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By Text by Jonathan Cott and David Dalton

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Paul: But we could have like a game of musical chairs, a computer set up with chairs. You' ve got the scenery here. It's like ' The Potter's Wheel'; they'd make a pot before your eyes. The camel won't be doing anything ' live'; you'll be lucky if you catch him crapping on camera. Linda: It's like being a great photographer. Like there are only certain men I'm interested in photographing. I can't photograph women at all; it doesn't involve me .. Well, maybe like Greta Garbo. Paul: If you go away, you're going to be hamstrung by the scenery.

I'd really like to look at Pete Townshend's face; he fascinates me . . like on 'Jude' the little screams were more interesting than the postman. If you can think slow, not bang! bang! bang! Instead of getting all the pacing, a chair lift, the flow, the pace is already there. You can glide down from the roof on a one shot on to Ringo's face, float around, being careful not to miss anything. It's like Warhol's things; he goes to the other extreme, but he reckons there's a pace in 'Empire'. Even a Tunisian amphitheatre can be boring.

Just sit back in a wide shot, then go to someone, like a news event. Ringo: I'd like it like a Country programme where you have one camera, just step in and do your bit, like on the Grand Ol' Opery, Flatt and Scruggs; they'd all move in when their solo came around and take the centre so they acted out the shots. Paul: It bugs me when they zoom in and out. I'd like it to be like an old movie. If you want to say anything, you walk up to the camera. The only thing that doesn't need to move is the camera.

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THE BEATLES GET BACK: Photographs by Ethan A. Russell by Text by Jonathan Cott and David Dalton

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