Planned Television Film
On 10 February 1967, during the orchestral recording sessions for "A Day in the Life", six cameramen filmed the chaotic events with the purpose of using the footage for a planned but unfinished Sgt. Pepper television special. The TV special was to have been written by Ian Dallas and directed by Keith Green. The shooting schedule included all the songs from the album set to music video style scenes: for example, "Within You Without You" scenes would have been set throughout offices, factories and elevators. There were even production numbers planned involving "meter maids" and "rockers". Although production was cancelled, the "A Day in the Life" footage was edited down with stock footage into a finished clip. This clip was not released to the public until the Lennon documentary Imagine: John Lennon was released in 1988. A more complete version was later aired in The Beatles Anthology documentary. In 1992, an hour-long feature produced by London Weekend Television called The Making of Sgt. Pepper was aired, and featured George Martin, the three surviving Beatles and Neil Aspinall discussing the album and the songs, with George Martin running through the tapes, similar in fashion to VH1's Classic Albums documentaries.
Read more about this topic: Sgt. Pepper's Lonely Hearts Club Band
Famous quotes containing the words planned, television and/or film:
““If little planned is little sinned
But little need the grave distress.
What’s dying but a second wind?
How but in zig-zag wantonness
Could trumpeter Michael be so brave?””
—William Butler Yeats (1865–1939)
“There was a girl who was running the traffic desk, and there was a woman who was on the overnight for radio as a producer, and my desk assistant was a woman. So when the world came to an end, we took over.”
—Marya McLaughlin, U.S. television newswoman. As quoted in Women in Television News, ch. 3, by Judith S. Gelfman (1976)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)