law

y'know that bit in Get Back on the 14th Jan when George has left the band and they're all sitting around and John's talking nonsense and Peter Sellers even comes in for a bit? well one of the first audio bits I went looking for was that because it's one of my fav bits, and... Peter Jackson literally cut up two different sentences John said and turned it into one sentence. you can't just change someone's sentence to the point it's literally a different sentence, even if the sentence is just mostly nonsense. not to mention! in Get Back, John just looks like he's rambling nonsense and the others are just laughing along, but when you get the complete audio, you hear yeah John is rambling nonsense, but at least the others are actually participating some more, it's not just John who's off his rocker, man

the sentence in question is this... in Get Back, John says "now we were going to discuss this afternoon what religion meant to a popstar, and the popstar we've chosen is Tumble Starker, who's sitting here" (makes him look like he's referring to himself)

in the complete audio, however, John says "now we were going to discuss this afternoon what religion meant to a popstar, and the popstar we've chosen is Ringo McCartney" and then he goes onto banter with Paul, and later he brings up Tumble Starker as if that's Ringo and banters with him

I can kinda understand that for cutting things back tho, but I also found a worse crime. y'know that bit where John goes "I was sort of stoned and high and watching films" and Paul apparently replies "is there any need to do this in public, Mr Lennon?" well Paul does not fucking say that there! Paul is not telling John not to talk about drugs while the cameras are there, he does not give a shit that John says that. instead, the real context is Paul is pretending to be an interviewer talking about Two Virgins which uhhh is obviously a completely different context!

see here:

this is the audio they used in Get Back

as usual, the audio has been cut up and turned into a different conversation. in fact, it's taken out Ringo, Yoko, and Linda who were also participating in the conversation. and someone in the tags of this post mentioned that Ringo barely says anything in Get Back, which yeah, made me think he's the real Quiet Beatle, but then you find that he is literally being cut out of conversations

this vid has (mostly accurate) captions so it's easier to understand (audio is way too long for me to attach it here myself)

so you can see again that in Get Back, the order in which they said things is completely shifted around. for example, in Get Back, it appears that Paul says at the start "he [George] just said 'I'll do it at home'", but Paul actually said near the end of the audio clip, "if he was desperate, he would've just said 'I'll do it at home'" (23:54 on the vid), which is again a different context/meaning

there's lots of interesting self-reflections in the real conversation that were left out of Get Back (e.g. John saying he's always known he's conniving and doesn't realise until he's in it, but he tries not to be so no one is harmed. also they talk a lot about their thoughts on the White Album)

also! Ringo's prospective solo album is mentioned (Stardust) and Paul reassures him that it's not a bad idea (12:10). also interestingly, John says that the Beatles don't have to be the four of them (and apparently George said that too) and he could even be a Beatle on his own (5:08)

You're Paul McCartney, and it's January 24th, 1967. You're having dinner with this playwright you like. You claim his is the only play you've managed to sit through without getting a 'sore arse'. You like the play so much you've invested £1,000 in it. It's about this bisexual catholic boy whose mother just died (Hal), his childhood boy-best-friend/partner in crime, and the robbery they're in the process of committing. There's reason to believe you might have identified with this Hal character. Incidentally, this character seems to be named after the playwright's partner of 16 years, Halliwell.

You're Paul McCartney, and it's August 9th, 1967. The news breaks out that the previous night, the playwright has been bludgeoned to death by his partner, in a fit of rage and jealously, with 9 hammer blows to the head. The partner has then immediately committed suicide by overdosing on pills. The song that plays at the playwrights funeral, 9 days later, is his favorite record, "A Day In The Life". Unbeknownst to you, your friend and manager will die from a pill overdose in 9 days.

You're Paul McCartney, and it's the summer of 1968. Life as you knew it is falling apart. Your partner is now, out of the blue, seemingly in love with this new woman. Not only did you have to deal with them briefly living at your house, where just the year before you blissfully cohabitated with your partner, but he has also broken the sanctity of your creative space by bringing her into the studio and all writing sessions. At some point, you bring to the recording sessions a song about this guy named HalliMaxwell, who goes around bludgeoning people to death with his silver hammer. Incidentally, his first victim seems to be named after your partner of 11 years. You don't end up actually recording the track until a year later, during which you infamously psychologically torture your other two bandmates with it for three whole days. The way you speak about it, this song appears to echo your own concept of Instant Karma:

Maxwell’s Silver Hammer was my analogy for when something goes wrong out of the blue, as it so often does, as I was beginning to find out at that time in my life. [...] We still use that expression even now when something unexpected happens.

— Paul McCartney in Barry Miles' Many Years From Now (1997).

Some of my songs are based on personal experience, but my style is to veil it. A lot of them are made up, like ‘Maxwell’s Silver Hammer’ which is the kind of song I like to write. It’s just a silly story about all these people, I’d never met. It’s just like writing a play: you don’t have to know the people, you just make them up. I remember George once saying to me, ‘I couldn’t write songs like that.’ He writes more from personal experience. John’s style was to show the naked truth. If I was a painter, I’d probably mask things a little bit more than some people. The song epitomizes the downfalls of life. Just when everything is going smoothly – Bang! Bang! – Down comes Maxwell’s silver hammer and ruins everything.

— Paul McCartney in The Beatles Anthology (2000).

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Maxwell's Silver Hammer (1969): Bang! Bang! Maxwell's silver hammer / Came down upon her head. / Bang! Bang! Maxwell's silver hammer / Made sure that she was dead.

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after writing up the response to that ask about Paul and Mal I went back to read about the 1966 trip in Living the Beatle Legend. the whole thing does indeed read very romantic, with them going antiquing together, staring off into the sunset from their hotel balcony, and writing joint postcards signed "Paul and Mal. Available for social functions"