- Timeline More from year 1966
More from year 1966
Paul McCartney's November 1966 holidays
Paul McCartney and family on holiday in Jamaica
April 12 to April 15, 1973
Spanish holidays for the McCartney family, and Wings
Mid-June to June 25, 1972
Paul and Linda McCartney on holiday in Jamaica
Early December 1971
Paul and Linda McCartney on holiday in Antigua
Paul and Linda McCartney on holiday in Provence and Corfu
May 15 - June 17, 1969
Paul and Linda McCartney spend three weeks in New York (and in Bahamas)
March 16 to early April, 1969
Paul McCartney and Linda Eastman on holiday in Portugal
December 11 - End of December, 1968
Paul McCartney spends time with Linda Eastman in Scotland
November 5 - Mid-November?
John Lennon and Paul McCartney travel to Greece
Jul 22, 1967
Paul McCartney and Mal Evans travel from Los Angeles to London
April 11-12, 1967
Paul McCartney and Mal Evans spend some time in Los Angeles
April 10-11, 1967
Paul McCartney and Jane Asher’s Denver vacation
April 06-08, 1967
Paul McCartney and Mal Evans fly to San Francisco
April 03-04, 1967
Paul McCartney on holiday in Kenya
November 14-19, 1966
Paul McCartney meets Mal Evans in Bordeaux
Nov 12, 1966
Paul McCartney and Jane Asher on holiday in Switzerland
March 6 - March 20, 1966
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In November 1966, Paul McCartney decided to take a driving holiday in France. To avoid The Beatles’ fans bothering him during this road trip, Paul wore a disguise in the form of glasses and a fake moustache, made by Wig Creations, the film cosmetic company used by The Beatles on their film “A Hard Day’s Night”. However, he decided to drive his brand new dark green Aston Martin DB5, which was sure to attract some attention.
On November 6, Paul flew to France on a plane ferry, with his Aston Martin, from Lydd Airport in Kent, England, to France. His plan was to meet Mal Evans in Bordeaux on November 12.
They measure you and match the colour of your hair, so it was like a genuine moustache with real glue. And I had a couple of pairs of glasses made with clear lenses, which just made me look a bit different. I put a long blue overcoat on and slicked my hair back with Vaseline and just wandered around and of course nobody recognised me at all. It was good, it was quite liberating for me.Paul McCartney – From “Paul McCartney: Many Years from Now” by Barry Miles, 1997
It was an echo of the trip John and I made to Paris for his twenty-first birthday, really. I’d cruise, find a hotel and park. I parked away from the hotel and walked to the hotel. I would sit up in my room and write my journal, or take a little bit of movie film. I’d walk around the town and then in the evening go down to dinner, sit on my own at the table, at the height of all this Beatle thing, to ease the pressure, to balance the high-key pressure. Having a holiday and also not be recognised. And re-taste anonymity. Just sit on my own and think all sorts of artistic thoughts like, I’m on my own here, I could be writing a novel, easily. What about these characters here in this room?Paul McCartney – From “Paul McCartney: Many Years from Now” by Barry Miles, 1997
Kodak 8 mm was the one, because it came on a reel. Once it became Super-8 on a cartridge you couldn’t do anything with it, you couldn’t control it. I liked to reverse things. I liked to reverse music and I found that you could send a film through the camera backwards. Those very early cameras were great.
If you take a film and run it through a camera once, then you rewind it and run it through again, you get two images, superimposed. But they’re very washed out, so I developed this technique where I ran it through once at night and only photographed points of light, like very bright reds, and that would be all that would be on the first pass of the film. It would be like on black velvet, red, very red. I used to do it in my car so it was car headlights and neon signs, the green of a go sign, the red of a stop, the amber
The next day, when it was daylight, I would go and shoot and I had this film that was a combination of these little points of light that were on a ‘black velvet’ background and daylight. My favourite was a sequence of a leaning cross in a cemetery. I turned my head and zoomed in on it, so it opened just with a cross, bingo, then as I zoomed back out, you could see the horizon was tilted at a crazy angle. And as I did it, I straightened up. That was the opening shot, then I cut to an old lady, facing away from me, tending the graves. A fat old French peasant who had stockings halfway down her legs and was revealing a lot of her knickers, turning away, so it was a bit funny or a bit gross maybe. She was just tending a grave so, I mean, I didn’t need to judge it. I just filmed it. So the beautiful thing that happened was from the previous night’s filming. There she is tending a grave and you just see a point of red light appear in between her legs and it just drifts very slowly like a little fart, or a little spirit or something, in the graves. And then these other lights just start to trickle around, and it’s like Disney, it’s like animation!
One thing I’d learned was that the best thing was to hold one shot. I was a fan of the Andy Warhol idea, not so much of his films but I liked the cheekiness of Empire, the film of the Empire State Building, I liked the nothingness of it. So I would do a bit of that.
There were some sequences I loved: there was a Ferris wheel going round, but you couldn’t quite tell what it was. And I was looking out of the hotel window in one French city and there was a gendarme on traffic duty. There was lot of traffic coming this way, then he’d stop ’em, and let them all go. So the action for ten minutes was a gendarme directing the traffic: lots of gestures and getting annoyed. He was a great character, this guy. I ran it all back and filmed all the cars again, it had been raining so there was quite low light in the street. So in the film he was stopping cars but they were just going through his body like ghosts. It was quite funny. Later, as the soundtrack I had Albert Ayler playing the ‘Marseillaise’. It was a great little movie but I don’t know what happened to it.Paul McCartney
Many Years From Now, Barry Miles
Last updated on March 12, 2023
The Beatles Diary Volume 1: The Beatles Years
"With greatly expanded text, this is the most revealing and frank personal 30-year chronicle of the group ever written. Insider Barry Miles covers the Beatles story from childhood to the break-up of the group."
We owe a lot to Barry Miles for the creation of those pages, but you really have to buy this book to get all the details - a day to day chronology of what happened to the four Beatles during the Beatles years!
If we like to think, in all modesty, that the Paul McCartney Project is the best online ressource for everything Paul McCartney, The Beatles Bible is for sure the definitive online site focused on the Beatles. There are obviously some overlap in terms of content between the two sites, but also some major differences in terms of approach.
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