1 00:00:26,383 --> 00:00:30,543 Speaker 1: Film Spotting is presented by Regal Unlimited. Regal Unlimited is 2 00:00:30,583 --> 00:00:33,503 Speaker 1: the all you can watch movie subscription pass that pays 3 00:00:33,543 --> 00:00:36,982 Speaker 1: for itself in just two visits. See any standard two 4 00:00:37,063 --> 00:00:41,263 Speaker 1: D movie anytime, with no blackoutdates or restrictions. Save on tickets, 5 00:00:41,303 --> 00:00:44,263 Speaker 1: Save on snacks. Members get ten percent off all non 6 00:00:44,382 --> 00:00:47,783 Speaker 1: alcoholic concession items. Sign up now in the Regal app 7 00:00:47,903 --> 00:00:51,903 Speaker 1: or at rgmovies dot com slash Unlimited. 8 00:00:52,022 --> 00:00:54,503 Speaker 2: Hey film spotters, Adam Here, I'm excited to share with 9 00:00:54,543 --> 00:00:57,583 Speaker 2: you my conversation with Morgan Neville about his new film, 10 00:00:57,623 --> 00:01:01,142 Speaker 2: Paul McCartney Man on the Run. You may know Neville 11 00:01:01,143 --> 00:01:04,303 Speaker 2: from his Oscar winning dot Twenty Feet from Stardom, his 12 00:01:04,423 --> 00:01:06,783 Speaker 2: film about Fred Rodgers, Won't You Be My Neighbor and 13 00:01:06,983 --> 00:01:11,342 Speaker 2: Anthony Bourdain roadrunner. Man on the Run starts where most 14 00:01:11,583 --> 00:01:16,463 Speaker 2: Paul McCartney documentaries might end, with the breakup of the Beatles. 15 00:01:16,543 --> 00:01:20,423 Speaker 2: We talk about that choice, our love of Paul McCartney's baselines, 16 00:01:20,583 --> 00:01:25,223 Speaker 2: and much more. Here is that conversation. What the. 17 00:01:28,263 --> 00:01:30,023 Speaker 1: Beatles have been my whole life? 18 00:01:30,143 --> 00:01:30,503 Speaker 3: Really? 19 00:01:32,263 --> 00:01:36,863 Speaker 1: When we stood up, I thought I'll never write a 20 00:01:36,903 --> 00:01:38,063 Speaker 1: note of music ever. 21 00:01:39,623 --> 00:01:42,583 Speaker 2: I've seen a fair number of rock documentaries usually about 22 00:01:42,583 --> 00:01:45,943 Speaker 2: baby boomer musicians, and quite often you get the origin 23 00:01:45,983 --> 00:01:50,103 Speaker 2: story moment where they reveal how everything changed once they 24 00:01:50,143 --> 00:01:52,663 Speaker 2: saw the Beatles on Ed Sullivan in nineteen sixty four. 25 00:01:52,903 --> 00:01:54,903 Speaker 2: You know, they bought a guitar, they grew their hair out, 26 00:01:54,943 --> 00:01:57,423 Speaker 2: they started a band or joined a band, and the 27 00:01:57,463 --> 00:02:00,623 Speaker 2: path was set. You were not alive when the Beatles 28 00:02:00,623 --> 00:02:03,583 Speaker 2: were on Ed Sullivan in nineteen sixty four. But I'm 29 00:02:03,623 --> 00:02:09,542 Speaker 2: curious if you have a documentary filmmaker origin story moment. God. 30 00:02:09,983 --> 00:02:13,663 Speaker 3: I mean, there were a few documentaries that really got 31 00:02:13,663 --> 00:02:20,023 Speaker 3: me excited early on. Sherman's March was actually one of them, 32 00:02:20,383 --> 00:02:23,023 Speaker 3: and Hearts and Minds was another one too, Like I 33 00:02:23,103 --> 00:02:25,143 Speaker 3: think I saw both those when I was in college, 34 00:02:25,863 --> 00:02:30,263 Speaker 3: and they just made me realize that documentary was more 35 00:02:30,343 --> 00:02:33,303 Speaker 3: than just kind of what it was at the time, 36 00:02:33,343 --> 00:02:37,383 Speaker 3: which is old school PBS E documentary need many films 37 00:02:37,383 --> 00:02:41,343 Speaker 3: for PBS and it's great, but it was definitely when 38 00:02:41,383 --> 00:02:45,143 Speaker 3: I started, documentary was like the spinach of filmmaking, and 39 00:02:46,183 --> 00:02:48,183 Speaker 3: you know, it's it's come a long way. 40 00:02:48,703 --> 00:02:52,383 Speaker 2: Yeah. For my last birthday, my wife got me a 41 00:02:52,423 --> 00:02:55,023 Speaker 2: record player. So I'm one of those guys now who's 42 00:02:55,063 --> 00:02:58,903 Speaker 2: buying vinyl like so many people. Yeah, I missed. I 43 00:02:58,983 --> 00:03:01,023 Speaker 2: missed that window. Really. By the time I was old 44 00:03:01,103 --> 00:03:03,663 Speaker 2: enough to spend my own money, I was buying cassettes 45 00:03:03,703 --> 00:03:07,263 Speaker 2: and then CDs. But as a young kid I listened 46 00:03:07,303 --> 00:03:11,903 Speaker 2: to my parents' albums. The standouts were The Bird's Greatest Hits, 47 00:03:12,423 --> 00:03:16,583 Speaker 2: Who Could Resist Those Harmonies? And Rubber Soul and the 48 00:03:16,583 --> 00:03:21,143 Speaker 2: White Album. And what's so great still about the American 49 00:03:21,223 --> 00:03:24,423 Speaker 2: version of Rubber Soul? Is you know I would come 50 00:03:24,423 --> 00:03:27,543 Speaker 2: to learn much later, is that it placed Paul's Drive 51 00:03:27,663 --> 00:03:30,863 Speaker 2: My Car with I Think the far superior I've just 52 00:03:30,903 --> 00:03:34,102 Speaker 2: Seen a Face as the opening track, and between that 53 00:03:34,663 --> 00:03:38,223 Speaker 2: and Dear Prudence on the White Album, I was hooked 54 00:03:38,503 --> 00:03:40,983 Speaker 2: as a Beatles fan. So I asked you about your 55 00:03:40,983 --> 00:03:44,863 Speaker 2: origin story moment as a doc filmmaker. What about your 56 00:03:45,103 --> 00:03:46,623 Speaker 2: entree to the Beatles. 57 00:03:47,183 --> 00:03:50,903 Speaker 3: I mean, my dad was a big Beatles fan and 58 00:03:51,863 --> 00:03:54,903 Speaker 3: he had me very young. My parents did. He'd seen 59 00:03:54,943 --> 00:03:57,783 Speaker 3: the Beatles I think in Indianapolis in nineteen sixty four, 60 00:03:58,743 --> 00:04:01,263 Speaker 3: and then we had a jukebox in our house growing up, 61 00:04:01,583 --> 00:04:03,903 Speaker 3: and it was full of Beatles forty fives. I particularly 62 00:04:03,943 --> 00:04:07,983 Speaker 3: remember eight days a week just playing that all the time. 63 00:04:08,023 --> 00:04:11,223 Speaker 3: It sounded great on the jukebox. And then I started 64 00:04:11,223 --> 00:04:13,663 Speaker 3: playing music when I was young too, so I was 65 00:04:13,703 --> 00:04:17,983 Speaker 3: listening to music. I was a huge Beatles fan, and 66 00:04:18,022 --> 00:04:20,342 Speaker 3: then some of the first music I ever bought were 67 00:04:20,423 --> 00:04:24,663 Speaker 3: Wings records. I mean, I remember London Town being one 68 00:04:24,663 --> 00:04:27,183 Speaker 3: of the first three albums I ever bought, you know, 69 00:04:27,223 --> 00:04:29,663 Speaker 3: but my dad had a bunch of the other Wings records, 70 00:04:29,702 --> 00:04:32,263 Speaker 3: so I was kind of loving that. But the fact 71 00:04:32,303 --> 00:04:35,543 Speaker 3: that Paul was still making music and putting a lot 72 00:04:35,543 --> 00:04:38,183 Speaker 3: of music, you know, by the late seventies, John and 73 00:04:38,223 --> 00:04:41,303 Speaker 3: George weren't, so you know, Paul was the one who 74 00:04:41,383 --> 00:04:45,783 Speaker 3: is still really adding a lot. So I loved that, 75 00:04:46,103 --> 00:04:49,183 Speaker 3: and then you know, this was kind of making this 76 00:04:49,263 --> 00:04:53,823 Speaker 3: film was full circle for me, going back to all 77 00:04:53,943 --> 00:04:55,743 Speaker 3: the music that I've kind of been listening to my 78 00:04:55,743 --> 00:04:56,223 Speaker 3: whole life. 79 00:04:56,703 --> 00:04:59,343 Speaker 2: Have you heard Ethan Hawke's theory that you can't actually 80 00:04:59,383 --> 00:05:02,143 Speaker 2: be like a Paul guy or a John guy, that 81 00:05:02,503 --> 00:05:04,543 Speaker 2: you can't have a favorite Beatle, you have to just 82 00:05:04,623 --> 00:05:07,103 Speaker 2: collectively love the Beatles. I'm not going to be able 83 00:05:07,143 --> 00:05:09,223 Speaker 2: to repeat it or articulated as well as he does, 84 00:05:09,263 --> 00:05:11,543 Speaker 2: but I've seen it recently and it's quite brilliant. So 85 00:05:11,863 --> 00:05:14,263 Speaker 2: I'm curious if you have heard that. And then also, 86 00:05:14,663 --> 00:05:17,823 Speaker 2: despite that, is Paul definitely your favorite Beatle? 87 00:05:18,343 --> 00:05:21,623 Speaker 3: Well? And I actually talked to Ethan about this, so 88 00:05:21,863 --> 00:05:24,063 Speaker 3: really yeah, we were at the Tell Your Ide Film 89 00:05:24,103 --> 00:05:27,623 Speaker 3: Festival together when this film premiered, And you know, I 90 00:05:27,903 --> 00:05:31,223 Speaker 3: have a theory that there's kind of a Beatle for 91 00:05:31,263 --> 00:05:34,263 Speaker 3: every time in your life. So when you're a little kid, 92 00:05:35,143 --> 00:05:38,103 Speaker 3: you're in the Yellow Submarine and Octopus's Garden and like 93 00:05:38,183 --> 00:05:41,623 Speaker 3: Ringa's your guy. He's like goofy and the little kids 94 00:05:41,663 --> 00:05:44,503 Speaker 3: think he's funny. And then when you're like an angsty teenager, 95 00:05:45,103 --> 00:05:47,783 Speaker 3: John's your guy because he is cynical and wants to 96 00:05:47,783 --> 00:05:51,263 Speaker 3: stick it to the man and he's hard edged. And 97 00:05:51,303 --> 00:05:53,263 Speaker 3: then when you're in your twenties and you're kind of 98 00:05:53,263 --> 00:05:56,022 Speaker 3: trying to figure out the philosophy of your life and 99 00:05:56,063 --> 00:05:59,343 Speaker 3: the spirituality of your life, George is your guy because 100 00:05:59,423 --> 00:06:02,542 Speaker 3: he's on those journeys. And then when you get married 101 00:06:02,543 --> 00:06:05,983 Speaker 3: and have kids, Paul's your guy because he's kind of 102 00:06:06,343 --> 00:06:08,383 Speaker 3: the adult a little bit and kind of the guy 103 00:06:08,423 --> 00:06:12,383 Speaker 3: who's always put family very front and center in his life. 104 00:06:13,143 --> 00:06:15,503 Speaker 3: That being said, I don't need to choose, like I 105 00:06:15,863 --> 00:06:17,183 Speaker 3: do agree with Ethan that I. 106 00:06:17,183 --> 00:06:17,743 Speaker 2: Get them all. 107 00:06:17,903 --> 00:06:18,702 Speaker 3: I think all of it. 108 00:06:19,063 --> 00:06:20,142 Speaker 1: Yeah, why do you have to pick? 109 00:06:20,543 --> 00:06:23,503 Speaker 3: Everybody wants to pick sides, and critics always were picking 110 00:06:23,543 --> 00:06:26,183 Speaker 3: sides because it made for good copy. But I love 111 00:06:26,223 --> 00:06:26,543 Speaker 3: it all. 112 00:06:26,743 --> 00:06:30,263 Speaker 2: I didn't. Yeah, I guess I've always considered myself a 113 00:06:30,303 --> 00:06:32,543 Speaker 2: Paul guy just because And you can probably see the 114 00:06:32,583 --> 00:06:35,583 Speaker 2: bass on the wall behind me. I in seventh grade, 115 00:06:36,143 --> 00:06:37,863 Speaker 2: I had a group of friends and we decided that 116 00:06:37,903 --> 00:06:41,023 Speaker 2: we wanted to start a band, and nobody had picked 117 00:06:41,103 --> 00:06:43,263 Speaker 2: up a bass. That was the way I was going 118 00:06:43,303 --> 00:06:45,342 Speaker 2: to be in the band is if I bought a 119 00:06:45,343 --> 00:06:48,142 Speaker 2: bass and took bass lessons. And since I already loved 120 00:06:48,143 --> 00:06:50,702 Speaker 2: the Beatles and I was starting to pick up what 121 00:06:50,863 --> 00:06:53,582 Speaker 2: he was doing a little bit melodically on the bass, 122 00:06:53,583 --> 00:06:58,023 Speaker 2: and later would really discover how amazing he was as 123 00:06:58,263 --> 00:07:02,103 Speaker 2: a bass player, that was when I really got turned 124 00:07:02,143 --> 00:07:04,983 Speaker 2: on to him, and even more turned on to the Beatles' music. 125 00:07:05,023 --> 00:07:07,623 Speaker 2: So I was in bands all through you know, junior high, 126 00:07:07,703 --> 00:07:12,183 Speaker 2: high school, and college and just became really enamored with him. 127 00:07:12,623 --> 00:07:14,663 Speaker 2: So you mentioned that you were listening to a lot 128 00:07:14,703 --> 00:07:18,423 Speaker 2: of a lot of Wings. Where did the idea originate though? 129 00:07:19,183 --> 00:07:23,903 Speaker 2: To focus on this period, this really tumultuous period, but 130 00:07:23,943 --> 00:07:28,183 Speaker 2: also this really creatively fruitful decade in the Beatles in 131 00:07:28,223 --> 00:07:29,503 Speaker 2: the wake of the Beatles breakup. 132 00:07:29,863 --> 00:07:33,423 Speaker 3: Well, first of all, I'm a bass player too, nice okay, 133 00:07:33,463 --> 00:07:35,863 Speaker 3: and I played in bands from the time I was twelve, 134 00:07:36,703 --> 00:07:40,703 Speaker 3: So as a bass player, McCartney is, you know, a god. 135 00:07:40,823 --> 00:07:44,503 Speaker 3: And you know my son's a bass player too. I 136 00:07:44,543 --> 00:07:49,423 Speaker 3: heard him downstairs practicing silly Love songs and good Night 137 00:07:49,463 --> 00:07:51,943 Speaker 3: Tonight and some of Paul's great seventies bass lines a 138 00:07:51,943 --> 00:07:53,663 Speaker 3: couple of weeks ago, and I was like, okay, I've 139 00:07:53,703 --> 00:07:57,943 Speaker 3: totally succeeded as a father then, because passing it along, 140 00:07:57,983 --> 00:08:01,623 Speaker 3: because Paul is an amazing bass player, so that part 141 00:08:01,663 --> 00:08:04,303 Speaker 3: of it. I've always loved and connected with him in 142 00:08:04,303 --> 00:08:08,743 Speaker 3: that way. But this film literally I got the call 143 00:08:08,823 --> 00:08:12,623 Speaker 3: from Paul's manager saying, Paul's interested in doing something about 144 00:08:12,623 --> 00:08:17,223 Speaker 3: the Wings period like that was it? Like no, you know, 145 00:08:17,303 --> 00:08:19,263 Speaker 3: I had to figure out what that was. And when 146 00:08:19,303 --> 00:08:22,863 Speaker 3: I thought about it, I instantly thought, well, the story 147 00:08:22,983 --> 00:08:25,823 Speaker 3: really begins when the Beatles break up, you know, And 148 00:08:26,263 --> 00:08:29,143 Speaker 3: in that way, I kind of think this film is 149 00:08:29,223 --> 00:08:31,423 Speaker 3: like a sequel to get back, you know that if 150 00:08:31,423 --> 00:08:33,862 Speaker 3: you look at Get Back as like the last snapshot 151 00:08:34,102 --> 00:08:37,102 Speaker 3: of where the Beatles were at in nineteen sixty nine, 152 00:08:37,783 --> 00:08:40,503 Speaker 3: there's friction, but there's humor and there's love, and they're 153 00:08:40,502 --> 00:08:43,103 Speaker 3: all these different things, and they're just brothers who are 154 00:08:43,783 --> 00:08:46,063 Speaker 3: growing apart and they want to have their own lives. 155 00:08:46,663 --> 00:08:48,703 Speaker 3: And I think this film kind of begins, well, what 156 00:08:48,742 --> 00:08:51,902 Speaker 3: happens when that goes away? As John says in the documentary, 157 00:08:52,303 --> 00:08:54,382 Speaker 3: Paul's the one that wanted it to stay together more 158 00:08:54,423 --> 00:08:58,423 Speaker 3: than anybody, and so I think it's that journey for 159 00:08:58,542 --> 00:09:02,223 Speaker 3: him out of the Beatles. And then to me, I 160 00:09:02,262 --> 00:09:07,262 Speaker 3: instantly thought, well, the story ends with John's passing, because 161 00:09:08,862 --> 00:09:12,463 Speaker 3: then he's not trying to escape the Beatles anymore. I 162 00:09:12,463 --> 00:09:14,502 Speaker 3: mean it's called man on the Run because he's trying 163 00:09:14,502 --> 00:09:17,062 Speaker 3: to run away from the shadow of the Beatles. And 164 00:09:17,142 --> 00:09:19,583 Speaker 3: when John dies, he stops running, you know, I mean, 165 00:09:19,823 --> 00:09:22,703 Speaker 3: he breaks up wings, he starts recording with George Martin 166 00:09:22,703 --> 00:09:27,383 Speaker 3: and Ringo again. He embraces that part of his life 167 00:09:27,463 --> 00:09:30,742 Speaker 3: because he's not being hounded by everybody saying why don't 168 00:09:30,742 --> 00:09:33,742 Speaker 3: you guys just get back together again? So I kind 169 00:09:33,742 --> 00:09:37,063 Speaker 3: of instantly thought that's really the story it's a decade. 170 00:09:37,102 --> 00:09:39,662 Speaker 3: It's the seventies. When I sat down to talk to 171 00:09:39,703 --> 00:09:41,583 Speaker 3: Paul about it, I told him that and he said, 172 00:09:41,782 --> 00:09:45,542 Speaker 3: sounds good. I mean, it was just like, okay, you 173 00:09:46,142 --> 00:09:48,303 Speaker 3: figure it out. But I think in a way, this 174 00:09:48,382 --> 00:09:51,422 Speaker 3: film also happened because of Get Back That. I think 175 00:09:52,622 --> 00:09:56,422 Speaker 3: I think Paul understanding that that chapter of the Beatles 176 00:09:56,423 --> 00:10:01,143 Speaker 3: story wasn't as terrible as everybody said it was. And 177 00:10:01,183 --> 00:10:02,862 Speaker 3: if you go back and look at the original edit 178 00:10:02,902 --> 00:10:05,542 Speaker 3: of Let It Be the original film of those sessions, 179 00:10:05,902 --> 00:10:08,823 Speaker 3: it's all the bad stuff. You know, it's basically a 180 00:10:08,862 --> 00:10:12,862 Speaker 3: film about divorce. And I think to Get Back project, 181 00:10:13,343 --> 00:10:16,622 Speaker 3: let Paul see that it wasn't just bad. It was 182 00:10:17,102 --> 00:10:20,982 Speaker 3: everything all at once. And this chapter, the next chapter 183 00:10:21,022 --> 00:10:25,142 Speaker 3: of his life, was also painful in a lot of ways. 184 00:10:25,142 --> 00:10:27,862 Speaker 3: He had to sue his former bandmates to get out 185 00:10:27,862 --> 00:10:31,383 Speaker 3: of the Apple contract, and critics were angry at him 186 00:10:31,742 --> 00:10:34,783 Speaker 3: for breaking up the Beatles and for not being the Beatles, 187 00:10:34,862 --> 00:10:37,782 Speaker 3: and for you know, people were angry at Linda, people 188 00:10:37,782 --> 00:10:40,262 Speaker 3: were angry at everything. Everybody was just heartbroken. So there 189 00:10:40,303 --> 00:10:44,343 Speaker 3: was a lot of the tuperation about everything. So I 190 00:10:44,382 --> 00:10:49,062 Speaker 3: think he thought, well, maybe it wasn't as bad and 191 00:10:49,262 --> 00:10:52,623 Speaker 3: sure enough, looking at it, like, yes, there were lots 192 00:10:52,662 --> 00:10:54,703 Speaker 3: of bad things, but if you look at the life 193 00:10:55,142 --> 00:10:58,823 Speaker 3: he and Linda created in Scotland and kind of their 194 00:10:59,742 --> 00:11:02,902 Speaker 3: new family and everything else, it actually as stellas as 195 00:11:02,902 --> 00:11:04,822 Speaker 3: in the film. You know, it was some of the 196 00:11:04,862 --> 00:11:07,262 Speaker 3: happiest years that their lives, probably that highest years of 197 00:11:07,262 --> 00:11:07,862 Speaker 3: their lives. 198 00:11:08,142 --> 00:11:11,383 Speaker 2: Perfect transition, because I wanted to ask you, where does 199 00:11:11,622 --> 00:11:15,622 Speaker 2: form start to enter the equation for you? Did you 200 00:11:15,662 --> 00:11:18,343 Speaker 2: always know that you wanted to take the archival route, 201 00:11:18,343 --> 00:11:20,862 Speaker 2: that we would only hear Paul and others, but we 202 00:11:20,862 --> 00:11:23,543 Speaker 2: would never see them. And that's great if that's the 203 00:11:23,542 --> 00:11:25,542 Speaker 2: approach you want to take, but it only works if 204 00:11:25,622 --> 00:11:28,742 Speaker 2: you've got the archival material to pull from. And while 205 00:11:28,902 --> 00:11:33,542 Speaker 2: Paul McCartney is obviously a very public figure, you really 206 00:11:33,622 --> 00:11:37,142 Speaker 2: wouldn't have the movie that you have without all that 207 00:11:37,262 --> 00:11:38,782 Speaker 2: personal footage that was shot. 208 00:11:39,262 --> 00:11:43,463 Speaker 3: Yeah, and fortunately Paul married a photographer, so you know, 209 00:11:43,583 --> 00:11:47,182 Speaker 3: Linda was a rock photographer, but she took pictures of everything. 210 00:11:47,742 --> 00:11:50,463 Speaker 3: You know, their photos and the documentary of like their cupboard, 211 00:11:51,063 --> 00:11:54,902 Speaker 3: you know, and what their house looked like. And they 212 00:11:54,902 --> 00:11:57,903 Speaker 3: also had a home movie cameras and early on I 213 00:11:57,982 --> 00:12:01,223 Speaker 3: really dug into the archive and I saw how rich 214 00:12:01,343 --> 00:12:04,663 Speaker 3: and deep it was, and so very early on I said, 215 00:12:04,703 --> 00:12:06,742 Speaker 3: I think I just want to do this with audio only. 216 00:12:07,423 --> 00:12:10,343 Speaker 3: I didn't shoot any interviews, you know, so it was 217 00:12:10,463 --> 00:12:13,663 Speaker 3: audio kind of from the beginning then. But part of 218 00:12:13,662 --> 00:12:17,902 Speaker 3: it too was that I wanted to try and get 219 00:12:18,183 --> 00:12:23,702 Speaker 3: Paul to a place of intimacy and kind of contemplation 220 00:12:24,022 --> 00:12:26,742 Speaker 3: that just is way more difficult with cameras and lights 221 00:12:26,742 --> 00:12:29,542 Speaker 3: in your face. And so the way I did it 222 00:12:29,583 --> 00:12:32,742 Speaker 3: is I would just meet up with them at different times, 223 00:12:33,463 --> 00:12:35,422 Speaker 3: with the two of us in a room with a microphone, 224 00:12:36,262 --> 00:12:39,302 Speaker 3: and we would just talk for a few hours. And 225 00:12:39,742 --> 00:12:44,223 Speaker 3: part of it is, you know, it was loose and 226 00:12:44,423 --> 00:12:47,862 Speaker 3: it was revealing, and I think I was able to 227 00:12:47,862 --> 00:12:50,943 Speaker 3: get Paul to a place where he's not just talking 228 00:12:50,943 --> 00:12:53,583 Speaker 3: about the stuff he normally talks about. Yeah, And so 229 00:12:53,823 --> 00:12:56,463 Speaker 3: that just would have been a lot more difficult with cameras. 230 00:12:56,782 --> 00:12:59,943 Speaker 3: But then also the last thing I love about not 231 00:13:00,063 --> 00:13:02,383 Speaker 3: having on camera interviews is if you're not cutting to 232 00:13:02,423 --> 00:13:06,102 Speaker 3: eighty year old people talking about fifty years ago, it 233 00:13:06,303 --> 00:13:09,903 Speaker 3: becomes less retrospective and more of like a present tense 234 00:13:10,142 --> 00:13:13,503 Speaker 3: story where you're just immersed in that time period and 235 00:13:13,542 --> 00:13:16,702 Speaker 3: it feels like it's unfolding in front of you as 236 00:13:16,703 --> 00:13:20,063 Speaker 3: opposed to looking back on it. I really liked what 237 00:13:20,142 --> 00:13:21,102 Speaker 3: that did to the film. 238 00:13:21,262 --> 00:13:22,943 Speaker 2: I really enjoyed the film. There's so much more we 239 00:13:22,943 --> 00:13:25,982 Speaker 2: could dig into, including just you know, riffing on Paul 240 00:13:26,063 --> 00:13:30,423 Speaker 2: McCartney baselines. Maybe another time, Morgan, I would enjoy that absolutely. 241 00:13:31,343 --> 00:13:32,703 Speaker 2: Best of luck with the film. Thank you. 242 00:13:33,343 --> 00:13:36,503 Speaker 1: People are so weird, totally crazy. Of course, that was 243 00:13:36,502 --> 00:13:39,543 Speaker 1: our way, and the words spread that like this was 244 00:13:39,542 --> 00:13:41,102 Speaker 1: a good show. 245 00:13:43,022 --> 00:13:48,902 Speaker 2: Well it wasn't bad. My thanks again to Morgan Neville 246 00:13:48,902 --> 00:13:51,982 Speaker 2: Paul McCartney. Man on the Run is available exclusively on 247 00:13:52,063 --> 00:13:54,782 Speaker 2: Amazon Prime. If you get a chance to see it 248 00:13:54,902 --> 00:13:56,982 Speaker 2: and would like to share your thoughts, we'd love to 249 00:13:56,982 --> 00:13:59,782 Speaker 2: hear from you feedback at film spotting dot net. Thanks 250 00:13:59,862 --> 00:14:04,622 Speaker 2: for listening and watching. This conversation can serve no purpose anymore, 251 00:14:05,502 --> 00:14:08,543 Speaker 2: but fine,