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To the Beatles people that wanted Sony's film

Writer: Amanda Riddell
Amanda Riddell
10 hours ago
2 min read

Too bad. You took the blood money; you didn't care what Paul or Ringo thought. https://drive.google.com/file/d/1jDB5y-F_qndmVsmmR09-qxTgeYaSnLHM/view?usp=sharing - I would've thought that Working For Each Other making half a billion dollars would convince you that Sir Paul and myself have a better sense of what the Beatles are. The money we made will cover your expenses, so stop pretending that Sony can. They don't want your archives: they want to exploit the underlying IP. Imagine is a better gig, and it doesn't entirely revolve around the Fab Four industry. Instead of doing lame covers, we'll fund new albums that might become canonical. Working For Each Other is one of those albums. See Imagine as Justice League Unlimited, not Paul being a stubborn bitch. - To answer for all the nerds that think they know the music better than a Kiwi: Your obsession with cloning the original records has failed. My covers are a hit. Why? Because that's how the Beatles really did it. They made them up in the studio. It's not about being a giant fan: it's about the ability to understand 1960's pop music. My covers sound like a good 1960's Māori showband doing Beatles songs. Given that I'm competent and you aren't, I think I should get to MD a Beatles film. Why? I'm able to fucking play the instruments and sing to their level, plus I know theory. If you can't improvise like George or sing like Paul, then you're not a Beatle. To reiterate, there is no AI on my versions and those master recordings you're obsessed with aren't really a true representation of the band. Get Back makes that extremely clear... Sony have to accept that I proved it with In My Life. My versions are worth something. Their versions aren't. - I'm competent to compose and arrange the score, as well as helping to produce our film. In New Zealand, this is all part of the pitch. I'm popular and people think I'm great. Do you really want to turn the guys into Jersey Boys or The Last Five Years? That's what Mr. Hurwitz and Sony are going to do... -

Please stop trolling me and accept that Paul is only interested in our quadrilogy. Edgar and Peter have added another film to the trilogy, mostly to keep it all going. That will be set during the Rubber Soul/Help/Revolver era. - If Paul is being persnickety and not allowing people to switch sides, that's his call. If everyone had taken the hint from his SNL appearance, he would have. Instead, he returned to London and was viciously beaten in a boardroom by Sony. Mr. Mendes, Mr. Patel, the remaining leads and those La La Land pricks are responsible. People died because you wouldn't let go of your paydays. It's not about punishing people; it's about ensuring his safety.

 
 
 

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2 Comments


Amanda Riddell
Amanda Riddell
10 hours ago

I'm sick of being harsh about this, but some of you are really pissing me off. Stella, for one. It's not my billions of dollars on the line, but I'm Paul's business partner. As a result, I'm taking care of business while he's in the hospital. - I'm calling out the Harrison people because they live in LA and are using LA-type strategies to tell me to do an LA-financed film so that Here Comes The Sun will make more money. All those rights Sony has are basically useless in NZ or the UK. Have your cake and eat it too, Olivia's underlings: Back them - if they can get insurance - but let us do our thing in Wellington. Not that we need your approval: historical…

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Amanda Riddell
Amanda Riddell
10 hours ago
Replying to

More nerd trivia: What we're talking about is ultimately the interpreter-executant divide that classical musicians are very familiar with. The Beatles really need an interpreter, not an executant. Those distinctions are increasingly pointless in serious music, but pop music is still dealing with the difference between mimicry and artistry. When I sing the songs, people realise what they mean; they're not just sounds. They're not just nostalgia. Paul always said that the Beatles were serious music.

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