All language subtitles for Cirque du Soleil 2006 Love

Because the world is round, it turns me

on Because

the world

is round

Thank you.

I was really involved at the beginning
because I nurtured a dream of that

project with George.

For him, this project was not only doing
a show, but it was also an opportunity

to maybe Having the Beatles member left
alive, working together on a creative

project again.

You know, I was introduced originally to
the Cirque by my daughter when she took

me to the show in the Albert Hall in
London.

And then George and Olivia took me to
see O in Las Vegas.

George, because he was friends, I think,
with Guy.

started talking about a collaboration
between the Cirque and the Beatles.

There was the possibility that Cirque
wanted to use Cirque's interpretation of

Beatles music with possibly musicians on
stage, just like the, you know, normal

Cirque shows.

And I said, no, it's got to be the
Beatles music.

brief that I was given was you've got to
have 90 minutes of music and you create

that from anything you recorded with the
Beatles since 1962.

George knew where all the bodies were,
you know, that bass line that wasn't

used, we can put that there, there's a
drum for it, you know. But there was

of like some new hip guy.

It sounds all very nice for a minute,
but, you know, suddenly the new hip guy

is, there's another new hip guy.

So we got George Martin, who has always
been hip.

I mean, I've lived with these songs for
40 -odd years.

It's great to listen to.

I started with my father, started
working on this two years ago.

I suppose when I started doing it, I was
full of fear and loathing and dread and

thinking, God, I've been given a Beatles
tape and they want me to do something

to it and people are going to hate me
for this.

I mean, it's a good retrospective song.
We've been running around in bloody

small circles so far.

OK.

All I've got, I've got nothing left.

I felt like somehow an impostor,
obviously, the syndrome of the imposter.

Who am I to be there, sitting in Studio
2 with George Martin

and dreaming of which track, which music
we would play with.

But also we're changing the actual track
themselves.

And this is a tightrope of taste that
we're walking, because...

Once you start tempering with beetle
material, you're tempering with the Holy

Grail. It's like, sort of, if I went in
and we overlaid guitars and made things

sound more rocky, people would go
completely bonkers and you'd find out my

had been burned down.

Like yesterday, visiting all of those
places and signs of that

mythology, we went to Liverpool.

I feel like a pilgrim.

So I feel really excited, actually.

Delighted, excited, honored, and
panicked.

I was told in the very beginning that
this was going to be, or this was

an impossible show.

And this is what I deal with from day
one.

Honestly,

I was very, very nervous thinking that
from the time that they broke up,

the world is hoping a comeback.

You gotta go straight to your final
destination, okay?

Don't do the whole path.

Okay, number two, go.

I play Sergeant Pepper.

Sergeant Pepper is the band leader at
this stage of the creation. I would say

he's more on Pepper.

I guess I'm a mix of maybe of George
Martin in a certain way.

And Dominique told me also that Sergeant
Pepper, for him, represented the father

of Paul McCartney because he played the
trumpet in a band.

Instead of just dully telling the
Beatles story, okay, it started here and

ended there and that was this, this and
that, I tried to touch the main emotions

that went throughout their experience.

Building this show as a rock and roll
poem.

I'm from Johannesburg.

I'm from the east side of Johannesburg,
which is called Cartier Home.

They chose me for one of the characters,
you know.

for the Beatles music. At that time, I
didn't even know about the Beatles and

all that, you know. I was like, okay, I
don't know about those people, so I'll

know everything when I get here.

You just arrived.

Nice to meet you. Welcome.

We're hoping for you. We're not hoping
anymore, actually. I'm really glad

here. So it's going to be a shock, a
cultural shock for you, but welcome

We're going to take care of you.

Thank you for being here.

Evelyn, you play with Athan.

Athan's version, it's tough.

It's tough.

Now, can I have... Everyone think,
hoompa, hoompa, everybody's got one.

Hoompa, hoompa, stick it up your jumpa.
Okay, so, stand by.

Three, four.

Hoompa, hoompa, everybody's got one.
Hoompa, hoompa, stick it up your jumpa.

Hoompa, hoompa.

Can you imagine we're the first company
that in 35 years has been able to make a

deal, a business deal with the Beatles.
We're partners with the Beatles. It's

big.

The Beatles with the name they have and
us who never give away creative control.

How could you find, you know, creative
consensus?

Well, partnerships are difficult.

If you've ever been married, you know
that. But partnerships where there's

than two people are even more
complicated exponentially.

Cirque has done a lot of business with
our company, MGM Mirage, and it's been a

two -part partnership.

Love is unique because we have a third
partner, which is the Apple Group that

represents, of course, the Beatles.

One of the things about the Beatles, and
the shareholders now, it's sort

of like an inverted democracy, right?
That if one person doesn't want to do

something, then we don't do it. It's not
like three can overrule one, right?

And I know that he's on one of those 30
wires.

I just want to thank George, because
he's the one who just came here to us.

And thank you for taking the
opportunity.

We lost George and George's input into
the show, and that's a great

loss.

It made people more determined to see
the project through, you know, and make

work. And we would have done that anyway
if George had been alive. It just

made us all more determined to do it for
George.

I think so. It did me anyway.

Little darling, it's been a long, cold,
lonely winter.

Little darling, it feels like years
since it's been here.

Here comes the sun. You know, I've
always loved Cirque. You know, in the

years I've seen it, when it was in a
tent in Santa Monica in L .A. So I had

problem with it. the Cirque du Soleil
attitude, you know, because it's like

fantasy world, which I loved.

We've always liked to associate
ourselves with Slightly crazy people

are slightly crazy Artists are slightly
crazy, you know, so to work with the

Cirque We're drawing on that same
attraction

I met Dominic actually from the
inception of this idea, and I think he

understood John's songs especially very
well.

It's not so much John's characters
personified. I don't think that they're

that so much as to really express the
songs well.

When I went to Montreal to watch, to
have a visual imagination was really

difficult for me because I kept
thinking, well, why is that on the

doesn't look right. And what are they
going to do when they're over there? And

they were saying, no, no, no, no, that's
not going to be there. And you have to

imagine the stage is going to come up
and they're going to be gone and that's

going to be dark.

So that was actually a whole new...

experience for me and also you know you
have your concept about a song you know

you might Eleanor Rigby to you might be
some something it might be something

different to me and that's the beauty of
music you know the vision of it is in

your head

I

look at you all see the love

I feel strongly about the two characters
from the beginning of the show. Yeah.

That, you know, we have to let go of
that.

At some point. These characters will be
emotionally very charged at this point

of the show.

Can I speak freely?

Yeah.

Yeah. I don't particularly like those
characters.

And I don't know if it's, you know, from
what I represent.

I'll tell you what.

In the beginning, he was being too much
to the minimum.

If we count all the titles that we have,
we have 14 John, 13 Paul, 4 George, and

1 Ringo. Yeah, you know what?

What I'm saying is that we're concerned
about trying to respect the balance in

between.

Yeah, yeah, but you know, you use John
Paul, you know, like the early day one.

This is the time that they were the
best, you know.

And anyway,

it's not just about that. It's about
what is the best.

What made you feel the best?

Hey Jude, don't make it bad Take

a sad song and make it better

Remember to let her into your heart

Then you can start to make it better

I would say first that I was given a lot
of freedom to

write and direct this show by the
Beatles.

And I really appreciated that.

Knowing that the balance in between them
is a very fragile one.

If you have a school photograph and
everybody's clutching around, the first

thing you do is...

Where am I?

Don't look for your friend, you look for
yourself.

So that if Paul is listening to a mix of
a song, he's going to listen to

himself. And same with Ringo, you know,
and Olivia and Yoko similarly do the

same thing. They are, in a way, looking
after their own territory, perhaps with

more care.

Of course they're looking at the broad
elements too, but you have to juggle

that and you have to sort of make sure
that everybody is satisfied.

that we have a consensus of approval.

My background is theatre in England. I'm
an actor.

You come to an environment like this,
which is incredibly challenging for an

artist because the nature of the company
and the shows it does, it's very much

like a factory as well.

I'm not used to big productions.

I'm used to people that I know, people
that I understand.

doing same things and all that, you
know, so it's quite... It is hard

you're trying to work through not just
interpreters but coaches as well and

assistant directors.

And you're right at the bottom of the
food chain and you're trying to get

through so many different people to
articulate what you're trying to say,

concepts, and plus also in the show
itself, you know, there's a director and

there are eight or nine different
coaches.

See you in Vegas.

See you in Vegas. Forget the snow. It's
over.

Forget the snow. It's over.

The devil is here.

The devil is here.

Take care of yourself.

Have a safe trip.

God bless.

Well, you would think that you couldn't
go wrong with Cirque du Soleil and the

Beatles, and I hope that's true.

But risk in the entertainment business
is just about as scary as risk in a

game. There are no sure bets.

The aggregated investment in the Beatles
show approaches $180

million.

As long as it's empty, it costs me about
$5 million a month, so I'm incentivized

to get the showroom up and running.

Everything was on fast track to do all
the negotiations with Cirque, Mirage,

Apple, and do the storyboards and build
the theatre. All was happening at the

same time, so it was pretty frenetic at
times.

It still is, actually.

My first reaction was, I know where we
are now.

I know the world we're in, and that's
the most important thing to me.

For the first time, it actually
encouraged me. It went, I'm going to

come to work tomorrow.

enough to come in and say, oh, I get it
now, I see what you want now, and that

makes sense, that makes sense, and that
makes sense, because we've had five

months of not really knowing how to
navigate through this.

I think we're going to be able to see
all the characters, and we're going to

sense the emotion on stage, because it's
very intimate.

So I think this is a very good thing.

Welcome in the casino.

I'm very happy about the intimacy of the
theatre. It's a room good for...

actors and characters like much more
than other let's say big impressive

scenery but where the human being is
like very small or like part of the of

a machine and that leads me to what i
think should be one of your challenge

state of mind for this creation is what
we would call the showmanship okay

sometimes

It happens, okay? The trap is open, but
we need the stage to be closed.

And it's not working, and you're all
alone on stage.

And I want you not to leave, not to
escape, but to stay there and to make

show as good as it was one minute ago.

Up until the light turns green.

Did you ever stop old?

Many times. Many times.

Yeah, you have to say, so we go on stage
and make all kind of improvise. Yeah.

Sometimes take time like 10 minutes, you
know, 15 minutes. Yeah. You're doing,

doing, doing, and suddenly, yeah,
there's a green light, the show is

We could say, okay, you go on stage, and
you improvise.

Okay,

let's have fun.

Let's play with it. That's the first
reaction you have to ask.

So this is why I insist on that, that,
okay, we're panicking now. Let's have

fun. Okay, let's play with that. We have
nothing to lose somehow.

Yeah, okay. So save the show.

I don't think he's as piggy as that.

I think he has to save.

He has to keep some control. Yeah,
exactly.

Okay.

I don't know, because now we're working
with current, like, professional people

who've learned things from the school
and all that.

Because with me and what you call
pansura and campus dance, I never went

school for that. I just learned it, you
know, from the street, from the street

of South Africa, from Johannesburg.

So I'm learning from them as well, and
there's small things that I can

pick up and then make use of them.

So how many time? We have 10 minutes?

Well, we could work on Lady Madonna.

No?

Just show me. I just want to see you
performing together face to face.

Working with Natasha is a different
thing because I only work with guys.

I was even, at the first time, I was
even scared to...

Because I'm not used to work with
ladies.

I'm not just dancing because I know the
style, I know the routine and all. But

I'm giving.

I want to make people happy at the end
of the day. I want to sit down here and

know that people are happy, you know.

Wednesday morning papers didn't come.

Because the listening sessions have been
very important for analysing the

theatre, which, let's face it, isn't an
ideal place for putting out music.

We're used to working in a studio where
everything is geared to a good sound.

Now here we have an auditorium which is
very, very large and it's oval, almost

circular.

Above what you can see, there is as much
space as there has been ever.

We did allow for the most sophisticated
audio system ever devised, in my view.

They had to have speakers everywhere.

I had to pay for the speakers, too.

And they were in the seats, and they
were in the seat in front of you, and

were behind your right ear and your left
ear, and they end up with several

thousands of speakers.

and they felt like we have to give them
the music as if the Beatles were in the

room performing.

I think it's something like a historic
moment to do this show.

All the characters and all the people in
the show, we realize that.

But as a stage performer,

The way that I will play, the way that I
will approach my character is the same.

Dominique says, oh, I remember that your
father is a policeman, and I see you

being Sergeant Pepper. And strangely,
when I tried the uniform, it was like

photo of my father.

So it was very special. And also because
my father is now in the hospital

because he has the Alzheimer's disease.

He doesn't remember me. He cannot say
who I am and that I am his son.

So it touched me greatly.

I'm of a different generation. I was
born in late 69.

So I was born and they broke up.

Since I was about 17 or 16,

Working in studios with him.

And I learnt a lot through the fact that
his hearing was failing and so he

needed another set of ears.

And that was my training.

And a fantastic honour. I mean, despite
him being my dad.

He is George Martin.

Wednesday morning at five o 'clock as
the day begins.

It's funny, actually. The studio he's
chairman of has just been sold.

And he said to me, he goes, I might take
early retirement.

You know, he's much younger mentally
than a lot of other people in the music

industry.

Much more keen on innovation. And this
appeals to him, this show.

He may not have the years he had.

And he's old, but he still has the
brain.

He never accepts second best.

And I think that's the best thing for me
with him on this project, is I've had

to do a lot of chopping around, a lot of
changes.

And I know that if he thinks it's good,
then it's

good.

We wanted to use George Harrison's song,
Why My Guitar Gently Weeps, and the

version that everybody knows, which is
on the albums, was going to be used in

the show.

But then Dominic, who has been trawling
through the anthology all the time,

listened to one of the tracks.

where George virtually made a demo, and
he liked this very much, and I did agree

with him. It had a wistful quality that
the master didn't have.

There was a version of Guitar Gently
Weeps that everyone wanted to use except

me. It's really beautiful and really
intimate, and I was worried that it

not sustain in a big theater.

And it was really Danny that said, no,
no, no, they have to use it.

So everyone sort of turned to us and
said, well, what can we do with it? You

know, mixing the tracks, doing what
we've done. And there was nothing that

could take from another Beatles song.

Hello, Olivia.

Nice to see you. Come in, come into the
body of the church. I was really quite

nervous about it.

Because this song is such a tender song
for George.

And George isn't with us anymore.

And my responsibility in adding music to
this weighed very heavily on me.

I don't think you can put into words
what was George like as a person.

You know, he says in some of his songs,
beware of sadness.

All things must pass.

Life goes on within you and without you.

And that's... sort of practical advice
that I have to apply in my life, he's

here.

The string players, they realize the
significance of, you know,

it'll be your last string session.

Yeah, absolutely.

And playing a Beatles string session.

And at the end of it, they gave you a
big bouquet of flowers.

They gave me two dozen red roses.

Normally they hand out invoices.

I was knocked out by that.

How long was this, Armand? Was it 45
seconds?

A crash with the machine?

Stand by, please. Same place. We had an
automation crash.

Okay, Armand, you tell us when you're
ready to bring them down.

Okay, so we have a couple of events I
would say that we need to prepare for.

Saturday, as you know, we have also some
visitors from Apple. Paul McCartney

will be here also, and we're going to do
the listening of music with him.

So they will have a lot of people around
this week, so we just need to get

focused at the same place.

Charlie, go.

Do you know what you're doing on
Saturday?

Not yet.

Because I'm sure it would be enormously
helpful if you could show Paul as much.

of the show, visually, as is possible.

Because he hasn't seen it and he's
terribly, intensely curious about it.

The thing is that with the machine, with
the state of the process now, if we

launch ourselves in a complicated act,
it might stop for an hour and a half.

This is where we're at.

Like this afternoon, we worked four
hours and then we were ready to run

And we wait 45 minutes because
everything was turned upside down. You

change things like that. They come to
rehearsals.

Exactly.

There's no problem.

But not that we're in a context of it's
all thumbs up, thumbs down. No, no.

We're not there.

I don't want to.

Dominique, we're going to share, but we
stick on the plan.

Yeah, this is what we do. We're on a
worse time frame here.

No way we're going back there. This is
staging.

Say no call.

Yes, it's not true that we'll expose
ourselves to things that are unfinished,

that we'll create another debate for two
hours, long letters, and excuse me, but

we're past that.

We're thrilled to have you here Everyone
is butterflies in the stomach. Good.

That's good. I like to keep everyone in
a state of tension.

My only problem was nobody knew what we
were going to do.

I'd say, well, what is the show? They'd
say, don't worry, it's OK.

They'd say, it's OK.

The Cirque will be good. The Cirque and
the Beatles will be very good.

I'm going, no, no, no. And then finally
they came up with this idea that the

show is based on with the...

The ladders and bringing up the
building, World War II and Helena Rigby

through. So, you know, I felt, oh,
that's enough.

It's all I needed. Just thought, what
are you going to hang the show on?

Stop. Stop it.

Make sure that they stop it.

But it's much taller than I thought it
would be.

I'd like to have a speaker like this. If
you were doing a concert, you wouldn't

have enough there. No, it's true.

But then again, we wouldn't be in the
round like this. That's right.

The only time we ever were in the round
was our first American

gig in Washington.

And they stuck us there and kept asking
Ringo to move his kit around. Physically

to move him around. He's fine.

I remember poor Ringo was facing... And
we'd never seen the likes of it. And

they'd say, you know, you've got to do
this. No.

So, yeah, because there's audience over
there. Well, they just, they are backed.

No, no, no, you've got to move. So we're
moving.

Poor old Rinker, picking up his bloody
drum kit, repositioning it between

numbers. And then, to make it worse,
Jelly Babies.

Yeah, that's right. The stage was...
We'd said that our favourite suite was

Jelly Babies, so all the Americans,
like, threw them out, was back at Jelly

Babies, and the whole bloody floor was,
like, blue.

I just loved the front line of that
band.

You know, John Paul and George were that
band.

And in Liverpool, if they were playing,
it'd be like a band I would go and see

if I wasn't playing in the band I was
with. And then, you know, by chance,

was a knock on the door, 12 o 'clock in
the afternoon, and Brian Epstein said,

would you play with the Beatles just for
today?

And I did, and that's how we became
friends.

We're just a couple of kids walking
around town in black with a guitar

over our backs, just walking down the
streets like that. So I remember that,

very beginnings, or just going to John's
house and learning chords and playing

things. Then it would be like in hotel
rooms and say, OK, I've got a bit of an

idea. So you'd fire off each other.

And it nearly always took us about three
hours, top.

We never took any longer than three
hours.

Every day we did it, every single time
we came to do it, we did it. We finished

the song.

We had a knack for it. We understood
what we were trying to do.

Eleanor Rigby died in the church and was
buried along with her name.

Nobody came, Father McKenzie, wiping the
dirt from his hands as he walks from

the grave.

No one was saved.

All the lonely people, where do they all
come from?

All the lonely people, where do they all
belong?

Strange, isn't it?

Well, for me, what's really strange
about this is remembering

writing.

these things, you know, which is so
little.

A little guitar or a piano, a little bit
of paper and a pencil, the back of an

envelope. Exactly.

And a sergeant paper or something.

So it's just a little process.

And look what's happened to it.

It is amazing.

It's very difficult to escape this
heritage that we have.

I've been having memories brought back
every day of my life.

There will be a little not -Beetle fan
somewhere who says, they shouldn't do

that, they should leave the masters as
we know them.

But we're embarking on a new direction
here.

Okay, no noise up there.

It's critical. No noise up there.

Louder the sound. Then we're not going
to... Yeah, I know. It

must

be all right. Okay, let's go.

Sorry.

Okay. I love the shadow sequence.

You liked it? Yeah, yeah.

I was playing it safe this afternoon.

I'm glad I came.

Don't be nervous about this. This is
something to not be nervous about. This

really great. I can play you some more
and have your opinion on that.

I'm sorry for the rest. It takes time.
Come on, man.

We understand.

We've been at this a long time, too.

So a piano will appear.

I loved the talking because it put us in
that environment, you know, in the

studio and the fun we used to have
before we made these records, which, you

know, was always about the music. But
the chatter I loved. I thought it made

it... It seemed like it could be now, in
a way.

I thought they could have made me a bit
taller.

That's the only thing I thought.

My God, can't I be taller now?

It's in my shadow.

How did the guys get together to do a
tune right? Because you were always on

of one another like this. I think that's
a good thing. It shows the humor of

recording. I mean, we always said, you
know, one of the great... How could you

hook up with them?

No, I'll tell you why. That's what I was
going to say. I'll tell you why.

Because he did Peter Tellers, The Goons.
He did all the comedy records. My

favorite memory of you lot is when we
were doing Kite, and I had to do the

harmonium. and I became the artist, and
you four were the producers.

Quite right.

And you were saying, yeah, another take,
please, George.

And I was pumping my guts out.

And they were doing it deliberately.
They were keeping me going, you know.

You just try one more, George.

It's not quite right.

George Martin was like the grown -up in
the group.

George was... We were like the kids.

In fact, they used to call us the boys.

That was the working title of this show,
wasn't it?

And we always used to joke, you know,
but, like, we were, like, in the later

years, we were, like, 28.

We were still being called the boys.

We were, like, married with kids and
stuff, you know, the boys.

But, you know, so George Martin was
fantastic.

He could do so much, you know. He could
guide us.

He could understand what we were doing.
He could encourage us. And he could also

pick up the experimental ideas that we
threw at him.

I mean, all I had was a bit of tape and
a pair of brass fingers.

And now it's incredible what the
computer power is.

And stretching sounds and bending them,
you know, putting them in different

keys.

It's amazing what you can do.

You work.

How you're told to work. You work with
what technology you have. And now,

because everyone's got so much
technology, they take forever.

We were told to make four songs a day.
So we did.

Not just ready to mix some other time.

Mixed, finished.

Put it up on a shelf. There's Michelle.

Right, let's do Nowhere Man.

Put that up on the shelf.

So that meant at the end of a week,
you'd done 20 songs.

So we, you know, early albums, we only
did... Because, like, the first album

a day.

I'm pleased he's happy. I'm pleased he
likes.

I'm relieved.

Yeah, me too.

I'm relieved.

I'm not sure what I'd do.

I'm not sure what you'd do if you wanted
me to change the music. It would rather

bug everyone out, wouldn't it, really?

Now the ball is on my camera.

Do you think you'll like it?

Huh? Do you think you will like it?

I wonder what the smell was. Of course
you will. Because he's only coming the

day before the premiere, because he's in
production right now. He cannot come to

a session like this.

So I thought to have you... He'll love
it. He's heard this music. He loves it.

It's a cool idea.

The way you put the sound and everything
is beautiful.

He's never sounded so good.

They mixed 15 minutes of the music first
and we went to hear it and I was blown

away.

And I just kept saying, make it crazier.

You know, you can go broader as far as I
was concerned.

Not for broad sake, but just because it
was so cool.

Right. Once I opened out the drums, I
had to open out the vocal instead of

opening it out.

I don't know. This is called quite...
Yeah, yeah. But that's nice.

Yeah,

what to say?

We just watched a little bit of it. We
think it's fantastic, very exciting.

I think you're great acrobats, great
performers.

And I think it's going to be a fantastic
show.

Really fantastic.

But I want you to work harder.

Harder. Much harder.

Thank you.

Oh, every morning before I get out of
bed, I put those Beatles on, yeah, and

then I go to room service.

Yeah, no, I don't.

I don't.

You know, if it's on, it's on.

Sometimes if I'm, you know, I'll play
Beatle Rex and say, well, you know,

listen to that on that track.

You know, any combination seems that the
Beatle tracks work because the tracks

are strong enough.

That's the deal.

Ringo loves the fact that he's a great
drummer. I mean, really, I've learned

good a drummer he is because I have the
ability to remove him from a song and

then put him back on. So the song
becomes... He plays the song unlike any

drummer. He doesn't play necessarily a
fixed sort of, this is my drum part.

He'll play the song. He really is a song
-playing drummer.

But he has a groove. He has a groove
that's his own. So if I can take him

playing one song and stick it in
another, He loves it because it's like,

know, it's me, but it's more me.

I dream at 13 was to

play drums.

I started in hospital.

I was in hospital with tuberculosis for
a year, and so to keep us busy.

I've learned to knit.

So they'd give you, like, things to do
because we couldn't do a lot.

And so then every couple of weeks, like
a music teacher would come in with

little drums, tambourines, maracas.

I fell in love with the drum, and I
wouldn't be in the hospital band unless

got a drum.

And then I came out of hospital. I made
my own snare drum out of a biscuit tin

and pieces of firewood as sticks.

Couldn't play, but I could hit.

You know, and that's how it started.

Now they give me a drum set a week.

You know, if I want one.

It's so hard. You got nothing, you get
nothing. You got everything, they'll

you anything.

Well,

I think that the show has to have some
gritty or sad moments, too, because that

was life. That is life, you know? And it
can't just be happy -go -lucky from the

beginning to end.

I remember when I went to the cult
building at Yoko Ono's apartment to

her the concept of the show.

And I remember the moment of John
Lennon's murder.

And when I came up there, I was really
like, I was really shaken

by just being there, you know.

And he offered me a cup of tea. He told
me, welcome into this.

And then I just felt more comfortable
and simply I expressed.

what I thought the show should be, and I
left the meeting with great

encouragement and strength.

I read the news today, oh boy.

Julia, as we know, she's the character
of a song on a white album, but she's

also John Lennon's mother, who was
killed by a policeman driving a car when

was a teenager.

And as you can hear him singing Julia,
our mother, in his solo

career, you can appreciate how sensitive
he was about her.

Then, is it too sensitive to be there
with the blessing of the Beatles?

I think that, you know, I'm very glad
that Julia is something that they're

working on.

And John had an incredible, incredible
love for his mother.

And he was very, very saddened that his
mother never saw him become so famous.

And that was the one thing that he
regretted all the time.

Time again, people say to me, what's
your favorite?

Beatles song. And I don't really know
because there were so many of them. But

I had to pick one of John's, it would
probably be Strawberry Fields Forever.

It's such an extraordinary song.

And the first time I heard it, we'd
been, up to that point, we'd been making

albums which we had to rush until they
made the decision, wisely and rightly,

not to do any more touring, but to
concentrate on recording.

And the very first song we recorded,
After that decision was John Strawberry

Fierce. And as usual, I put myself on a
high chair, like a bar stool, and John

stood in front of me with his acoustic
guitar and started singing.

And I was knocked

out. I thought, what an extraordinary
sound. What a beautiful sound.

He was a marvellous man, but he...

He was never really satisfied with
anything he did.

In the year before he died, I spent a
night with him and we talked about old

times. And we had a lovely evening. And
then suddenly, out of the blue, he said

to me, you know, George, if I could, I'd
record everything we did again.

I said, you can't be serious, John.

I said, we did some great stuff. What
are you on about? He said...

We could have done it better.

I said, what about Strawberry Fields?

He looked at me over his glasses and he
said, it's definitely Strawberry Fields.

And I thought, gosh, you know, I
practically bled for that song.

Nothing is real And nothing to get hung
about

After we did the Strawberry Fields with
using the different versions, Yoko was

telling me it was nothing to do with the
music at all. It was to do with...

He didn't like his voice on it, didn't
like his singing on it. He had a great

voice, and yet he was always asking me
to distort it, put more tape on, I can't

bear that, you know. I think that also
John had this vision in his mind, which

was a fantastic sound, and he wanted it
to be realised, but he was never very

practical. He would talk to me in terms
of colours and so on, and dreams,

and I had to pin him down, saying, OK...

What instrument would you use? How do we
get this thing off the ground?

But he didn't really want to bother with
that. He wanted to create something

that would just flow.

Picture yourself in a boat on a river
with tangerine

trees.

Now, I want you to fix me up so that I
can do one of those things.

You mean her? With harnesses? Go join
her up there.

Well, no problem.

With your presence, we do the
traditional lion dance. That's the first

run it with public.

So you are our lion.

And we hope that you don't eat us.

Well, we try to run it as much as
possible, smoothly for you guys.

And enjoy everything with love.

Attract me like no other lover.

Something in the way she moves me.

I don't want to leave her now.

You know I believe in how.

Go, go, go, go. They're all late.

They're all late.

All right, throw it out that side.

His gas mask. Where his gas mask is?

Yeah, well, he's going to come to fame.

Because Guy's going to... Why don't you
just go to that page? Sure, sure.

I mean, you know, what is it? It's
breezy.

This come together is not a breezy song.
Come together is a song of political

coming together. Because you're not
inspired with John's song. I'm really

inspired, honestly. Oh, great, thank
you. Tell me what you're inspired about

the world. He's singing so well, and I
feel so sorry for him because nothing's

going on.

It's just making it like, oh,
atmospheric is the word. But it's not

This whole thing is power.

Also, I have, you know, a lot of respect
for him for having done this much.

And, of course, we're all still, you
know, saying, well, could you just, et

cetera, et cetera.

And Olivia is going there, and I'm going
there.

And because we are very protective of
our husband's songs, you know.

So he's got a lot. to deal with, really.

See you later! See you later!

Yeah, exactly.

Do you think this is the departure?

This is the change for Cirque?

I mean the dancing, the staging, the
different ways.

Yeah, it is. This is more musical than a
Cirque show.

You could have told us.

Yeah,

you know, because I think people are
going to be surprised.

In terms of not having that much...
Yeah, in terms of not many acrobatic...

Yeah, that type.

Well, I don't think they expected it.
The people would come for the encounters

of the Syriza and the Beatles.

Now it's a question of tidying up things
and clarifying things. So that's why

it's important to get... And that's what
I like about the people of Yoko.

And this is what we need, because we
were not there with them.

You know, especially with Yoko and you,
we're not there. And with George, I

didn't have time to go into detail of
each of his songs. I want to make sure

that the details are addressed.

Like I said, at the end, we have to make
decisions.

We can't do a show in a community way.

As long as there's something, each one
has something going, and it's not, you

know, some focus. But it's the same
thing, because that's what I always

the people I work with.

I said, it's not about who have the best
ideas, it's about what is the best idea

who will prevail.

Of course, everybody has its
personality, has its pride, and its ego,

totally understand that. But at the end,
we're all there to serve one thing, to

serve for the public. And they're the
ones who will decide who will live or

with what we do.

I'm in Montreal. I have a family. You
know, I have three sons.

So the kind of sacrifice that maybe I
do.

The last time I saw them was at the end
of March because my father died.

When I opened the show, I just feel that
I'm doing that for my father.

I bring a message from Apple, my boss,
Neil Aspinall, and from Paul and Ringo

and Yoko and Olivia to wish you the very
best for tonight and express their

profound respect for your skill, your
energy, your courage.

One day, this will all seem like a long
time ago.

So savor the moment and my best wishes.

We all know we worked really hard. It
was not an easy one.

Hope the Beatles themselves, Paul Ringo,
Yoko and Olivia and their family.

Tonight we have the honor to have also
Cynthia Lennon, first wife of John

Lennon, who's going to be here with
Julian Lennon and Sean and Danny

and all those people gathered around
with what you've done, with what we've

done together.

I think it's great that, you know,
bodies go.

George Harrison is dead, but we can
really say that his spirit is with us.

And we gave a body to that spirit
altogether.

Peace and love. I love you.

Just another day, just another day, just
another day.

You told me once that you had the
tantrum, but it was not.

Yeah.

How's that now?

Well, it's hard to answer that, you
know.

I'm happy that we... I've been very
nostalgic of the 60s, you know, all

years of...

freedom and revolution.

And I felt I was having my 20s more in a
decade of cynicism, and I've been

pretty cynical myself.

And I feel like today I'm back to the
roots, you know, of

dreaming that we can take a sad song and
make it better, as the man said.

It turns me

It was a great experience.

I've tried to get away from the George
Martin mantle, you know, George's son,

and he comes.

It's been a huge learning curve for me.

And it's your dad, you know. You spend
time going through his stuff, and, you

know, in a way, a father and son team,
you know, in years to come. I'll

remember this more than I'll remember
the show.

I guess I'm used to all this celebrity
stuff.

Even in South Africa, I've been
performing for big people.

Even the president of South Africa,
which is Nelson Mandela, I've performed

him. So it's not a big deal, it's not a
big issue. I'm just going to do what I

do best.

You know what I'm saying?

If you hear that music, there's always
poor people.

It doesn't matter if only Paul and I are
sitting here. There's still four

people, do you know?

There are only two of us now.

But in spirit, there's four of us, you
know?

The band begins at ten to six when Mr. K
performs his tricks without a sound.

And Mr. H will demonstrate ten somersets
he'll undertake on solid ground.

In being some days in preparation, a
splendid time is guaranteed for all.

And tonight, Mr.

Kite is topping the grid.

I was sitting next to Ringo, so it was
great because I just kept saying to him,

what a fucking great band we were.

And, you know, I should be more modest.
I should be saying, oh, it was good, and

thank you very much. But I don't care
now. Beatles is over. It's the body of

work. And I can now stand back and say,
that was great.

You know, you think, you know, it's a
long time ago.

And what's interesting is that now we
are these people.

But the music still carries on. It's not
our personalities, it's the music.

read the news today, oh boy.

4 ,000 holes in Blackburn, Lancashire.

And though the holes were rather small,
they

had to count them all.

Now they know how many holes it takes to
fill the Albert Hall.

Just keep going.

Keep going.

Keep going.

Peace.

Peace. Peace.

Every time I heard George's voice or saw
the image, you know, you just want to

pull them off the, you want to just pull
them right there because it's so close.

And, you know, the voices are so
intimate and so familiar, the way that

just resonate in your ear in a vibration
that nobody else has.

Daddy thought it was hard for him. Made
him very sad because it's so close and

yet, you know, physically unsatisfying,
but spiritually very

satisfying.

Try to realize it's all within yourself.

No one else can make you change.

And to see you're really only very small
and I fall in love.

You ready? I think. Okay. So what should
I do now?

Do it again.

Do it again.

Right. Okay. Let's go.

Do it again. One, two, three, four.

It's the life that is not here anymore.

You know, it's that one, isn't it?

Joan was there.

But it's very different from listening
to his songs and seeing a show

of it, you know.

It always makes me feel a little bit...

Well, sad is not the word. Well, it is,
you know. I feel sad that she's just a

voice now.

John had a huge heart, you know, he was
a good man. He was very sharp and, you

know, his quick wit.

And George in the band was my best
friend.

Paul, incredible, you know, an
incredible man and still the most

player out there today.

You know, it was a really, really great
band.

Hey! If you don't know how lucky you
are, boys, back in the U .S .S .R.

I'm very proud, of course, you know, of
the music we made with the Beatles.

I can hardly believe it.

It's a slightly strange feeling, you
know. It's like, I mean, I wake up some

mornings and think, you know, I was in
the Beatles.

It's like there's only four people could
say that in the world, in the universe,

and I'm one of them, you know.

So it's a slightly sort of strange
feeling, but an amazing one.

Nothing you can do that can't be done.

Nothing you can sing that can't be sung.

Nothing you can say but you can learn
how to play the game.

Easy.

Nothing you can make that can't be made.

You can't help but...

feel with the chats, with the songs,
that, you know, we're all still there.

a bit like when we did Free as a Bird,
when John had left us.

And we all had to sort of pretend that
he was making a cup of tea in the

or something. I mean, we have to get
over it, you know, because we were this,

you know, incredibly close -knit four
-man band.

Each generation, as it grows up, finds
the Beatles for themselves.

And now my children found it for
themselves, and my grandchildren have

for themselves, and it will go on. It
really will.

I'm just saying good night to you all
and God bless you.

One,

two, three, four.

This happened once before I came to your
door Glory fire

They said it wasn't you I saw you You
peep through

your window.

I saw the light.

Stop.

I saw the light. You don't have to do
it.

Just don't get anywhere near light.

Just do it as a solo. Do it on your own.
Okay, let's get it.

One, two, three.

This happened once.

One, two, three. One, two, three.

Okay.

Play it again.

Yeah. Ringo. Ringo, stop.

That's not me. All right, we're going
with the last verse.

Take four.

Would you promise to be true? John. And
help me?

John. It feels like I'm singing in a
sock.

I'm tired.

Yeah. Sure, okay. I'm cracking anyway.

The last one.

Hmm. Okay.

We're rolling.

One, two, three.

I know that you saw me.

At the last...