( CHEERS AND APPLAUSE ) ( BAND PLAYING )
>> Stephen: HEY, EVERYBODY.
WE'RE BACK WITH THE DIRECTOR OF MY NEW FAVORITE TRILOGY, "THE
BEATLES: GET BACK," PETER JACKSON.
I WANT TO GIVE A SHOUT OUT QUICKLY TO YOUR EDITOR JABEZ
OLSON BECAUSE WHEN I WAS THERE TWO YEARS AGO, WHEN I WAS LUCKY
ENOUGH TO COME TO YOUR PLAYS IN NEW ZEALAND, YOU SAID, OH, DO
YOU WANT TO WATCH THIS FOOTAGE?
WE WENT DOWN TO THE BASEMENT OF YOUR EDITING THEATER, YOUR
EDITING STUDIO, AND YOU AND ME AND JABEZ SAT THERE FOR HOURS
FOR TWO DAYS WHERE YOU SHOWED ME STUFF.
I SAID, HOW CAN YOU TAKE ALL 57 HOURS WHICH I WOULD LOVE TO
WATCH ALL OF, JUST CLEAN UP THE SOUND AND I WOULD HAPPILY STAY
HERE A WEEK AND WATCH ALL OF IT, HOW DO YOU GET THAT INTO AN
ACTUAL MOVIE?
AND ONE OF THE THINGS THAT I JUST WANT TO SAY BECAUSE I'M ONE
OF THE FEW PEOPLE WHO WILL KNOW THIS, THAT FEELING OF WATCHING
IT IN ITS RAW STATE WAS SUCH A PRIVILEGE TO SEE, AND I FEEL
THAT SAME PRIVILEGE IN THE EDIT FOR THAT YOU'VE CREATED HERE
BECAUSE YOU REALLY DO FEEL YOU'RE JUST ANOTHER PERSON IN
THAT STUDIO, BUT YOU'RE ALSO WATCHING A STORY AT THE SAME
TIME, AND MY QUESTION TO YOU IS HOW DID YOU FIND THAT STORY?
BECAUSE IT SEEMS LIKE IT MIGHT HAVE BEEN LIKE ARCHEOLOGY.
YOU DIDN'T KNOW IT WAS ON THE FOOTAGE, IT DIDN'T EVEN HAVE
PROPSH TIME CODES.
THERE'S NO STORY BOARD OR SCRIPT.
WHAT WAS THAT PROCESS LIKE OF FINDING THE STORY?
>> WELL, WHAT ONE OPTION WAS THAT WE THOUGHT ABOUT AND
QUICKLY DISCARDED WAS, OKAY, THIS UNSEEN FOOTAGE HAS COME,
YEAH, FROM 50 YEARS AGO.
TO TELL THE STORY, WE'LL INTERVIEW RINGO TODAY, PAUL
TODAY, JOHN TODAY, THEY CAN TELL THE STORY AND WE'LL CUT THE
CLIPS TO FOOTAGE.
THAT'S THE LAZY WAY OF DOING IT.
YOU GET TODAY AND 50 YEARS AGO AND YOU SORT OF FILL THE GAP.
OFFI ALWAYS FANTASIZE ABOUT GETTING IN A TIME MACHINE AND
SITTING IN THE STUDIO WITH THE BEATLES, THIS IS WHAT WE'VE GOT
TO DO, AND THE BEATLES HAVE GOT TO TELL US THE STORY.
BECAUSE WHEN YOU THINK ABOUT IT, THEY'RE THE -- THE FOUR GUYS ARE
THERE, THEY'VE GOT A PLAN, THEY START TO WORK, THE PLAN GOES
WRONG, THEY'RE TALKING ABOUT THE FACT IT'S GOING WRONG, THEIR
CONVERSATIONS TELL YOU THE STORY, WHICH MAKES IT WAY MORE
INTERESTING AND DRAMATIC BECAUSE THEY'RE HAVING THINGS GOING ON,
THEY HAVE TO COME UP WITH PLANS, AND THEIR DISCUSSIONS OF HOW
THEY DO THAT IS NOT SCRIPTED OR AN INTERVIEW OF TODAY OF SOMEONE
WHO REMEMBERS IT.
YOU SEE IT IN REALTIME THESE FOUR GUYS TRYING TO WORK IT OUT,
AND THE CONVERSATIONS TELL YOU THE STORY.
WE DIDN'T KNOW WHAT THE CONVERSATIONS WERE BECAUSE AS
YOU SAID, THERE WAS NO SCRIPT, SO WE HAD TO WATCH THE STUFF
OVER AND OVER AGAIN AND EAVESDROP ON THE 50-YEAR-OLD
DISCUSSIONS, AND SOMETIMES THERE'S NO FILM, AND YOU'RE
LITERALLY EAVESDROPPING ON WHAT THIS CONVERSATION WAS.
>> Stephen: BECAUSE THE DIRECTOR -- THE DIRECTOR AT THE
TIME WILL IT E LITERALLY HID MICROPHONES.
>> I TELL YOU THE OTHER FUNNY THING THAT MAKES ME LAUGH,
STEPHEN, IS THAT THE BEATLES DECIDE THEY'RE GOING TO ASK
MICHAEL HOLT TO COME IN, FOR THE FIRST TIME OF THEIR CAREER THEY
DECIDE THEY WILL LET THE INTIMATE FLY ON THE WALL PROCESS
BE SHOT.
THEY IMMEDIATELY START TO THINK IS THIS A GOOD IDEA?
THIS IS FREAKING US OUT.
AT THAT POINT, IT BECOMES A BATTLE OF THE WILLS.
MICHAEL STARTS TO REALIZE -- MICHAEL NEEDS HUGE CREDIT FOR
THIS -- MICHAEL WAS DETERMINED TO RECORD EVERY INTIMATE
CONVERSATION HE CAN AND HE'S HIDING MICROPHONES.
HALF THE TIME, THEY DON'T KNOW THEY'RE FILMED BECAUSE MICHAEL
USED TO SET THE CAMERAS UP ON TRIPODS, TEN MINUTE ROLES AND
THE CAMERAMEN WERE THERE, THEN THEY PUT TAPE OVER THE RED
LIGHTS BECAUSE WHEN THE CAMERA GOES ON, THE RED LIGHT, AND TAPE
OVER THE RED LIGHT SO THE BEATLES WOULDN'T SEE IT.
THE CAMERAMAN WOULD HIT THE BUTTON AND HEAD OFF TO TEA.
THE CAMERA IS THERE AND NOT ROLLING, SO, OKAY.
THEY DID ALL SORTS OF TRICKS TO TRICK THE BEATLES INTO THINKING
THEY WEREN'T BEING FILMING.
SO THE BEATLES START TO COUNTER.
THEY REALIZE THERE ARE MICROPHONES.
IF THEY WANT TO HAVE A CONVERSATION, THEY CRANK UP THE
AMP, STRUM GUITARS AND GO EVERYTHING -- I MEAN, YOU HAVE A
BATTLE OF THE WILLS.
THE BEATLES DON'T THINK TO SAY TO MICHAEL, COULD YOU STOP
RECORDING.
THEY DON'T THINK ABOUT THAT.
( LAUGHTER ) THIS BATTLE OF THE WILLS ERUPTS
AND THEY ACTUALLY SUCCEEDED THE BETLES BECAUSE THEY'RE HAVING
CONVERSATIONS AND THEIR GUITARS ARE DROWNING IT OUT.
SO WHAT WE'VE DONE IN NEW ZEALAND 50 YEARS LATER, WE
DEVELOPED TECHNOLOGY WITH COMPUTERS AND A.I. THAT HE
TAUGHT A COMPUTER WHAT A GUITAR SOUNDS LIKE.
AND YOU SAID, HELP US GET RID OF THE GUITAR, PLEASE.
WE DON'T WANT TO HEAR THE GUITAR, WE WANT TO HEAR THE
DISCUSSIONS.
IT'S CRAZY, BUT IT WORKS.
WE STRIPPED AWAY ALL THAT THE BEATLES HAD DONE AND AFTER 50
YEARS, THEY'RE TRICKS.
NO, BOYS, WE HEAR IT ALL.
WE HEAR IT ALL.
SO WE'RE LISTENING TO STUFF THAT NO ONE'S ACTUALLY HEARD BECAUSE
IT DID GET SWAMPED OUT.
BUT THAT'S SO GOOD FOR US BECAUSE IT'S STILL THE STORY
THERE.
THE CONVERSATIONS STILL TELL THE STORY, SO WE'VE GOT ACCESS TO
ALL THIS DISCUSSION THAT IS SO RAW AND POTENT AND HONEST AND
REAL AND JUST THEY AT THE TIME DDN'T WANT ANYONE TO HEAR, SO,
YEAH, IT'S BEEN FUN.
>> Stephen: PETER, THANK YOU FOR BEING HERE AND MAKING THE
THREE PART DOCUMENTARY MOVIE ABOUT THE "GET BACK" SESSIONS.
IT IS A BEAUTIFUL LOVE STORY, IT IS EXHILARATING, IT'S
ILLUMINATING, HEARTBREAKING MANY TIMES, AND IT REALLY DOES FEEL
LIKE A PRIVILEGE TO BE LET INTO THIS WORLD.
>> I AGREE.
>> Stephen: AND I'M SO GLAD YOU WERE THE ARCHEOLOGIST TO
TAKE US THROUGH IT BECAUSE IT'S A REALLY BEAUTIFUL STORY.
THANKS AGAIN TO PETER JACKSON.
"THE BEATLES: GET BACK" IS AVAILABLE NOW ON DISNEY+.
WE'LL BE RIGHT BACK WITH A PERFORMANCE BY CHELSEA CUTLER.
( CHEERS AND APPLAUSE ) ( BAND PLAYING )