January 13th, 1969 (Twickenham Film Studios, London): In the middle of a personal discussion with John and Ringo about the band, its tenuous future, and their relationships with one another, Paul (in response to John’s admission of insecurity in the face of external pressures from the public and media to perform) is emphatic about his faith in them and their abilities and contends that whatever interpersonal problems they have can be resolved, for what their music is worth. (Note: I am sheepishly and frustratedly uncertain of my transcription. And yes, Yoko and Linda seem to be having a fascinating conversation about Paul and George.)
PAUL: [trying] If all of you were for sale on a shop, I’d want you as, you know, that, but I really don’t want you as that!
PAUL: But I want you as that! I don’t want him as that. You see, I want you to want yours. You’re [inaudible]. Ringo wanted— When I say those things, you know, I can hear myself sort of – but I don’t know what it is you want me to do! In period and in fact, I want you all for whatever you are, because I’m placing it – after all the bests, and all it bloody does, and what’s best, is that what you are is alright. Because if it isn’t, then it’s just stupid of me [inaudible], you know. Because if it’s what you are, and I would want us anywhere! So I’m placing all the money, all the fame, and everything, on what you are. So if this is what you two are, then get on with it.
This never fails to make me smile… :)
April/May, 1973: Paul talks to Nicky Horne about the improving relations amongst the four Beatles after Allen Klein’s legal departure, and his contact with John outside the (often misleading) public or peer-pressured forum.
PAUL: Now he’s gone out, the main obstacle to people working together has been removed, you know. It means now, let’s say, if we fancied working with each other… But it doesn’t mean necessarily that the Beatles are going to reform, you know, it might mean that I’ll play a concert in New York with John somewhere, George might roll in, Ringo might roll in, and you find that the Beatles are onstage, kind of thing. But at the moment, there’s no great plans to get back together. I know as much as you, really. But I say, you know, there’s no kind of anger in there anymore, so that’s a nice thing.
HORNE: But then how’s the animosity between John and yourself?
PAUL: There’s none of that. No, there’s none of that. I mean, see, you’ve got to remember [that] in our position, uh, what you do – all you have to do is – all that has to happen is John to write a snide-y song about me, or to do a snide-y article about me, and I’m expected to kind of jump down his throat, and whilst I was a bit cheesed off by it obviously, um, I tried not to, and we eventually kind of cooled off. And after a couple of months, we were chatting away on the phone and talking quite peacefully between each other and happily, you know. But I think just ‘cause we didn’t say to the press, “Oh, by the way, everyone, we are now talking” – ‘cause you don’t, you don’t announce who you’re talking to, and we still feel pretty human, so we don’t go announcing. If I phone John, I don’t ring up the BBC and say, “Uh, Scene and Heard? I’d like to do an interview. ‘I met John.’” I mean, it’s not like that.
But um, there was only a couple of months of real bitterness in there, and uh… that was due to a lot of things. We’d been played against each other and funny things like that. We’d been made to think that we’d— I mean, I know the others at one time thought I was trying to take over Apple, which was nothing ever further from my mind, you know, ‘cause I’m not interested in that big scene. But that was the kind of little thing they were hearing, you see, so I mean that was a bit of the bitterness. But now it’s great, you know. I’ve just worked with Ringo, and I’ve seen – I’ve spoken to John and George pretty recently.
|—||Mark Lewisohn, ‘The Beatles − All These Years: Volume One: Tune In’|
October 18th, 1974: George talks to DJ Alan Freeman about
the play John and Paul were stagingbeing an inside observer of the Beatles.
GEORGE: An attitude came over – which was John and Paul – of um, you know, “Okay, we’re the grooves, and you two – just watch it.” Not that, they never said that or did anything, but over a period of time… I mean, I could step off the stage being The Beatles and go and talk to somebody who, say, John and Paul wouldn’t talk to. And so I remember people saying, “Oh, I don’t think Lennon likes me,” and I’d say, “Why?” “Because of the way he looked at me.” “Well, he looks at you like that because he hasn’t got his glasses on, he can’t see anything.” And you know, in a way I always felt a bit like an observer of the Beatles, even though I was with them… whereas I think John and Paul were the stars of the Beatles.
SHARP: One of the most memorable images in your book is not one of your best from an aesthetic standpoint—an image John and Paul jamming at a party in Austria while filming Help! But it captures an intimacy, joy and innocence that is contagious.
GROSSMAN: That was a terrific night. They were filming Help! during the day and this after-hours jam session happened at night. It was in a dark place and it was hard to shoot. I didn’t want to interrupt them too much so I just shot two or three flash pictures and that was it. If I had never expected to get this kind of thing again I would have shot more.
— Henry Grossman, Rock Cellar Magazine: Picture yourself on a tour with Beatles photographer Henry Grossman… on his new photo book ‘Places I Remember’. (April 17th, 2013)
September, 1980: John tries to define his partnership with Paul, and the force of its gravity. (Note: Preceding the clip is an acoustic demo of ‘God’ - I had a message from above / and I’m here to tell you / that this message concerns our love. / […] Do you read me, brother?)
JOHN: [hesitating] In a marriage, or a love affair – when the seven-year-itch or the twelve-year or whatever these things that you have to go through – there comes a point where the marriage collapses because they can’t face that reality, and they go seeking what they thought they should be having, still, somewhere else. If I get a new girl, it’ll all be like that again; if I get a new boy… But for all marriages, all couples, it’ll all be the same again. But what you lose is what you put into that… relationship.
The early stuff – the Hard Day’s Night period, I call it – the early period, was the early equi– se– what I’m – what I’m equating it to is the sexual equivalent of the beginning of a relationship. Of people in love. And the Sgt. Pepper-Abbey Road period was the period of maturity in the relationship. And maybe, had we gone on together, maybe something more interesting would have come out of it. It would not have been the same. It would have been a different thing. But maybe it wouldn’t either. Maybe it was a marriage that had to end. Some marriages don’t get through that phase. It’s hard to speculate about what would have been.
August 24th, 1964 (Bel Air, Los Angeles): John and Paul happily demonstrate a variety of regional British accents for the benefit of Capitol Records’ Jack Wagner. (Note: This is joy. Incidentally, Bob Bonis was also there at the time to take photos of the band; as the interview was taking place with John and Paul sitting together at the piano, George and Ringo were out by the pool hamming it up for the camera.)
WAGNER: Say, can you speak with an American accent, Paul?
PAUL: Can I… no. [laughs]
WAGNER: You can.
PAUL: Yeah, sure, yes yes sir, yessirree, sir!
WAGNER: How about you, John? Do you speak American at all?
JOHN: Here’s one. Yes, hello, how are you? Is that American?
PAUL: More Liverpool, that.
JOHN: More West Coast, I think.
WAGNER: Where is Liverpool? [John and Paul laugh]
PAUL: In the Northern part of England, ‘tis. In fact, London’s at the far South, you see. And Liverpool’s about halfway up, but it’s called the North.
WAGNER: Are you experts on accents?
PAUL: Not really, no.
JOHN: We can recognize them, though, can’t we?
PAUL: [sage-like] We can recognize them anywhere, yes.
WAGNER: How are some of the accents, could you show us?
PAUL: Um, you’ve got the Cockney one, which is all – [cacophony of John and Paul’s voices talking over each other] – yeah, I ‘ad him half an hour ago, John, it’s alright, yeah.
JOHN: Are you alright, Paul?
PAUL: Then the Liverpool accent is a little different, because like, you can’t—
JOHN: [drawling] Paul!