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Jeff, I agree.
I have been whining about this being turned into streaming filler, but even simple clips are sucking me in: legends at work. I cannot look away.
Humbly admitting I will probably give in and watch this.
A real window into the past and even emotional seeing everyone so young and alive.
It’s kind of weird seeing Jackson as a full time documentary filmmaker 20 years after LOTR. Holy cats did his career take a dive. But if this film is as good as his WWI film, maybe he’ll rebound
It’s difficult to gauge career direction when he’s just made $100 gazillion for his effects company.
I think it’s accurate to say he is probably offered any number of big-budget IP films for studios and Amazon likely backed the money truck for the “Lord of the Rings” series (which seems like a clusterfuck hearing stories about the production).
He probably could also get small films made, too.
Like pretty much everyone else, he’s likely struggling to get mid-budget films off the ground as well as big-budget films totally within his control (aka a “Tintin” sequel).
“It’s difficult to gauge career direction when he’s just made $100 gazillion for his effects company.”
Relevance?? Anyhoo, artistically-speaking (which is the obvious meaning of the comment you were responding to), the compass is — and has been — pointing due south for Jackson for narrative features ever since he completed his LotR cycle.
It’s been a real bummer, frankly.
I think the documentary path Jackson is on is really cool. Unexpected! (I just wish we were watching a “2 hour Beatles Get Back” in the theater.)
PJ made small and big movies, won his Oscars, made his personal project (Kong). He does not need to prove anything.
Film does not get bigger than that LOTR run, which must have been insanely hard to do, so I get it if Jackson is like, “been there, done that.” (I wish Lucas kept going, making smaller projects post-Star Wars like Jackson.)
You say Jackson no longer has anything to prove — which I might agree with, in a vacuum — but you and I both know that is not how the “business” works.
It’s also been a looong fuckin’ time since he made a decent actual movie (like, “movie-movie”). Over 15 years, by my count…has he now officially made more dogs than winners in his career? You have to admit it’s at least close.
Well, I guess I do kind of gauge in a vacuum.
The business side of the art form focuses only on monetary results. I am certain my rating vacuum is a better surveyor of quality. (Heh.) Example: Jackson’s WW1 doc is of greater artistic value than many huge releases that excited the biz with big profits the same year. True, yes?
We all know it’s near impossible to sustain a directing career at the LOTR level. There is something inspired about Jackson tooling away at documentaries. Again: his WW1 doc was very good and not a waste of time. (99% on RT.)
People obsess over BO grosses, yet lament the fading quality in film. More “Jackson in documentary/Zen-mode” vibes in the biz would be healthy.
Just my feelings on the subject. We focus on the wrong things. Very stifling.
We just have so few genuinely creative innovators working in features the prospect of losing P-Jax to exclusively making documentaries is quite frustrating (I will say They Shall Not… is at least geared toward some of his real strengths as a filmmaker — the magic of visual effects). The Beatles doc., on the other hand, kinda seems like it could be made by anyone (or at least any filmmaker who was taken by the Beatles as a child, which is likely a pretty expansive list).
Then again, it’s not exactly like the “artistic value” of his pictures between LotR and TSNGO was anything to speak of (for me, at least). Frankly, I would absolutely adore a genre return to Bad Taste/Feebles/Creatures along the lines of Raimi’s Drag Me to Hell…is that too much to ask??
I’ve always loved Let It Be. I think a big part of it is when it was released; I was 9, my brother was 20; like the other Beatle Albums, he got this the day it came out. I’ve always found it to be grossly underrated in terms of the song craft.
I am a huge fan of I’ve Got a Feeling, and Two of Us, and Let It Be, and I Me Mine. We already had Don’t Let Me Down, as we had the Hey Jude single before the album came out (the song was from the same sessions); that’s one of my favorite songs period.
The record has taken more than it’s share of bashings as the record that “broke them up”, and they didn’t oversee the final production. Nevertheless, I turn to it all the time.
I’ve mentioned this before, but I really wanted to see an improved version of the original Let It Be; I’ve had the film since VHS was created, I’ve always had a copy (you don’t have to look that hard to find a copy), and I’ve been fascinated by it my whole life, and I was really looking forward to a new version. When they first announced this I could not wait.
Then it went to a streaming movie, then to this, which is one of these “let’s throw everything AND the kitchen sink into this and make it a 27 hour EVENT. Editing not required evidently. So this is obviously NOT a new version of Let It Be. So I’m not nearly as interested as I originally was. I’m sure at some point I’ll sift through some of it; I’m way too big a fan not to.
One thing: don’t relegate Paul to second fiddle on the Let It Be sessions; it really was all about Paul trying to keep the band going. He worked more than anyone else on this record. Lennon was completely addicted at that point. And remember that several Harrison classics were presented at these sessions and turned away from by L&M, making Harrison fairly brittle and cynical during much of this work. That’s all a big part of the mythical aspect of the original movie, the whole “if you just tell me what to play and how to play it I’ll do it” bit.
Anyway, hopefully one day we’ll see Let It Be again. I doubt we will though; people just won’t care about it. Young people won’t care and won’t even know it existed, and other than hard core fans, others just won’t care. I guess I’ll keep watching my original version and learn to be content with that.
In recent years I have become a big fan of Let It Be Naked. It is very direct and flows well. To my ears stronger than the original.
It’s funny; after my initial ear shock of listening to Let It Be Naked the first time, I really got into it and enjoyed it very much. And then, eventually, I drifted back to the original.
Only thing I don’t get is: if Paul already had completed versions of Let It Be and Long & Winding Road ready to go (as demonstrated by LIB Naked), why couldn’t he submit them to go on the record instead of Phil Spector’s versions? My hunch is that the simple answer is, “anger and enmity from John.”
Yeah; and all the finagling going on from Alan Klein and Lennon probably. It seems unbelievable that something like that could happen at that point, but it did. Can you imagine if you’re McCartney and you heard the final version for the first time? Jesus.
I’ve read that hearing the Phil Spector mix of Long & Winding Road (taken from what Paul considered a *bad quality* demo) was what finally convinced him the Beatles were over as a functional group.
I want to see Get Back, but it just makes me want to see Let It Be even more.
IMHO this is really very much Paul’s “happy” revision of it.
I’d guess the original won’t be available until he and Ringo are gone.
I’m curious and I will get to it when I can. But I would like to see
the dynamics between all of them. I’m not much of a Behind The Scenes
guy, but it’s the Beatles.
I’m there for any glimpse into the creative process of this titanic band. I must say that the presence of Yoko in these clips is incredibly creepy.
Why is Yoko there? She’s so annoying. No wonder they broke up because of her.
The tracks on LET IT BE (and the singles recorded during those sessions) are by and large wonderful. Never understood all the disdain for them.
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