was respectful and as honest as it
could be, and is as close to what I
think they would have liked to
have made as a film.

Q: Did you have any notion at the
time that A Hard Day's Night
would become such a landmark
film, still influential over a new
generation of filmmakers?
A: I think when we made A Hard
Days Night we knew that the
Beatles were wonderful and that I
really enjoyed their music. As to
their longevity, I had never thought
about it, didn't worry about it. We
knew that by contract we had to
get the film out quickly because
United Artists thought they would
be a one-month wonder.

Q: What was the importance of
the Beatles' manager, Brian
stein, to them as a group and
how the film got made?
A: I think they trusted Brian
Epstein a great deal. I think that
some of the deals he did for the
Beatles were naive, but naive in the
nicest possible way. It was inno-
cence. The fact that the film compa-
ny owned the album rights to A
Hard Day's Night would be unheard
of [today] as a deal. So I think
Brian's strength wasn't his deal mak-
ing but the fact that he was a calm-
ing, sophisticated gentlemanly influ-
ence in the heart of this maelstrom.

Q. What are your views looking
back on A Hard Day's Night after
36 years?
A: I just remember the sense that
we were all doing something we
wanted to do, and that we were in
tune with the spirit of the times.
Film is a transient medium; it's a
mirror on a society at any given
time. Like all images in the mir-
ror, they come, and they vanish,
and that's the end of it, and that's
the way they should be. If people
are still given pleasure in a nostal-
gic way, it is to the great credit
not of us filmmakers but of the
lasting affection for those four
boys at the time. And to have
been part of that is one of the
great privileges of my life.

A Hard Day's Night, u n rated,

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