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In early August, Neil Aspinall called to tell me The Beatles needed another photo session, and I immediately started ambitious plans for the shoot. I recalled the many sessions with The Beatles that had become famous, and how I felt about them when I first saw them; from Meet The Beatles to the Sgt. Pepper photos, to the Richard Avedon sessions. Every time you saw a new photograph of the Beatles, it would be as if a new era had been entered. I intended to do a simple studio portrait, but also I wanted to get a background of clouds painted and photograph them floating in front of it. I looked into painters, the hiring of trampolines. I worked overtime to try to select the right images and the right ideas for the session. The studio I had booked, one of the largest in London, was buzzing in anticipation when Neil called and canceled. The session would be moved to John’s house.
Since the photos of John and Yoko in the black capes taken at John’s “mock-Tudor shit house,” John had moved. Now he and Yoko were bouncing around in “Tittenhurst Park” — a large white house, almost empty of furniture. In one room there was just the white piano on which John would write “Imagine.
(From ETHAN RUSSELL:AN AMERICAN STORY )
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