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He’s among the last of that dwindling number who were not fundamentally shaped by rock, because they already had some musical understanding before it reached their ears.
So Magritte I got interested in early on. What I loved was he was apparently a very normal guy. It all went on here [points to his head], no outward semblance of this surrealism. He used to paint from nine till one o’clock, break for lunch, very civilised Belgian gentleman. Two o’clock till five, finish painting. Very ordered, very normal. I loved the idea of this straight guy coming out with these far-out images.
George, when we were rehearsing it, was going ‘Hey Jude,’ [big guitar riff] dang-diddle-da-da, ‘don’t make it bad,’ dang-diddle-da-da … ‘George, do us a favour, man. Don’t play it. We’ll have a solo later or something, but don’t answer every phrase, it’s gonna get boring very soon.’ [Sullen] ‘OK. Fuckin’ won’t do it then.’ It was getting like that. Locked horns. Young males was what it was. Now, knowing animals, stallions and rams, I know they’re all at it. If they come of age, locked horns, it’s what they do.
We got an Oscar for the music. It’s my only Oscar, I amaze my friends with it. We didn’t even know it qualified for an Oscar, but the Americans looked at all the films, and said, ‘Well, the Beatles have a film, they’re pretty good this year.’ So we won. Heyyy! Got an Oscar, for nothing.
