Peter Jackson’s recent Get Back project received almost unanimous acclaim when it was released in 2021. What it offered was atmosphere and feeling which was largely missing from the more compact Let It Be, which was issued on the back of The Beatles break-up.
Original director Michael Lindsay-Hogg has defended his vision, and now Jackson has stepped up to defend the director. “I mean as much as I love the Beatles,” Jackson admitted recently. “I would have raised my voice at them a couple of times and read them the riot act because they would have driven me crazy, and Michael’s just so calm”.
Jackson won an Academy Award for The Lord of the Rings: The Return of The King, the concluding chapter in an expansive trilogy that spanned the entirety of Tolkien’s geographical plain. Recognising the burdens a film production can have on a director, Jackson could sympathise with Lindsay-Hogg. “I particularly enjoy seeing Michael twitch and squirm when things aren’t going quite his way; as a director, I can sympathise with that and find it kind of funny,” he said.
Jackson has revealed that he isn’t a musician, which made it difficult for him to engage with the band on a technical level. But Lindsay-Hogg offered him a portal, and a mouth, into the band’s creative process. “Some of my favourite bits in the rushes and the outtakes were Michael’s stuff because I don’t play in a band – I can love the Beatles and watch the Beatles like anyone – but crucially the person I was really relating to was Michael.”
Jackson is currently promoting The Beatles: Get Back–The Rooftop Concert, a tightly edited overview of the band’s final concert. It will be shown on IMAX screens, digitally remastered into the image and sound quality of The IMAX Experience with proprietary IMAX DMR (Digital Remastering) technology.
Jackson is purportedly remastering Dead Alive and is set to re-release some of his early lo-fi features. The director was also supposed to helm a sequel to Steven Spielberg’s The Adventures of Tintin, although he has not yet commented on the film in some time. Anthony Horowitz wrote a treatment for the film in 2012.