60 minutes overtime
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our story this week on 60 minutes is
about get back
around thanksgiving we'll see the
release of the three-part disney plus
documentary by peter jackson there's a
companion coffee table book and there's
also a remixed album
how did you come to this project i was
traveling to london a little bit
a few years ago and one of these trips
to london apple core the beatles company
apple
had somehow heard that i i was
interested in ar and vr augmented
reality virtual reality and during the
course of the conversation about this
technology and all that sort of thing i
asked one question that had been on the
back of my mind for many many years as a
fan
is what has happened to all the outtakes
from let it b
so here we are in vault number three ah
where we keep much of the uh
footage oh three spools peter jackson
has access to 57 hours of video in more
than 100 hours of audio from this very
compressed period this is january of
1969. i extended my trip in london for
another week
and i went into apple every day for
about eight or nine hours i'd sit in a
room there with a tv and they and i just
run
the outtakes um every day and even after
a week of doing this i only got through
about half of them peter jackson was
handed this footage and essentially said
go make a documentary
what were the organizing principles what
you were going to include and what you
were going to exclude
i didn't want to change history i wanted
to show history as accurate as i could i
wish it just happened
as i watched it more it became obvious
that the way to do it is the most simple
way which is to tell a very consecutive
narrative
they they had a camera crew filming them
for 22 days so therefore just show one
day at a time
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you spent a year just syncing it up
before you're even digging in yeah and
we had to organize it too because they
had two cameras the audio tapes would
run because the tapes were a lot cheaper
than the film the quarter inch tape
didn't cost as much as 16mm film so the
tape machines tended to run
on the whole time but the cameras would
turn on and off
how much coverage have we got on number
two
number two is not a lot we've got just
one of the two cameras and only for a
little bit peter jackson worked on this
with his long time editor jabez olsen
i don't know how they cut the film uh
the let it be film 50 years ago because
they did you know normally in filmmaking
we use clapper boards to sync up the
sound with the picture they didn't want
to disturb the beatles by doing that
a lot of syncing had to just be done by
ear and by eye a big breakthrough on
this project is the audio
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the advances in machine learning that
have allowed us to clean up the audio
and things that we never thought we
could hear and you know now we can strip
away the guitars and actually hear what
they were saying changing around these
two and when you're saying don't you
know it's gonna last we sing it's a love
that has no power
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the computer recognizes john's voice and
paul's voice
left his home in tucson arizona
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yeah seriously so if they're talking
over the top of each other we can either
have john or paul
this has only been the last few months
we've actually figured out how to do
this
i think peter jackson immediately had a
real appreciation this was gold he was
given i mean this was
footage no one had ever seen i mean
colony colony's all right in this one
because it's and it wasn't just intimate
footage of a band it's the beatles
i've lived with this footage for four
years and i'm still
amazed by seeing the footage
even today
is it does feel like a time machine
this is the beatles unlike you've ever
seen them before
it still blows me away
we've never learned so many new numbers
at once
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