- The first time I watched Get Back (which is the only other time I've watched Get Back) this was the day where I realised how much a mish mash mess the entire editing of it was, because obviously I know the tapes of day eight much better than the tapes of other days. (on account of it being the day where Paul and John use George as nothing but an excuse to talk about their own broken up feelings and confused affections.)
- Wonderfully, @inspiteallthedanger and @get-back-homeward posted about the cuts and snips in the lunchroom tapes, and how frustrating and impossible it all is, here. So I don't have to kill myself trying to explain how WEIRD the resulting 'conversation' Peter Jackson came up with is. What a strange strange thing he did.
- I'm aware that the art of documentary is cutting bits out, and I know they couldn't put it all in. But I do find it tiring. Even not lunchtime, but all the conversations, all the days. I just want to know what they look like at the appropriate points without having to double guess and think and disregard. We're not allowed that though, until some kind soul steals the full footage and gifts us pure wonder, so unless you can really see their lips move, it's only a mirage.
- But! the full 20 seconds that is given over to watching Paul looking sad where nobody says anything at all is the best 20 seconds Peter Jackson ever spent.
- Paul explaining that obstacles aren't obstacles if you refuse to acknowledge any sadness in your life think about obstacles. I mean he's not untrue, it's not not true, he could make a motivational poster.
- So proud of his terrible news bulletins idea. I actually do think ending a massive spectacular show by having a quiet man come on and quietly announce that you've broken up could be nice though. But really I'm just in love with the fact that instead of worrying about breaking up, Paul has been turning it into a project they can all work on together. (And thinking about how to make it suitably big and show-off break up, because it's the Beatles - I love that he worries about their legacy. George and John are so weighted down by legacy, and Paul's just like 'it's only hard if we don't live up to it, so we should just live up to it'. He's such a lot, but he's true.)
Linda: But you were saying yesterday, you know... you make good music together whether you like it or not.
John: I like it.
Linda: And making good music is also...
John: But it's just...
Linda: It's really hard working in a relationship.
John: I know.
- I love that they call it feeling guilty about each other.
- I love that when John is talking about how hard it is when Paul won't give in on arrangements, he specifically says that he wants it to work more like it works when they're writing. It soothes me in its easy acknowledgement that the writing is good. (even while he's destroying it I know)
- Paul jokingly saying 'You stay out of this, Yoko' to Linda when she is joining in the conversation is probably one of the first times that joke was made, where it's now a recognisable joke to almost every english speaking person in the world.
- SHUT UP I CANNOT STAND IT. (Literally no idea at what point of the thing I wrote this down but I stand by it.)
- I hope they didn't tell George they only wanted him back as a matter of policy. <333333333
When we're very old we'll all agree with each other and we'll all sing together.
- I love him talking about how it all works better if they sing properly instead of just singing half. I love that they just need to be young again and they're not young, since Brian died they haven't been at all young.
- Love John wanting someone to fact check Paul in case Tucson wasn't actually in Arizona. His surrealism does not stretch to inaccurate geography.
Ringo: The meeting was fine. A lot of good things, but then you know... they all sort of fell apart in the end.
Ringo accidentally writing a perfect little synopsis of the Beatles.
- "I don't feel like the Beatles revolve around the four people. It might be a fucking job." John trying to invent The Plastic Beatles. Or make it a bit like national service for rockstars. Everyone dreading the fucking letter that means they have to leave their families and their homes and their happy bands to go and live in a cauldron with Paul and John for a few months.
MLH: I think at some point we should talk conceptually about the show.
Everyone prepares to leave.
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