cannes 1968

George Harrison, Cannes, France, May 1968, photographed by Ringo Starr (Photograph/ - via CNN)

George, Pattie, Ringo and Maureen were in Cannes for the premiere of Wonderwall on 17 May 1968.

“In January 1968 I was in Bombay, working on the soundtrack for the film Wonderwall - a Sixties hippy movie directed by Joe Massot. He asked me if I would do the music, but I told him I didn’t write music for films. Then he said that whatever I gave him, he would use. That sounded pretty simple, and I thought: ‘I’ll give them an Indian music anthology, and who knows, maybe a few hippies will get turned on to Indian music.’
I worked with Indian musicians at the EMI/HMV studios in Bombay. Mr Bhaskar Menon (later to become the head of EMI worldwide) brought a two-track stereo machine all the way from Calcutta on the train for me, because all they had in Bombay was a mono machine. It was the same kind of huge machine we used in Abbey Road; they’re called STEEDs. I’ve got one in the kitchen now - the one that we recorded ‘Paperback Writer’ on. I came back and added a lot more in Abbey Road, and put the music on the film.
Wonderwall came out some time later, and probably died a death. Ringo came with me to the premiere in Cannes. (I know this because they’ve put out the CD and I’ve read Derek’s liner notes. I didn’t remember it until I saw the photos of us with a rather nice young lady called Jane Birkin who was in the movie.)” - George, The Beatles Anthology

"I decided to do it as a mini-anthology of Indian music because I wanted to help turn the public in to Indian music.” - George, Wonderwall Music liner notes

"It was fantastic really [in India]. The studio is on top of the offices but there’s no sound-proofing. So if you listen closely to some of the Indian tracks on the LP you can hear taxis going by.
Every time the offices knocked off at 5.30 we had to stop recording because you could just hear everybody stomping down the steps. They only had a big EMI mono machine. I mixed everything as we did it there, and that was nice enough because you get spoiled working eight and sixteen tracks.” - George, liner notes

"I had a regular wind-up stop watch and I watched the film [at Twickenham Film Studios] to ‘spot-in’ the music with the watch. I wrote the timings down in my book, then I’d go to Abbey Road, make up a piece, record it and when we’d synch it up at Twickenham it always worked. It was always right.” - George, liner notes

"I suggested we take a brick out of the wall to give the fellow on the other side a chance, just as the Jack MacGowran character had a chance. Bob Gill didn’t want to do it, but he did it.” - George, liner notes [x]