VOICE Journal of the Alex Film Society Vol. 12, No. 1 May 6, 2006, 2 pm & 8 pm 05/06 of theTHEATRE Richard Lester’s By Jim Elyea In late 1963, A Hard Day’s Night It was one of those serendipitous pairings of the right was intended by United Artists to be done fast and group, The Beatles, and the right director, Richard cheap to exploit the fame of The Beatles in the British Lester. Lester, an American, had worked in England market in the few months before it faded. The idea for many years, first in television, then in films. In behind making the picture was that even if the movie the six and a half weeks of shooting, Richard Lester didn’t do particularly well, United Artists Records defined forever how the world thought of The Beatles. would be able to make a tidy sum on the deal by No matter what else is written about or shown of those issuing the soundtrack album. This was, of course, four lads from Liverpool, it is the characters that we see before their appearances on “The Ed Sullivan Show” in A Hard Day’s Night that are The Beatles to us all. in February of 1964, when they became literally overnight sensations in America. Walter Shenson A documentary style was settled upon, which involved was talked into producing this quickie comedy. When hand-held cameras for much of the shooting, and Shenson then met with director Richard Lester and the using of available light whenever possible. Lester mentioned the idea of the movie to him, Lester literally constantly grabbed the camera, and shot what he leapt on his chair at the Hilton Coffee Shop and said, wanted to at the moment. The train sequence in “My God, can I direct it?” The answer was yes. particular, was all shot hand-held, much of it by Lester himself wedged Continued on Page 2 A Hard Day’s Night .................................... 1 Feature credits ............................................ 4 The Beatles Tidbits ..................................... 3 Calendar ........................................................ 8 Member Events ........................................... 3 Membership information ......................... 8 Richard Lester’s A HARD DAY’S NIGHT, Cont’d from page 1 Lester is actually seen in the picture, but more out of necessity than through a conscious effort a la Hitchcock, as when he can be spotted in the background walking across the stage at the Scala Theatre. There were other scenes in which it was expedient for a part of him to be in the shot. In the television control room scenes, Lester called upon his earlier television experience, and did all the actual punching in of the different monitors himself. On a day when The Beatles were shot larking about on the field in back of the theatre, Paul was sick, and so Lester donned dark trousers and Beatle boots, grabbed a hand-held Arriflex, and against the far wall of the train car. being made up on the spot. It seems used his own feet and legs as Paul’s. that the film company was thrown One of the problems with a off the streets by the police because The original ending of the film documentary style however, was they were gathering too much of a called for The Beatles to leave the the interruption of that mood by crowd. Lester had the company duck theatre by car, but it was changed the surreal aspect of The Beatles inside the Scala Theatre, where the to a helicopter to give that feeling magically breaking into song, as concert scenes were to be filmed, to of a larger than life release from in the railway car. Lester’s brilliant an upstairs room, and he designed their prison. The sequence took only on-the-spot solution to this was the press conference scene on the a half-day to shoot, and with the spot. On his instructions, in two helicopter on hire for the full day, it hours 60 plus people, including was also used to great effect in the “My God, can I direct it?” most of the crew, afternoon to shoot were assembled overhead shots of to introduce an element just as to play press and the Lads playing surreal several scenes earlier of photographers. in the field. The Beatles somehow managing to Lester fed them the run alongside the moving train to questions, and then It is always taunt the upper class gentleman. later cut all the bits wonderful to go This set up the surreal concept together, sometimes back and look as being normal, and the rest of mixing up the at A Hard Day’s the film just flowed from there. questions and Night because Paul, Producer Walter Shenson and for that hour answers, but always Director Richard Lester on set. Lester’s method was to make the to good effect. and a half, none filming as light as possible, “so that of us had grown up yet; not us, you are not really aware that there Almost all of the exteriors shot not The Beatles, not any of us. was anything serious or important on real locations had to be done going on.” He was not afraid to in one take; as soon as The Richard Lester also directed The alter the process in the middle of Beatles were seen by the literally Beatles’ second feature HELP! shooting in order to suit changing thousands of fans that would (1966), as well as How I Won the conditions, so improvisation was a assemble at each location, security War (1967) (with John Lennon), The big part of the process, such as the inevitably broke down, and that interviews at the press conference location had to be abandoned. Continued on Page 3 VOICE of the THEATRE – – Vol. 1, No. 1 May 6, 006 Events ALEX FILM SOCIETY lex Film Society members from La Cañada to Yorba TIDBITS OF Linda gathered in downtown A HarD DaY’S NIGht ALos Angeles on Saturday, March 18th for a special “members only” guided The constant mention of Paul’s tour of the 14th annual “Art of Motion grandfather being “very clean” Picture Costume Design” exhibition are references to actor Wilfrid at the prestigious Fashion Institute of Brambell playing a rag and bone • Design and Merchandising. man in Steptoe and Son (1962), featuring the catch-phrase, “You Richard Lester, From pg 2 The tour lasted over 90 minutes, and dirty old man.” Steptoe and Son provided AFS members the chance (1962) was remade in the USA Three (and Four) Musketeers (1973 to view costumes from, and to gain as Sanford and Son (1972). & 74) and A Funny Thing Happened insights into, the work of the Cos- on the Way to the Forum (1966). tume Designers for 25 films including • Memoirs of a Geisha, Harry Potter and Norm and Shake are loosely Jim Elyea is President of the Alex the Goblet of Fire, Mrs. Henderson based on The Beatles real-life Film Society, and is currently writ- Presents, Serenity, Charlie and the road managers Neil Aspinall ing a book on Vox amplifiers; Chocolate Factory, Brokeback Moun- and Mal Evans, respectively. the kind The Beatles played. tain, and The Corpse Bride. • Thanks to Phil DiFranco for his 1977 This tour is a way for the Alex Film The people chasing The Beatles interview with Richard Lester used Society Board to thank you, our into the train at the beginning as a partial source for this article. members, for your support, and al- of the film are real fans. though it is the first such opportunity Continued on Page 5 made available to you, we intend for it to not be the last. Check upcoming issues of The Voice of the Theatre and Member letter for additional member opportunities as they become avail- able! Do you have a suggestion for a special AFS member event? If so, we’d love to hear it! Not a member? You can join in the lobby after the show. Please contact AFS Vice-President Daryl Maxwell at [email protected] • Vol. 1, No. 1 May 6, 006 – – VOICE of the THEATRE Black and White – 1964 – 85 minutes United Artists Print courtesy of the Walt Disney Company Cast John Lennon ......................John Paul McCartney ...............Paul Directed by ..........................Richard Lester George Harrison ...............George Ringo Starr ........................Ringo Produced by ........................Walter Shenson Wilfrid Brambell ...............Grandfather Norman Rossington ........Norm Written by ...........................Alun Owen John Junkin .......................Shake Victor Spinetti ..................TV Director Original Songs ....................John Lennon & Anna Quayle .....................Millie Paul McCartney Deryck Guyler ...................Police Inspector Additional Song ..................George Harrison Richard Vernon .................Man on train (song “Don’t Bother Me”) Eddie Malin .......................Hotel Waiter Paul McCartney Robin Ray ...........................T.V. Floor Manager Musical Director ...............George Martin Lionel Blair .........................T.V. Choreographer Director Of Photography ..Gilbert Taylor Alison Seebohm ...............Secretary Edited by ..............................John Jympson David Jaxon .......................Young boy Associate Producer ...........Denis O’Dell Assistant Director ..............John D. Merriman Bridget Armstrong ...........Lead makeup woman* Art Director .........................Ray Simm John Bluthal ......................Car Thief* Costume Designer ..............Julie Harris Pattie Boyd ........................Jean (schoolgirl on train #1* Hair Stylist ...........................Betty Glasow Phil Collins .........................Seated fan with necktie* Makeup Artist .....................John O’Gorman Rosemarie Frankland ......Brunette show girl* Sound Recordist .................H.L. Bird & Stephen Dalby Kenneth Haigh ..................Simon Marshall* Sound Laboratory ..............Michael DiCosimo Julian Holloway ................Adrian,