To Sony

Blame Sir Peter, not me. This is essentially his scheme, and I'm just the writer who won. Taika's also involved, but that's largely due to the Tupaia project. He's pissed that I won't work with Disney, but you guys are equally evil in my view. I've got three feature film ideas that he thinks are worth investing millions into. Your pitch simply wasn't as good, and I'm fairly sure it was all a bid for the catalogue. I've refused every offer to act. I refuse to be Paul, and that's all. Why did my pitch work? Well, everyone says I'm eerily like Paul. He was inspired by our Dakumentary to reveal some of the unpalatable parts of his life. We haven't put John hitting women in there, but it might well end up there. - You're dinosaurs. There's simply no way that your actors can compete. My plan will result in real Beatles, not dudes in wigs. They've always been icons. We're simply leaning into that. - Nothing's stopping you from making your film, but it'll end up competing with this idea. If you're able to accept that you can't match us, then you might save millions. Imagine if your thing flops: you can only sustain the loss if you end up with the catalogue. Beatles Invade New Zealand! isn't going to cost $100 million. If I've spent a month discussing the idea with Paul, then he isn't keen on your vision and he'd rather deal with people that he trusts. I couldn't say for certain, but he didn't even mention Mendes or the project, so my guess is that he hated it and got pushed into signing by his wife, who he also hasn't mentioned. The phrase I'm tiptoeing around is elder abuse. It happened to Dakta as well. And Stan Lee. People are trying to milk his IP for all its worth, but he's too rich to care. All I did was say people still cared about the songs and the comedy of the band, not some messianic touched by destiny Hollywood bullshit. I can relate to being a twentysomething musician who was seen as so dangerous that I ended up essentially confined to hotel rooms and studios. - Sam, if musicians prefer my ideas, it's because I can compose, sing, play and orchestrate. I know all the skills, plus I'm the rare filmmaker that's both experimental and popular. You're some stuffed shirt. Paul wanted to talk about the drugs and the psychic stuff. I'd also add that you and Richard are denigrating my film career by begging me to act. You haven't acted in your own films. He hasn't done so since his late 1980's feature. I starred in my Dakumentary, and that was enough for one lifetime. I've made four features as a director. The Palestine one is a smash hit. - My understanding is that he hasn't signed over the full music rights, or Yoko hasn't. First thing I asked when you pricks came sniffing around. He also implied that he's sick of people only doing the early '60s hits. Why? Well, it takes a professional musician to play a lot of the B-sides. We can make three or four films as well. He's ultra-keen for a mid-60s one. Yes, really re: they smoked pot before Dylan. Yes, he reckons it was DMT after comparing notes re: my own changa experiences. LSD really was something that the military experimented with as a truth serum. The Beatles were part of Porton Down. Hence the lifetime of surveillance. It wouldn't have been an active dose. Leary's the one who pushed for those. Even a microdose loosens people up and makes them giggly, though that's the uppers.