studio um

environment

from one studio to the next

building up everything plugging in all

the chords all the signals into the desk

uh signal checking sound checking

moving the grand piano how much time

does that does that take

well if you're moving you're going to

have to tune it

yeah exactly yeah and they move it

downstairs in the basement of the apple

building

so the entire operation of moving all

that equipment would it take a day maybe

two

that's another two days off the calendar

well an argument could be made that they

had equipment in both studios so that

they may not have had to

move equipment they just just unplugged

and then you know they went when they

went to apple

all that equipment was there that

argument can be made

can be made indeed but if not

and we see an imagery the bluetner piano

clearly visible the blue nose sign on

the side of the piano

did they have a pluto piano in apple as

well and it's in twickenham studio

not sure about that it's a it's like i

say it's a it's a grand piano and a very

expensive instrument so if that if they

had to move it okay that would at least

take a day if not then your argument

stands then they had already they only

have to um had to move their their

guitars and the drum kit of ringo and

that lee that could have been done let's

say between coffee and lunch i'm not

sure but that could have done yes okay

so we have billy reading this newspaper

yeah they are goofing about uh

within this uh the scene this is a

little montage of them um

this leads up to the crisis in the band

because we know george is leaving

uh

paul was stressed out john is stressed

out

and now george quits

that's interesting he says george quits

right and here's the thing paul where's

the date

yeah there's no date

all the other all the other days of the

calendar have a date and here

here we don't have a date but we have

imprinted fault george quit

to again hear this

manipulating imagery that doesn't make

any

sense in in

all right so just for the record i mean

they're not showing it here which is

very very interesting

uh as i mentioned earlier folks

george had the argument with billy on

monday january 6th tensions mounted it

didn't get any better

and then around lunchtime

this is the official story now this is

not mike and paul making up a story

george walked out

on january 10th

he was out from the 10th through the

15th and he returned on the 16th so

this image here this shot where george

quits with no date

this is very very odd

it doesn't fit the rest of the shots of

the calendar

no because the rest of the calendar was

very detailed here are the dates we're

exiting them off yeah right

exactly exactly so

this this shot is already fabricated

we can clearly conclude that so

okay

it leads up to the uh

here the shop john i saw george in his

mercedes uh 600. well and the other

thing paul i mentioned when we spoke

last week is this this shot is not

unseen i've seen this so many times

it's a stock uh stock footage of helped

arriving at the studio yeah yeah i mean

this is something that's been played

many times

yeah

what appears here is that the discussion

leading up to the live shows is building

up stress so the discussion the live

shows the stress george leaving george

returning it's all building up stress

to build the anticipation can they do

this can they pull it off yeah

can they pull it off in time right

exactly right okay

and there's the live shows again

cancelled

now they're canceled and in the same

they it doesn't even appear to be uh

white out it's just an another shot of

the letters cans of the word cancelled

it's not even on top of live shows it's

it's

it's edited it's not real it's uh yeah

it's only the

function is only to increase drama it's

not a

increasing reality of the of a calendar

being um

rewritten right so it's dramatic effect

it's only dramatic okay now we have uh

john and john

yoko

dancing i thought it was just a cute

acute scene

well everything is i've seen that

footage before too maybe they're going

to say well it wasn't that exact footage

but

well it appears to be this is in the

twickenham studio and what you see in

the background are these lamps

uh stage

stuff

on the left we see bongos and

other stuff belonging to the studio so

it appears to be and what i said earlier

the lamps the lights here are at a low

angle

and that creates these harsh

lit faces of the of the guys

yeah

but like i said it's nice to see the

yoko and john uh having some fun

having some fun making up again and

remember he's a heroin addict so

[Laughter]

all right so

here's a scene

a little tender moment

yeah

and what we

um

around this point

um

yes around this point

the

as we know that the tension has risen

george has left uh what will happen next

uh the music of

letter b starts

and that's a very the soothing sound of

the first chords of letter b plays over

this dramas and it's very clever editing

to use that uh song over this uh scene

yeah and they look very worn out here so

this is michael lindsay hogg here

assuming right

yeah i think so too and again he's

talking directly to billy right

yeah billy is the the man to talk to

john's not even in not even in this shop

no and to the right is his wife there's

linda and then we have ringo and george

looking you know rather bored

yeah

another thing

of worth mentioning maybe not sure uh we

know that from all these sessions there

are a lot of photographs uh taken by

linda

but in this promo we see linda in this

shot and then um later on in the inside

the desk room we don't see her using or

wearing her camera

so that's just a little observation i

made okay

all right so we have a little one-eyed

symbolism there

yeah

i i noticed this i thought well it's

probably not uh intentionally um and

maybe it is but at least it looks very

unforced on uh unprepared yeah i don't

know whether it's intentional or not but

yeah

oh there's more one-eyed symbolism we

got yoko

peeking out from behind her hair

very interesting yeah okay

it's a nice shot i think it's a nice uh

conversation between the two of them

they have two eyes

yeah okay

here's billy

now we get to the point where

um

john is sort of starting to

get tired on the billy's direction

if we play it forward

but he's stressed out this is an insert

from the from the rooftop and it it's um

mixed together with these shots of the

earlier years yeah and now we've got

they they sort of um they lean on the

sentiment from

where they have come these boys what

they all uh accomplished over all these

years all these famous concerts

and now they're still

fighting to get this album uh being made

so it's all to

enhance the drama right and this is

buddha khan i recognize the background

here

in japan 1966.

now we have this discussion um mike

valencia hawk asks

um in reference to jo to george leaving

well uh documentary seems to grind to a

halt

and then we see here john saying it

grinding to hold

it's getting just getting started and

then uh

billy answers uh something to that

effect as well yeah billy was joking

around we're just getting started

it's just getting started yeah but it is

this is still mind you this is still in

the twickenham studio

so this is indeed indeed a little

reference to the to the date it it took

place if george actually left uh for six

days

then this this shot was still in the

twickenham studios but anyway

for

time points

so this november

okay you see you're barely playing okay

here this one freeze um

you you could read from john and um

and george

that they are under the depression of of

belly

billy as as the band leader

uh telling him what to do

later on we see uh

billy hovering over over john at

the uh at the piano

but the pose here of billy is

interesting because also here again he

sort of takes the

sort of the jesus pose with the arms

spread

maybe i'm i'm stressing uh stretching

for an image but

it it this is how it appears to be i

think you're absolutely right it's the

savior pose and

it's the savior boy that jesus christ

saved your power yeah and we have and

look at the way we have george

you know it's exactly composed it's it's

his arms and the boy's two faces are

exactly yeah uh symmetrical it's it's a

composed shot this this you couldn't

have

caught with a with a with a random

camera just oh look over there no you're

too late it's already gone so this is a

composed shot

it's also the same type of shot paul

uh that is depicted on the back of the

sergeant pepper album where billy has

his back

exactly and the other beetles we see

their faces but on the back of pepper

billy has his back turned to us so

to me this is a very very similar

type of um depiction yeah yeah

it's a sort of an image how do you say

it and uh

it makes a visual reference to something

the audience already know

yeah and so you have a um um

very strong um

reference there well he's in charge

and he's in charge very much so and then

the next shot we see him hoving over

john

at the um

here

we see john at

yeah what is it the keyboard yeah

i got a keyboard yes exactly but we see

that again here the the posture of belly

pointing out to john no no you

the other chord got a chord no it's not

a b flat it's an e minor whatever

how he's

telling john what to play is very

uh stressing the the power role he's uh

yeah he plays he has well again it's

it's another

piece of footage where it's showing us

that billy is the leader

yes he's directing

yes right

and here we go again he's you know he's

pointing and he's directing watching yep

yeah

exactly

and you see john

john is very much

uh

yeah he's

he's getting

tired of this whole uh scenario he's uh

he said he had enough of it right

his face expression is uh very telling

now we get up to the scene where

the guys play together and we

um

where are we at 217

yes

there's a small discussion going on

and

then they flash back to this

and then they play yeah but

during this flashback we hear the

soundtrack say when i find myself in

times of trouble mother mary comes to me

so again

very powerful lyrics over a very

stressing moment

um emphasizes the whole drama and the

soundtrack

even more emphasizes this

and then we go to

the

this scene yep

yeah well a little little uh thing a

little observation i made is the piano

is without this top lid

but there's no microphone in there so

this is clearly really playing uh

without any recording

it's just something else yeah and this

would be the microphone for the film

crew right or the camera

phone cameras exactly okay it's not this

is not your actual um

recording

microphone okay

again here in old imagery

i hear john and george

[Music]

playing yeah trying to tie it back

yeah period new period

yes exactly

and this leads up to the scene where the

four guys together are playing and we

get a comment from the booth

from the desk

this is all montage

yes this shot john is leaning over his

shoulder the the recording engineer

glenn johns

is asking on the soundtrack john once

more then

and then we get to

the shot from the the sound desk

so we ask

once more then and then we hear we hear

john

answer but we see a completely different

image

if you play it

this this shot yeah and shot we see john

answering um glenn johns so john answers

um i mean we'll never get a chance to do

it again and then we see on the word

again we see this uh this cut to another

scene we see clearly here he's got that

blue and yellow shirt on again yes

john's blue and yellow billy is wearing

orange at his guitar

and george is wearing red and then we

cut to the uh the next scene this scene

is indeed is

continuous then the next scene

we hear yeah that's not billionaire is

wearing blue john is wearing white yoko

is in the picture and everybody is doing

something completely different so this

goes back to what you were saying before

paul that it's not contiguous

and it's it was done to

to kind of copy and paste and put it

together so that it would create

uh it would create the trailer and a

story and something people would be

interested in but uh yeah

it it doesn't at least it is not uh

continuous

uh editing from

scenes from our shots from the same

scene it's from different scenes from

different sessions different days i i i

assume that the guys we wear different

clothes every day so

um this is clearly from another honest

yeah and if not if not um

i i i wouldn't go as to to say

as far as to say that this is uh

fabricated but it's it's from a

different uh different session right why

i hope they change their clothes every

day

[Laughter]

oh we think so it's building directing

again right

building directing again with his right

hand

i wouldn't know if if a director always

uses his strong or his weak hand but

i would assume it's your strong hand

yeah

we are now having fun goofing a little

bit

oh with this shot

is this is the guys

sitting at the desk and now what i

noticed is that in all shots of the dead

the guys hanging at the desk and playing

uh

grooving to the playback or whatever

smoking uh

whatever the sound engineer is not at

the desk

so if they would listen to to playback

the sound engineer would would

would be at his desk would would uh

control the the the playback yeah he

would be in the board

you add the board exactly he would mix

in a little bit more drums a little less

guitar whatever now the other thing is

that's a problem with this scene

paul and i'm not saying it was you know

created this way after saying maybe

this is exactly how it looked we see the

coffee cup right here

excellent okay now if you're a sound

engineer

and you're running this control room you

would never

have

a coffee cup or any kind of cup that

could possibly have liquid in it sitting

on your board because if that tip's over

you're going to have a big problem

yes electric

not in this shot but in some other shots

we see that the guys are the ashtrays

are on top of the of the board

so the guys are smoking and drinking

above or on top of the board

it doesn't make any sense

this is all montage okay

this is my favorite scene here yeah this

is a shot you you already called out the

the entering of billy in the in the

recording room

it's it could be that it has taken place

like like here shown

but it very much looks like it's not

it's composed of billy

maybe in another room entering whatever

but it's shown here i i guess they show

they only filmed a male leaving the

studio ismail here

yeah and the shot of billy very much

seems uh put in afterwards on a

different image layer edited in the post

that's how it looks to me

you know i'm looking at the outline of

billy preston

and it just looks like it's

layered or superimposed

onto this background

exactly that's how it looks to me

later on when we see

billy playing guitar

shot together with the famous uh

we go to we come to that uh in a bit

uh we see him playing then with uh with

billy together

it also seems fake this is still a

montage

okay so i guess we're getting to the

rooftop scene here now now

leading up to the rooftop scenes but

this is intercut with some scenes from

the studio uh

as well

so we see here

the guy's playing

okay

this stop please

we see here george playing his

fender telecaster

very clearly a telecaster with a brown

body

and a white picking plate

and a light brown strap

this is typically george's guitar

then if we move forward

oh there are the meters again we talked

about this where this is an insert

possibly

this isn't possibly an insert we know

that the board has for you you meet four

vu meters okay we see we we see them

actually over here the next shot on the

board

these meters are side to side on top of

the board

you're these little little this gray um

there's maybe another shot where you can

see it from the from the guy's point of

view but anyway

and now we in a moment we get

this is some street shots this one

okay

i thought

like the shot earlier from billy preston

that this is um

put in afterwards on a different image

layer

here again like you already pointed out

mike the contour of his body his head

his hair

it seems strange it doesn't seem to fit

inside the scene

yeah what i notice what i notice is that

the um

the lighting

it could be but it's it's sort of seems

off i'm not sure how to call it but um

the more important thing is what you

said mike

billy

is playing george's guitar

and what we see is that he he's

he's playing uh he's having the guitar

on the same strap as george so the strap

is way too short for him to place his

guitar as a as a lefty

there's a bigger problem this is a

right-handed guitar right so this is

what george was playing earlier

so for for billy to be playing this

guitar he would have had to reverse the

string order

yes right so when george plays

right-handed the low e

string is right here

and the high e

the first string is down here

so how billy could be playing

standard

chords and this looks to me to be he's

probably playing like a

it looks to me like he's playing a

b flat

type of chord here

and the problem that we have folks is

that in order for ability to play this

properly

the guitar would have had to have been

restrung

and to reverse

the order of the string so remember when

george is playing it because it's a

right-handed guitar

here is the low e

the bass string

and here is the high e which is the

treble side

of the the strings

across the fretboard

and not only would they have to reverse

the string order

but the nut

which has slots in it

would have to be

re-slotted because you cannot get

a low e

base string

in a

high e slot

okay

so

this whole thing is just off

so this makes no sense it makes no sense

this is

if this happened if this happened

it's completely staged

and he can't possibly when i say he

billy can can't possibly be playing

anything

that makes any sense

the strings are in reverse

order so this is a very

very

peculiar

shot

and whoever put this

together didn't understand this that's

how i look at this paul they didn't

realize that when they did this

that somebody who plays guitar

would pick up on this right away

but for him to have the the guitar

restrung

it takes at least

a couple of minutes whatever if you have

a professional uh guitar guy

mal athens would probably do that in a

in a bit

but still why would you restrain a

guitar when there's maybe laying around

five six other guitars

so

from that standpoint this is totally

nonsense it's nonsense it is nonsense

and even if they didn't even if they did

restring the guitar paul

they would have to do something with the

nut

they would have to pop the old nut out

put a uh a lefty nut in or somebody

would have to

you know take their filing tools because

i do this folks i mean i do guitar

repair so i i know what i'm talking

about here that something would have to

be done with the nut so like you said

this whole thing does not make any sense

here we have the this is the low e

string right here we could see that this

the string is larger it's thicker okay

right here

we don't see it up here

that's because that's the lightest

string that's the high e

so this guitar based upon what i'm

looking at right here paul

was there this is a better view right

here

there's a good view here you could see

here's the e

here's the a

here's the d these are the bass

strings

the guitar was not

restruck

it was not it's visibly

visibly a lefty a a a righty guitar for

a right hand handed person

classic classically uh

strong

as we know it for in a normal or normal

but for a right-handed uh player right

all right so i'll move forward again

sorry about that

like i said the shots here in the

streets are for what i think

untouched in terms of um

artificial image enhancement yeah they

look like this

all the scenes i've seen before

yeah relatively normal

still goofing around

this shot i thought well maybe i'm not

sure um

ringo he mimes the movement of a film

camera

but in fact he's telling us look look

guys

we are being filmed it's a show

it's all performance it's all on yeah

the beatles show

the beatles it's like the head on the

classic

yeah like the club aboard

i'm not sure if that's his meaning at

that time of this shot but

i said things

are now before us they they could have

easily been interpreted like this

this is all montage

guys having fun

like john's position here yeah

it's very strange and by the way

uh yoko is probably looking at some um

coupons or

the latest uh dinner reservation uh i'm

not sure which maybe she's reading

coupons to go shopping or something

[Laughter]

anyway it's just

a little

joke

experience the three-part event

experience it

yeah

it's an event it's how it's presented as

an event as an as a how do you say it a

sideshow as a

carnival

uh this this one here you and i both

picked up on linda's face looks like

yeah it's very much an enhanced in terms

of the uh the digital enhancement of of

these faces and this uh contrast uh we

can go back and we'll i'll start that

again let me see here

okay there you go

so we see linda here and what i think is

it's very um enhanced in terms of the

image

the contrast again

and the image enhancement

it looks very much off even for an

untrained eye you could see well

why is linda's face so strangely

clear uh lit yeah

i noticed it right away paul when i

first watched it without you saying

anything i said boy she looks like her

face has been

enhanced

and another thing is what i talked about

earlier

we know that she um took a lot of

photographs during these sessions

but never in the at least in the promo

that we see her wearing or using a

camera

now

you could argue okay

she only took some photos

one day during the whole session that

could well be another thing is if that's

the case you would probably miss out on

interesting moments

normally when you are

photographing an event you will have

your camera all the time with you

only if you go to lunch then you maybe

take it off for him up a few moments but

every other moment you have your camera

with you

we'll have to see what he does we'll

have to see what he does with the

documentary

how much he shows with linda and whether

she has the camera it's tough to do with

like a three and a half minute you know

exactly right exactly we cannot make a

judgment based on what your point is is

well made i mean we should see her with

a camera i would think

i think

okay let's because

the other photographer yeah ethan a

russell

he is in some some shots not visibly but

yes he is there

and from him also are

very many photos known that that he took

during the session so

every time we see him in uh in a frame

he's wearing a camera or better yet he's

pointing the camera um to the guys he's

having the camera to his face to his eye

so that's in

contrast to linda who's never wearing

her camera

this is all

a montage

ringo is lining up the frame

yeah this scene here

interesting that george and john

hug each other while leaving the studio

it's just i thought well

interesting that the camera picks up on

this

that they filmed the guys leaving the

studio

it almost seems contrived to me

exactly

but

like i said it's we kind of make

judgment

more than what we do now here basically

on the

footage

well now we're getting up to them

yeah this is sort of the end of the

studio footage now we get the last shots

which go to take us takes us to the air

to the rooftop

there we have it folks set back

or others have said hey that you know

the shepherd's crook

yeah this episode so yeah

many many comments on online already

were made on this at the uh stephen

weber um

sorry i mispronounced his name oh steve

fauber yeah

i see steve

i have a lot of astute subscribers it's

amazing what people pick up on

yeah it's great

now we get to the rooftop scenes and one

one thing that i noticed what's

interesting is the

rooftop fairly clearly shows that it's

been boarded

with very um

well i think it's something like a 1 000

square

foot of

wooden blanks right here yeah yep yes

and um

there are still photos from the

location scouting

made by

the ethan a russell

photographer who made these shots

where we can see the guys scouting the

rooftop for the location to

to have the concert and what you can

clearly see that those shots

show the roof of the section where it is

not being planked and here it is very

clear that this all new wood

placed

precisely for the uh

for the um the concert

and

this

um set me to the thought of

the timing and the planning of this this

rooftop if you have 1000 square feet on

of wood

that you want to have installed on top

of your

standard roof felt

you have to get it over there first you

have to think about the idea we're going

to

um do the show on the top of the

building

so you have your image uh so your id

forming you have your concept then you

have to start planning you have to buy

the wood you have to

bring it over there you have to

transport it on top of the

on the building so you have to have a

crane you cannot probably are planks of

at least three feet long you cannot

transport them through the the

stairwells up upstairs so you have to

bring it in from from the street level

with a crane so you have to use a crane

you have to rent a crane a crew

um

a crew of carpenters to fit it all on

the roof

um

then you have to plan the day of the

concert with all your instruments moving

on top so from the basement of the

building on top of the on the roof

um you have to organize all your your

camera crew they have separate lightings

you see here in the shop that they have

these flood lights they used to um

because it's a great day with a cloudy

overcast day

so the lighting is not optimal they use

extra lights

to give the camera crew and sufficient

um

lighting scheme to work

with

um

security the police is probably in on it

all these things take very long longer i

think than

just

one person scouting uh shouting it from

uh

let a guy let's i know i have an idea

let's play on the top of the building

and then

three minutes later you you start

playing it doesn't work like that no it

couldn't be spontaneous

because

i would think paul at the very least

they would have to have a building

engineer come in

to make sure that the roof

can sustain

uh what you're bringing up there the

equipment the people and so on there's a

lot of weight because you don't want to

get up there and start playing and you

fall through the roof and you wind up

you know downstairs so i agree with you

that these planks here and i don't know

if we're going to see it in this footage

but you did have a still that you sent

over and folks can go take a look at the

rooftop scene you know by doing a search

and you can see that these planks do not

go all the way across that they are

there

uh where they are going to perform where

they're going to play

exactly only the let's say that the band

stand area is planked

the other

area of the building let's say behind

the uh the rail

the railings

behind george sorry behind ringo

that part of the building is not being

planked and the still images of

by ethan a russell clearly showed that

that is the the standard roof felt

you can see it up here right

yeah it's it looks like that exactly

right up here but like what you said

also is the the weight um distribution

over the over the the roof a roof is not

built for the

these types of uh of load forces so you

you have to disperse these loads over

the entire area of the roof and there is

where these planks come into play and

it's very thought

well thought off it's probably like you

said it's maybe they they they they had

an engineer who looked at it who could

tell

the type of planks they have to use

to make sure that this

also we have an an and

a sort of uh

improv railing where the the cameraman

are standing and you don't want people

uh falling over

um

like i say we had the entire camera crew

and what i read about is um

that they have six uh six camera um six

cameras

filming this uh this concert and this

shot indeed from the other side of the

street was indeed a uh an actual camera

we discussed it before and we

we doubt

at least i doubted it um if that was a

real camera of that or if it was a

stealth image that they reworked into a

moving scene but it's it's in the

original

documentary as well so we have a camera

across the street this also

um asks for coordination and

people

stage hands with

maybe with walkie-talkies you have to

plan this way uh way up

in advance okay so the net of it is and

i agree with you that this wasn't

spontaneous they weren't downstairs

15 minutes prior and said hey let's move

all the stuff up to the rooftop and

let's put on a little performance right

so

there's and of course there's nothing

wrong with doing the the performance on

the rooftop i think it's great but

the story that it was just this

spontaneous decision and they went

upstairs and they did it i i agree with

you that

no this had to be planned out because

like i said you know if if you don't

have the weight distributed correctly

uh then you could wind up having a

problem

and another interesting thing is i'm not

sure

at what moment in time it is and

i have it at

3 40. if you can you go back a few

few moments in this rooftop

scene

john i mean take a look at how all these

buildings are paul

yeah right

yeah

this one you see the guy standing in

front of john

sitting on his knees

with a red hair he's holding up

a sheet of paper with a score

talk about this guy here and he's

definitely holding up a clipboard

he's holding up a clipboard with with i

think with the score okay because john

john is singing so he doesn't have to

read the score he knows about heart

maybe it's lyrics maybe it's lyrics for

billy to read off of

maybe you know but

like i say it's it's only on this on

this song it's not on all the other

songs it's only here that this guy is

holding up

the music sheet or the score or the

lyrics whatever

so this is this is a shot from across

the street obviously this is from from

across the street and this guy in the

the brown trench coat he is filming

this camera

so what we see here

the two cameramen are filming each other

interesting

and we could see

here's the roof

the building next door right and we can

see here

and i don't think this is planks here

this just looks i don't see planks here

but this looks like this up here

some some roofs have concrete uh tops

but

usually

you have this typical roof felt

and it's a

it's a bit i record an english a bitumen

based um

roof felt for making it um watertight

yeah

and if you

normally work work men who who uh who

repair or who made

this

they are used to it they know how to

walk where to put your feet not to

damage this rule felt

if you damage it you get a leakage and

then you can start over all over again

yeah but if you have if you have 20

people or i i don't know yeah at least

20 people standing on the roof

it it will get damaged you don't want to

have that so the

the blanking on the roof is very uh

useful

but it takes a planning that is not

considered in the earlier um

calendar story yeah and like you said

paul they put a rail up here

yeah they put a railroad and uh and it's

highly unlikely that they took these

planks and brought them up through the

stairwells and

brought them up and then started laying

them down and they possibly had to bring

in a crane

yeah so i had to bring in a crane so a

crane rental uh is all

at all asked for planning days in

advance

and um so like you say it's not

spontaneously um

done it and what

what i

what is not clear in these shots

at that halfway or somewhere around the

end of the concert

these policemen enter the building

and um there's an interesting footage in

the um

if you watch the entire concert footage

you see bobby's the english bobby's

entering the building but you see it

filmed from both sides of the door at

the same time

so this clearly

shows me that the police were were in on

it they were they know they knew they

were being filmed

or even better they um

were in art and they they acted out

the entire scene

yeah i

i would have to agree with you that this

was completely scripted including the

whole thing with the police i know the

scene you're talking about

um

so yeah you know like everything else

it's it's theater it's theatre it's just

a show yeah you know

because the whole premise of

playing on the rooftop

for who are they playing the guys in the

streets barely

here

heard anything i mean the the amplifying

of the sound i don't know what speakers

they use but it's only

monitor speakers but i think way it's

it's what they are had up there

but the problem is is that this this

becomes like this is a big echo chamber

that okay that's true right so this is a

big echo chamber down here so they're

playing and the sound is reverberating

off the buildings off the windows and it

just sounds like a big mess

right right it's like a bad concert hall

with uh with a bad

acoustic

well this was a very interesting

discussion paul it's amazing too it's

been

uh two hours for us to go through a like

a three and a half minute

clip

so just taking a look through it and

again folks

you know we're just

watching and making some observations

and sharing some insights and

you know some folks are going to agree

and others may not agree but that's okay

uh you know we're just

chit chatting and

taking a look at possibilities

but there are definite anomalies in that

trailer

paul that you know you've called out

that

do call into question and as i have said

i i do believe that

peter jackson has been given the job by

billy

to

buff up

this period of

the beetle history

to make it less negative

and you know to infuse it with a more

positive

tone a more positive storyline

even if they

used existing images so let's say the

discussion about

peter jackson

using

real cgi real

computer generated images from nothing

i don't think that's the case at least

for total images maybe from for the

details that we already discussed

superimposed images eyes that moved

across

things like that

but if if they indeed use

the the existing images it still tells a

story which is

uh

made up from

uh edits

over a soundtrack

and a narrative that's been emphasized

by

yeah juxtaposition of certain type of

images

uh inserts of the calendar the timeline

so the the let's say the induced drama

um it's it's um

a real clever piece of of editing and

and image

processing

it's going to be interesting to see

uh what this looks like the final

product yeah you know and uh the part of

me that says don't bother watching it

because i don't want to feed the beast

but there is there is another part of me

that says i want to see exactly what

he's done you know because

i keep going back to

if this was such great footage

why was it not in the original film

you know so i i think that uh i believe

there's a lot of liberties that were

taken

and i think the technology and you you

might disagree with me is probably

more prevalent than we might think

uh in order to enhance the story i i do

believe that and uh yeah because all the

happy smiling faces that he's showing us

in these trailers

you know it's a very sharp contrast to

uh what we all know the original film

was about i mean i i watched the

original film a number of times i have a

copy of it on dvd it's well documented

that it was a very tense and

down time for the beatles as a band

so you know for him to pump up the tires

and make it look like it was just one

old big old jolly time

i don't know

and also what the

the

what you said earlier about what we know

how george uh later

looked back on on this period of time

and also

what even um

recently how ringo is sort of distancing

himself from the

the film that

that that michael lindsey hogg made

and um well from george you already

mentioned we know how he thought about

this period in time

so these these um

these opinions of these of the guys the

guys from the band how they look back on

this period of time

is completely different from what peter

jackson is telling us right

and

then then you have to ask yourself okay

what is true and what is manipulated and

what is contrived or what is

a clever attitude and uh what is indeed

cgi uh things we i mean

certain things we could see

we picked up on uh both but certain

things maybe we missed right

i mean peter jackson is a clever guy and

he's very clever

and he has state of the art technology

he the technology he has i mean he can

the the stuff he made for for these uh

lord of the rings films is amazing so

i i believe

that he can do anything he wants with

imagery

and what he shows us here is already

very clever and maybe we we missed half

of it

but

at least we picked up on some

interesting points yeah yeah so i for

everybody who's watching this and is

ultimately going to take a look at the

documentary when it comes out later this

month

watch it with a discerning eye

that's all i would say and as you watch

it keep in mind

the original

story the original narrative

you know keep that in mind as you're

watching it and and then

mentally note

the contrast

in presentation

whereas the michael lindsay hogg version

of let it be going back to 1970 when it

was released

again was showing a band that was

hitting its demise it was a band that

had a lot of tension and that tension

started way before let it be and it

extended way beyond

let it be

and you have to keep that in mind so

don't get just caught up in all of the

the fantastical

presentation that peter's going to

present because i'm going to tell you

it's it's not going to be reality i

don't think so

right anyway paul this was excellent and

i'm i'm so glad that you uh agreed to

come on and talk about this and uh

so i think that we shall see right later

this month we shall see how close to the

mark you and i are

okay i'm like i say i'm

interested in what

how people will respond

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you