To Disney etc.

Look, I know it's painful for you, but I'm not interested. I'm interested in pursuing an antitrust suit after you harassed me. The cops in NZ are still checking into my evidence, so I'd be worried in a few days... Our election is November 7. If the left wins, I'm hoping for some progress. - Andrew Watt is welcome to have hurt feelings, but I also worked with Sir Paul this year.

He needs to accept that Paul was busy doing other things some of the time; I did. Michael Giacchino has been working with him as well. He's not jealous. The Special Edition probably removed much of Andrew's excessive production. Ripples In A Pond used SNL cast members and Wellington people. I was the one who blew the whistle that there was a lot of autotune and rhythm grid in the pre-release tracks (Days We Left Behind, Home To Us). Ringo pulled out his contract and told Andrew that he couldn't quantise the drums. - My ability to do good covers is solid, but my original songs mean more to me. The covers were mostly for charity; you were the ones exploiting them for money. I didn't sexually harass your team, but you're apparently creating OnlyFans pages of me. - I bet your cover band got paid fairly well, while I'm still waiting on any payment. Paul put his name on my script and albums, but we hadn't discussed a contract (yet). Now that he's dead, Apple Corps are courting me. They're fighting Sony over their illegal use of my covers. Apparently they were worth tens of millions of pounds... Working For Each Other positioned me as a Fifth Beatle (or Third Beatle). Being a Beatle for real is sort-of fun, but playing one in a movie would be a waste of time. Doing it in London for people that can't do it right would be rubbing salt in the wound of Paul's recent death, which we partially attribute to the other team given what went down. The antitrust suit revolves around Paul being assaulted over his music rights. He quickly established that he hadn't given them away before we started on our script. He was assaulted in an office, abducted multiple times from homes in England and NZ, then arrested by ICE following his appearance on Good Hang. It also hinges on Sir Peter, Sir Ringo and Sir Paul having spent ten years on their idea, only for ILM and Disney to swoop in at the last minute, using Sony as their patsy. That was all within fifteen months! It was probably much worse. Thinking he was a terrorist thanks to Palestine Action is one thing; this is anti-competitive. The war machine can't force a movie to exist, even if it suits their interests. - Michelle told me that Disney has been sniffing around the Beatles for ages. One of the reasons she hung out with us was because Sony etc. wanted Beatles. As for 'you're extorting us' ... no. My script is not the legal property of Disney or Sony. Life rights only protect your right to make a movie; they aren't exclusive. Biographical details are freely used all the time. What about Backbeat? Paul didn't approve of that film, but it was a mild hit. What about that one about John and Brian in Spain? Haven't seen it. You chucked Apple Corps into that recent press release about Liverpool precisely because they're refusing to give their branding rights up without a fight. I worked on two scripts with one of the four guys who wrote the songs. Meesh told me you stole my Hamburg pages: you owe me money. I know it's tempting to throw more bullshit at me, but it's a waste. Imagine Multimedia has Hollywood buzzing; people want it to exist. - I hate music biopics, and only wrote one because the gimmick of photorealistic Beatles freed Paul and I to write a Beatles film rather than a biopic about them. Ray is an exception, but most of them are terrible films made to underbid for catalogues. Imagine's proposed films were supposed to destroy the biopic fad in favour of musicals. Taylor's Baby Face proposal might not have wowed Searchlight (ie Disney), but I'm into it. WB are into it as well... she's given Disney their first look and they rejected her. We've heard promising things from WB and from Taika about using the new studio. Taylor's just sad because she's been held hostage several times this year. - The MJ film intends to use similar technology. Key and Peele are writing it: I provided a treatment and some screenplay pages at Jermaine's behest. Jane knows the Jacksons. Jermaine is an excellent singer with a trained classical basso profondo, and he reckons that I might be able to help Jafar with the high notes that MJ hit after his nose job, while Tom Holland wants tips to sound like Fred Astaire. Jermaine said he'd pay me $100,000 for the script work. There's also a possibility of doing a dialogue pass on that, or on Edgar's Beatles film. They reckon they can teach me about Black culture, but I nailed Michael's dialogue. Sony had to steal my banter between the Fab Four as well as my scenes. My theory was that the hotel room was where the interesting stuff would be, so a lot of that banter was me riffing with Paul about real life, then translating it to the 1960's script. - Paul opened a lot of doors for me this year, so I'm not tied to Beatlemania. High In The Clouds is probably the next thing to discuss, depending on where they're at. The hundreds of millions of pounds that we've made for Apple Corps could easily fund it. Haven't read it yet. Couldn't find a copy. Apple To The Core is what they want me to read for the third film in our Beatles trilogy, but it's out-of-print and really pricey ($200 a copy!).