Amanda vs. Sony (part 2)
- Amanda Riddell
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- Jan 18
- 2 min read
There was a piece of mental imagery during the trip that was somewhat ambiguous, and that was a blank signature line. I thought it was pressure to sign, but it might have had more to do with Sony. - If they're supporting Beatles Invade New Zealand, then it's likely that Paul and Ringo didn't really want to sign the contract with Sony. As I say, I was vaguely aware of Sony's Four project, but it wasn't until after I saw the Anthology that I felt like pitching my view. Perhaps they didn't sign everything away, and what they gave wasn't enough. Nobody's said 'stop writing your illegal spec,' so I gather that Apple Corps are supportive.
Paul hasn't come out and said it yet, but he thinks people are taking advantage of him now that he's old. This includes the film studio pressuring him to give up his rights, or all the music executives attempting to buy his catalogue. Dakta was being pushed around by some of the scuzzy dope dealers in 2019. We trespassed them. - McCartney likes New Zealand: he's been coming here for a while, though it would be different if the whole clan decided to base themselves here. As for getting into business with an 83-year-old man... well, he seems very sharp, and he's also got a solid team that works for him. If he was willing to spend loads of money on a UK-NZ simultaneous acid trip, and we gelled, that's a sign that we share common interests and approaches. The better question is why he'd want to get into business with a young activist who basically said that Hollywood's idea was a waste of time. That didn't result in any cease-and-desists, so I gather that Sony can't have obtained exclusive rights to their songs or likenesses. Sir Peter adds stability and ballast, plus he really does own some rights to the Beatles' likenesses.
Bear in mind I said that Paul was collaborating on Beatles Invade New Zealand, and that I've been on Hollywood's radar since Portrait of a Knight was released. They would've shut me up. It's not identical to the charts I wrote for Merrily We Roll Along, but it's a similar situation -- my Beatles arrangements are practical for a film. However, they're specifically for our biopic. Fairly sure Peter's using them to demo numbers. Hollywood should pay me some money, but both ideas were borne out of bafflement: that they couldn't see how to write Merrily's orchestra, or why Peter didn't include NZ tour material in the recent Anthology redux.