All language subtitles for JOHN LENNON - Gimme Some Truth - Mp4 (2000) -Eng

I think we're on this one
for now.

Yeah, if you can plug
him in, just for now.

Cos we can maybe
use the same amps.

One, two, a-one,
two, three, four.

It was Ascot, England.

Early summer.

And we just kinda said,
"OK, why not, you know?

OK, let's do it."

And we invited some friends
and we had breakfast

and then we just go
right into the studio.

So, it was really
like home cooking

and that's how Imagine was made.

But we didn't know
it was gonna be that big.

OK.

- Hello, hello?
- These cans are not working.

Oh.

Hello?
Mine are working.

Maybe we should just go
and do 'Imagine', then?

What's this one, a ballad?

Yeah, come on,
I'll teach it you.

Sure.

- That's a nice one.
- Yeah.

- Sure.
- That's the one I like best.

I wish there's another piano,

because you could get the same
kind of piano

and do an octave higher,
it would be beautiful, you know?

- We can always use this.
- Instead of electric.

- We could do it on one.
- It's a delicate song.

We can do it on the top half
of the piano, maybe.

If we get a mic through
to the front room?

- Yeah, that's it.
- Yeah.

Well, I'll go on the white one,
cos that's what I wanted to do.

- Yeah.
- Yeah.

Playing over you already.

See, I think it would be better
if we just played...

...either a piano underneath.

You know, it should be
just a piano song.

When we play back through here,
we get some of the drums.

What?

There should be a higher sound
on the piano.

- The piano's very...
- My piano?

No, not your piano.
Nicky should...

Yeah, I think we should try
Nicky playing an octave above me

or the same, maybe,
you know?

We haven't had one
with just piano.

Sounds great that way,
you know.

Nicky, we can try you
an octave higher on the piano

- playing the same as me.
- Yeah, OK.

I might be a bit daft,
cos I sometimes go do-do-do.

And you know,
he shouldn't do the same as you,

he should do,
when you go dah-dah-dah,

he should go dah-dah-dah.
You know, like... complementary.

What about the drums?

Cos it sounds daft now.
It really sounds daft.

I don't like that stopping.
The bass sounds too trebly.

I actually thought it was best
when there was no drums at all.

Bass, too.
Bass may be too much.

Let's hear it again.
We'll just eliminate...

Sounds really nice on the cans

when I was just listening
to the piano.

If you're gonna use the drums,

the ticky-tack on the hi-hat,
would have to be in,

because the jerkiness
of that little... at the end.

Let's hear the bass.
Can you go and play bass,

cos it sounds like
Bert Kaempfert again.

So, we'll try it with
just the piano,

or me and Nick on the piano
and then they come in on F,

until the middle eight.

It really...

- That's better.
- That's better. You've got it.

Yoko, why don't you go
in there and listen,

- instead of being here.
- Yes, OK.

Oh, I see.

...playing on this piano
that Nicky is playing.

Yeah.

And then you try to play
something in an octave...

Yeah, OK. Well, look, I'll just
do it and track it myself,

but not in octaves,
the same key, you know?

- Same register.
- Yeah, right, right.

- The problem was in that room.
- OK, let's go, then.

...spread out like hell.

I wish they'd told us before.

And the world will be as one!

Oh, so we'll have to do

this some other day,
ladies and gentlemen.

You see? Because they've only
taken an hour, you see,

to tell us that the noise
is spread in this room, you see?

- Do you remember?
- I think so.

- You were wrong.
- Yes. Oh, maybe not.

Women first.

Come on.

- It's not the final version.
- Oh, yeah?

Ahhh.

No, but you see... and then in
the back, there'll be a profile.

- Yes, imagine.
- 'Imagine'.

Yeah.

And the back is gonna be
eyes with the sunset in.

Two sunsets in it.

- Yeah. And inside...
- Inside, there'll be like

four or five Johns standing.

Figures getting bigger
from childhood up to full size.

Very, very good.

I've just seen
the words for 'Imagine',

which is very, very good.

Oh, good. I'm glad you like it.

You should see
all the other lyrics.

Well, there's only three
I've written this year

all the rest were things
that I'd written before.

I've just polished them up.

There's a nice one called
'Crippled Inside'.

I'll play it you later.

Yeah, but this has
a nice little twist to it.

Yeah.

Very corny, country and western,
it goes like...

You can go to church
and sing a hymn

You can judge me
by the colour of my skin

You can live a lie
until you die

One thing you can't hide
Is when you're crippled inside

And a little heart there
and that'll be it.

I don't know why
I love you but I do

I don't like other people

doing personal things
like this for John, you see?

So I still do this.

She's a lovely mother to me.
A lovely mother.

I don't know what I'd do without
her sewing up me fly, you know?

Which way, John? Look.

- This way?
- No.

I think that it would come
like that, wouldn't it?

No, like... Like that.
It's like that.

All right, all right.

That's it.

That's "in the middle
of the night" verse.

We don't want that.
We want the one about clouds.

You can take your time,

but let's give them
the right one, OK?

Because otherwise they gonna
probably make a mistake.

- OK?
- All right.

Hey, you're giving us

"in the middle of the night"
instead of cloud.

That's not the one.
Remember...

We're both doing
harmony again to it.

Let me explain, OK?

What's the matter with you,
Philip,

it's the last fucking verse?

..."In the middle of a cloud,
I call your name."

"Oh, Yoko." He stopped here once,
remember?

And that's the one
you're playing now.

We don't want that one.

We want the one
that he recorded afterwards,

all new and free,
that was from

"in the middle of a cloud",
up to the end.

Yeah, OK.

Look, the end of the song is
just like the fucking rest of it!

We're gonna sing the harmonies
to "Oh, Yoko". Come on!

Is this the one we want?

Why don't you just forget
about this, darling?

Relax, you know,
until we say OK.

- What's the matter with it?
- What are you doing?

- Aren't you hearing your voice?
- No.

Otherwise we'd be singing,
wouldn't we?

Sorry, I sang
the fucking melody.

You have to sing
Oh, Yo...

Don't be afraid.
Just sing into the mic.

Yeah, that's it.

Phil? Do you wanna make sure
about your sound

and then just sing
very loud, OK?

Why don't you...

John, why don't you just sing it
for him once?

That's good.

- Great, isn't it?
- Yes. It does show something.

Actually, what I wanted was this
to be around here, you see?

That's what I was trying to do.

Yoko!

Yoko!

John!

Yoko!

John!

- John!
- Yoko!

- John!
- Yoko!

Yoko!

Yoko!

Yoko!

Look at this, John!

John!

Right.

Do you think
that in new attitudes

towards love
and relationships...

...would it be fair to say
we're getting away

from the property concept
of relationships?

Of owning the other person?

I think, yeah, we could be.

But, that's all very well
intellectually,

but when you actually
are in love with somebody,

you tend to be jealous
and want to own them,

possess them 100%,
which I do,

but intellectually,
before that,

I thought, "Right, well, I mean,
owning a person is rubbish."

I love Yoko.
I wanna possess her completely.

I don't wanna stifle her,
you know?

That's the danger, is that you
wanna possess them to death.

- Great.
- Thank you.

Ha, you lying git.

It's great working
with you, Phil.

Really great.

I've worked with a lot of cats
in my time.

Honestly. Really great.
Sincerely.

Really great, working with you.

- OK.
- Next tune.

It'd be very hard to sing again
with that, wouldn't it?

Yeah. You didn't sing any of
the same words, though.

I sang almost the real words.

That's why I print 'em
on the lyrics sheet.

If they really wanna know,
they can read 'em.

With Paul's album,
there's no lyrics printed.

You can't hear
anything he says.

Who wants to know all that?

I mean, you know,
for example.

What's the German,
"mach Liebe, nicht Krieg"?

"Liebe mach."

"Mach Liebe, nicht Krieg."

OK.

"Mach Liebe, nicht Krieg."

Make love, not war.

And what was the French one?

"Faites l'amour, pas la guerre."

Now, is this just
your French or...?

I'll check it, OK?

Check it, would you?

- But it sounds good.
- It is!

But I don't wanna be,
like, coming on the air

and saying, "Not love, do war".

No, "faites I'amour"
is make love...

"Mach Liebe..."

"Mach Liebe und 'Stoller'!"

"Nicht fahren."
Oh, no. "Nicht" what?

- Krieg.
- K-R-I-E-G.

Or something else to market.

- No, no, no.
- Yeah?

"Mach Liebe, nicht Krieg."

It's not every day

I get the opportunity
to do a press conference.

Yes. We brought you here
to say nothing!

Shall we listen to the tape,
or shall we just get on?

Let's do it.

Let's go do another one.
OK, let's go.

George, are you coming?
Come on, gang.

Come on.

A typical life in the day
of John Lennon.

Yeah, right.

Wars, I think the most...

The thing we should really be
talking about is the violence,

you know, that goes on in this
society, not in Vietnam.

But just right in England
or in Northern Ireland,

which is part of Britain.

That's a far more important
subject to talk about

than how...
where's your hemline

and did you sleep with somebody
when you were 15 or 16?

I think that humans always
tend to talk about rubbish,

because they don't really
wanna face the reality.

Come on, I'm doing Eddie
Cochran. It doesn't last long.

"Cut across, Shorty.
Shorty, cut across."

Here we go.

OK.

Come on, you cunts!

What did you stop for?

It doesn't play. Where's Eddie?

Eddie Veale!

He's on the floor here.

- Get him up.
- He's pissed again.

Or we'll have
Veale-fucking-stroganoff.

Is it veal Stroganoff?

I always whisper to them.

It's very nice.

John, don't sing it
the Eddie Cochran way yet,

- just come in. Just sing.
- OK, OK.

Now, this is the truth.

All right?

Come on!

Come on!

It won't sound the same as...

Because the other night
I was playing on a slide.

- That one is Friday, isn't it?
- Yeah.

I don't... The tin one
probably sounds too..

- Too aggressive. Yeah.
- Maybe too, like, jangly.

Yeah.

So, what do you think
we should do, then,

artistic representative?

Just the four of you.

- Who's that?
- Where's Alan and...

Shall we have drums, then?

They can try 'em live.

Yeah. Just something
different on them.

- It's getting a bit the same.
- It's all the same.

It sounds, to me,
like one of the ones where

he would have had those
guitarists playing the rhythm,

if you only, like...

- But just another piano.
- Yeah, well, maybe one'd do.

- I'll be playing piano.
- No, there's two now.

...the organ thing we were
trying to do last night.

It is good.

Well, I don't know who made
the golden rule

that sex and love
have to go together.

Because I've enjoyed
love without sex

and sex without love.

And, they quite often
come together...

But just...
Ha-ha! Very good!

But quite often, they don't.

So, what is love, then?

I really think that love is
something to do with relaxation.

When you're guarded
with somebody, you know,

then you're not relaxed.

And when you're guarded
with somebody,

you can't love that person,
you know?

Love is when you
understand it so well...

that you relax finally,
you know?

And we have that kind of
relaxation between us a lot.

Oh, fucking hell.
What's that, Nick?

Oh, don't start changing fucking
reels in the middle of a take.

- Here we go.
- Hey.

One, two, three, four.

I think we shouldn't ring off.

Ring off when George does his...

- Let him start the bass.
- Yeah.

So we'll ring off then
and we'll go...

- Ring off? Stop?
- Ring off.

Do you ever see much
of The Beatles, these days?

The Beatles? No.

I did see Beatlegs, though,
recently.

It's doing quite well
in Sweden, I believe.

Number five. Number five.
Yeah, I heard that, too.

Yoko, is that a fresh pot
of tea?

- Yes.
- It's fairly fresh.

This is actually a Beatle wife
fixing the tea

for one of the 'Fab Four',
ex-Beatles.

- Fab three.
- Fab three.

And I have my wife here.

Beatlegs are doing very well
in Sweden.

- He's my wife.
- I'm Beatle wife number three.

I see Beatle Phil
making a pig of himself.

He likes his...
whatever it's called.

I see you like chemical stuff,
George?

- Sugar isn't chemical.
- What is it, then?

It's pure sugar from the mouth
of Mr Tetley himself.

He used to live at the back
of Liverpool.

- Chemical product in the world.
- What's that?

- Tea. You like some milk?
- Yeah.

- Just like the old days.
- Yes...

Yeah.

That's it.

Oh, no.
I only did one of them.

Yeah. That's the nasty one.

You can rise, gentlemen.

Here, Philip.

- Hello, Phil.
- Hello, John.

Welcome to Hollywood.

- Is that how it works, then?
- Yeah.

Then like that.

Yeah, well. OK.

That's vaguely how it is.

Yeah, let's get on
the electric piano and...

- He's bringing another one in.
- Which one, the Fender?

Well, I'd like electric
piano's sound,

really like The Thrill Is Gone
or something sound.

It changes later.

And now down to the...

Yeah, when it gets
to the D bit,

let's try and change
the rhythm slightly.

I always sort of envisioned
something kind of a bit reggae,

I don't know what it is,
you know?

But something that...

You know, something
a bit more jumpy there.

I don't know whether it's just
a feeling or an actual change.

- John?
- Yes.

Does that include
straight piano?

What?

Does that include
the straight piano?

Should both pianos
do it too?

- Keep it going.
- OK. Everybody do it, then.

You see,
in Japanese there's no...

That's it.

- But that's too long, you see.
- No, no.

I know, but you see,
in Japanese,

I know that you've heard it
before. It's wrong in Japanese

because it's bound to happen.
So instead...

Everybody in the world's
heard that before.

The thing is, you can't say it
in one line,

so why can't you say...

Well, I'll try it.

OK. From the top.

Yeah, all of you hit the G
on the way down to F.

One, two, a-one,
two, three, four.

OK, stop, stop.

This guitar is just crippling
beyond belief. I can't play it.

Too free?

- All that...
- All what?

Is Mal around, or somebody...

Didn't they get the idea of what
you were saying?

...who could shift this thing,
if it's not needed?

I can see you're the band.

...that feeling.

Which feeling?
Tell me exactly.

Just that tightness and,
you know, just funky.

- It's not funky.
- So what's going on, tell me?

- They're improvising.
- OK. Stop improvising.

Yeah.

And just keep it solid.

- No, I want it really tight.
- Tight.

You've just gotta think
it's nasty, you know?

It's a nasty song and...

I don't want it to swing
too much. Just...

OK, OK.

Do you think we should listen
and see what we're doing?

I wouldn't mind hearing it.

- What?
- I wouldn't mind hearing it.

Yeah, OK. What? OK.

Don't confuse the songs
with your own life.

I mean, they might have
relevance to your own life.

But a lot of things do.

So we met, you know,

I'm just a guy, man,
who writes songs.

You can only say hello,
and what else is there?

Yeah.

Yeah, I figured that if we met,
I'd know, you know,

just by meeting you.

But know what?

You know, if what I was
thinking was... true.

Well, what were you...
Is it true?

- Well, I guess not.
- Right, I'm just a guy, man.

Yeah.

But then...
But then it all fits, you know?

Anything fits, you know.

If you're tripping off on some
trip, anything fits, you know?

Yeah, like...
Like when you sang,

"Boy, you're gonna carry that
weight for a long time",

- did... That was just...
- That's Paul sang that.

- Paul sang it?
- That belongs to all of us.

He's singing about all of us.

We've all gotta carry it
till we die, haven't we?

But you really... you weren't
thinking of anyone in particular

- when you were singing that?
- How could I be?

How could I be thinking
of you, man?

I don't care me,
but it's all somebody.

I'm thinking about me.

Or at best Yoko,
if it's a love song.

But that's it.
I'm basically singing about me.

I'm saying, you know,
I had a good shit today

and this is what I thought
this morning and... you know?

And I love you, Yoko,
whatever.

I'm singing about me
and my life.

If it's relevant to other
people's lives, that's all right.

Are you hungry?

- Hmmm?
- Yeah.

Let's give him something to eat.

Yeah, I'm losing a little
rhythm here, man.

Come in, John, because
you may have the opening,

we can just use
the first bridge,

and then the last "How can we".

Oh, I see.

On the original, you make
two million "How can we"...

Yeah, but I never finish
the tail ends of...

So they should tail
over the break, you see?

Right through the...

Well, I ain't gonna fight you!
I ain't gonna fight...

Well, listen to it,
you'll see what we mean.

Oh, I'll see what
you mean all right.

If there's two of you,
I'll lose.

That's what I mean.

This is a delicate moment
of choice, ladies and gentlemen.

Deciding whether to use
the old voice or the new voice.

Two, three, four.

I like this one best.

I think we'll take it all.

It's great.
Looks like an old one, too.

Yes, it's all right.

A little bit Japanese,
and it's just the right size.

We'll have this, Dan, but on
the island. Isn't it beautiful?

Yeah, that's perfect.

Isn't it nice?

Just on the island.

- Really lovely.
- Great.

- He can't...
- I can't.

OK. We want it sort of
underneath this tree here.

I guess about here, Yoko,
don't you think?

- Yeah, right.
- Facing down there.

A bit nearer the edge,
possibly, please.

About here?

With the wall...
next to the tree there, please.

John, look. That should be
the back of the house.

So it should be almost here.

- Yeah, right.
- Yeah.

Is there any way

of getting windows put on
the back of it later?

- I don't see why not.
- OK.

Well, we'll put it up and we'll
change it later, then.

OK.

Then we can see out both ways.

- Hi!
- Who's that?

That's Julian.

Julian!

How long will it take
to put it up?

Can you hear me?

Can you hear me?

Just relax and think of clouds
and things like that.

It comes on the face a bit.